NAZISM IDEOLOGY IN TURKISH CINEMA: KIRIMLI FILM AND SEMIOTICS ANALYSIS

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dc.authoridÇakı, Caner/0000-0002-1523-4649
dc.authoridKARACA, MUSTAFA/0000-0002-8204-6154
dc.authorwosidÇakı, Caner/AAG-7018-2020
dc.authorwosidKARACA, MUSTAFA/ABG-4136-2020
dc.contributor.authorCaki, Caner
dc.contributor.authorZorlu, Yasar
dc.contributor.authorKaraca, Mustafa
dc.date.accessioned2024-08-04T21:00:02Z
dc.date.available2024-08-04T21:00:02Z
dc.date.issued2017
dc.departmentİnönü Üniversitesien_US
dc.description.abstractIn the 20th century, the cinema became an important communication tool for the ruling sovereign powers to reflect their ideologies and start dominating the masses. In particular, ideological rhetoric was common in the cinema sector in the first half of the 20th century when ideologies such as Nazism, Communism, and Fascism dominated Europe. The Nazi ideology had found a considerable place in the cinema sector after the Nazis came to power in Germany in 1933. The ideology of Nazism was criticized in American films such as The Great Dictator (1940), whereas it was exalted in German films such as Triumph of the Will (Triumph des Willens, 1935) when the Nazis were in power in Germany. In the period after World War II, when Nazism was officially abolished, the films about the ideology of Nazism continued to be made. In these films, Nazi ideology was heavy criticized. Later Turkish cinema subjected Nazi ideology to deep criticism in such films as the Ankara Express (Ankara Ekspresi, 1971). This study examines Burak Cem Arliel's film Kirimli, which was shown in 2014. The movie, which was adapted to the screen from Cengiz Dagci's novel Horrible Years (Korkunc Yillar, 1956) about the human tragedy and pain suffered by the Tatar prisoners captured in German prisoner camps during the Second World War. This study's methodology is based on Saussure's notion of signs. The study examines the ideology of Nazism in the film using semiotic analysis to show how Nazi ideology was reflected in Turkish cinema. The study finds that like other Turkish films on the subject, Kirimli subjects Nazi ideology to severe criticism.en_US
dc.identifier.doi10.18368/iusoskon.328523
dc.identifier.endpage93en_US
dc.identifier.issn1304-0243
dc.identifier.issn2458-8245
dc.identifier.issue56en_US
dc.identifier.startpage65en_US
dc.identifier.urihttps://doi.org/10.18368/iusoskon.328523
dc.identifier.urihttps://hdl.handle.net/11616/103739
dc.identifier.wosWOS:000408379700004en_US
dc.identifier.wosqualityN/Aen_US
dc.indekslendigikaynakWeb of Scienceen_US
dc.language.isotren_US
dc.publisherIstanbul Univ, Methodology & Sociology Research Centeren_US
dc.relation.ispartofIstanbul Journal of Sociological Studies-Sosyoloji Konferanslarien_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/closedAccessen_US
dc.subjectNazismen_US
dc.subjectTurkish cinemaen_US
dc.subjectideologyen_US
dc.titleNAZISM IDEOLOGY IN TURKISH CINEMA: KIRIMLI FILM AND SEMIOTICS ANALYSISen_US
dc.typeArticleen_US

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