17 Temmuz 2011 Tez Açık Erişim

Yılmaz, Hasan Ramazan

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    <subfield code="a">Toplumsal Gerçekçilik</subfield>
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    <subfield code="a">Belirtisel Gösterge</subfield>
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    <subfield code="a">&lt;p&gt;&lt;strong&gt;&amp;Ouml;ZET&lt;/strong&gt;&lt;/p&gt;

&lt;p&gt;&amp;nbsp;&lt;/p&gt;

&lt;p&gt;Sinemayı varoluşu itibariyle bir sanat olarak sınıflandıran, &amp;ouml;zel tarihsel bağlamları i&amp;ccedil;indeyse bir &amp;ldquo;toplumsal sanat&amp;rdquo; olarak değerlendiren iki sinema akımı; İtalyan Yeni Ger&amp;ccedil;ek&amp;ccedil;iliği ve Toplumsal Ger&amp;ccedil;ek&amp;ccedil;i Türk Sineması ele alınarak, akımların sinema g&amp;ouml;rüntüsünün g&amp;ouml;stergebilimsel sınıflandırmalarından &amp;ldquo;belirtisel g&amp;ouml;sterge&amp;rdquo; fonksiyonuyla paralel olan yapıları incelenmiştir. Sanatta ger&amp;ccedil;ek&amp;ccedil;ilik, sinema teorisinde ger&amp;ccedil;ek&amp;ccedil;ilik ve bi&amp;ccedil;imcilik tartışmalarının değerlendirildiği &amp;ccedil;alışmada, &amp;ldquo;ulusal&amp;rdquo; sinemalar olarak İtalyan ve Türk sinemalarının gelişim süre&amp;ccedil;leri incelenerek akımların oluşumlarına etkileri tespit edilmek istenmiştir. İki akımın i&amp;ccedil;erik, film dili ve estetiği bağlamındaki niteliklerinin, &amp;ldquo;ger&amp;ccedil;eğin ortaya &amp;ccedil;ıkarılması&amp;rdquo; y&amp;ouml;nündeki sinematografik yaklaşımı merkeze alma &amp;ccedil;abalarıyla olan uyumları &amp;ouml;nemli tespitler arasındadır. &amp;Ccedil;alışma, &amp;ouml;zellikle Yeni Ger&amp;ccedil;ek&amp;ccedil;ilik&amp;rsquo;te kendini g&amp;ouml;steren, anaakım klasik-ger&amp;ccedil;ek&amp;ccedil;i film dilinden ayrışarak i&amp;ccedil;erik ve film dili bağlamında kurulan &amp;ouml;zgün yapının, sinema g&amp;ouml;rüntüsünün belirtisel g&amp;ouml;sterge fonksiyonu doğrultusunda ortaya &amp;ccedil;ıkışına yoğunlaşmaktadır.&lt;/p&gt;

&lt;p&gt;&amp;nbsp;&lt;/p&gt;

&lt;p&gt;&lt;strong&gt;Anahtar Kelimeler:&lt;/strong&gt; Yeni Ger&amp;ccedil;ek&amp;ccedil;ilik, Toplumsal Ger&amp;ccedil;ek&amp;ccedil;ilik, Belirtisel G&amp;ouml;sterge, Sinema, Sanat&lt;/p&gt;

&lt;p&gt;&amp;nbsp;&lt;/p&gt;

&lt;p&gt;&lt;strong&gt;ABSTRACT&lt;/strong&gt;&lt;/p&gt;

&lt;p&gt;&amp;nbsp;&lt;/p&gt;

&lt;p&gt;This study investigates two cinema movements which categorize cinema existentially as an art and in consideration of special historical concept as a social art. Italian Neo-realism&amp;rsquo;s and Social Realist Turkish cinema&amp;rsquo;s parallel structure with &amp;ldquo;index sign&amp;rdquo; function of semiotic categorization of cinematic image was discussed. Realism in art, realism and formalism in film theories has been evaluated. As national cinemas, Italian and Turkish cinemas&amp;rsquo; effects in the being processes of movements has been detected. The accordance between cinematographic approach of &amp;ldquo;discovering reality&amp;rdquo; and the characters of content, film language and aesthetic in two movements are signed one of the important detections. The study focuses two major cases, one of them is the original structure that especially shows itself in Neo-realism and was build in context of cinematic content, film language and the second one is the &amp;ldquo;index sign&amp;rdquo; function of cinematic image which is in the being processes of this original structure.&lt;/p&gt;

&lt;p&gt;&amp;nbsp;&lt;/p&gt;

&lt;p&gt;&lt;strong&gt;Keyword:&lt;/strong&gt; Neo Realism, Social Realism, Index Sign, Cinema, Art&lt;/p&gt;</subfield>
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