Türk Sinemasında Kimlik ve Başarı

Türkiye’de 1989 yılında film izleyici sayısı ölçülmeye başlanmıştır. Rakamsal veriler son yirmi yılda izleyici sayısında ve maddi anlamda kayda değer bir yükseliş olduğunu göstermektedir. Bu verilere dayanarak şunu söyleme mümkündür ki 2000’li yılların başından itibaren Türk film endüstrisi daha ilgi çekici bir hale gelmiş ve karlı bir iş sahasına dönüşmüştür. Yürütülen araştırmalara göre bu başarı aşağıda belirtilen sebepler ile açıklanabilir. İlk olarak film sektöründeki etkileyici büyüme onun televizyon endüstrisinden bağımsız olmasını sağlamıştır. İkinci olarak yüksek bütçeli yapım şirketlerinin yaygınlaşmasıdır. Üçüncüsü, devlet tarafından verilen yasal ve destekleyici teşviklerdir. Dördüncüsü medyanın kitlesel gücü, pazarlama ağı özellikle internetin ve yeni sosyal ağların uzantılarıyla geniş bir alana yayılmasıdır. Son olarak Türkiye nüfusunun ortalama gelirinin artmasıdır. Yüksek katılımla filmlere ilişkin, birçok Türk komedi filminin yerli seyirci için sadece ilgi çekici bir eğlence kaynağı olmamakla birlikte kişilerin kendi kişisel kimliklerini de bu filmlerde görmeleridir. Bu bağlamda, Türk izleyicisi kendisinin perdede aktif bir biçimde tasvir edildiğini hissetmektedir (Karakterin davranışı, tepkisi Türk mizacını ve özelliklerini temsil etmektedir). Bunun yanı sıra edilgen durumda ise karakter temsil ettiği Türk tipini karşı tarafa yansıtmamaktadır. Komedi filmlerinin yanında aile içi dram veya aksiyon filmlerindeki milliyetçi özellikler Türk halkı tarafından beğeniyle karşılanmaktadır. Altı çizilen bahis, Türklüğün anlamının son yıllarda toplum içinde birçok ekonomik, politik ve sosyal anlamda yaşanılan değişimler sonucunda kimlik krizine sebep olmasını ve tanımlanamayan rekabeti kastetmektedir.

Identity and Success in Turkish Cinema

In 1989 the number of cinema movie viewers in Turkey started to be measured. The figures show a significant increase in attendance and earnings on the last twenty years. Based on these data it is possible to state that since the 2000s the Turkish film industry has become a mass phenomenon and a very profitable business. According to the research conducted such success can be explained by several reasons. First, the impressive growth of the film-making sector has made it independent from the television industry. Secondly, the proliferation of high-budget production companies. Thirdly, the boost driven by legal and governmental incentives. Fourthly, the massification of mass media and marketing networks, especially spurred by the huge spreading of internet and the new social ones. Finally, the improvement of the average income of Turkey’s population. Regarding the movies massively attended, most of them are Turkish comedies which are attractive to domestic audiences not only as entertainment but also because they involve identity references. In this sense, the Turkish spectator feels himself depicted in the screen in an active manner (the behaviors and reactions by the characters are a representation of Turkish idiosyncrasy) as well as in a passive one (the character represents the type of Turk the spectator feels he is not). Besides comedies, domestic dramas or action movies appealing to nationalistic elements are also well received by the Turkish public. The underlying discussion refers to an undefined contest for what Turkishness means within a society that has experienced many economic, political and social changes in recent decades, which have created an identity crisis.

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