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Pamuk Prenses ve Yedi Cüceler Masalının Üç Hali: Grimm Kardeşler, Walt Disney Ve Ertem Göreç

Year 2020, Volume: 7 Issue: 2, 965 - 988, 24.07.2020
https://doi.org/10.17680/erciyesiletisim.726217

Abstract

Sözlü kültür ürünü olan masalların kuşaktan kuşağa aktarılmasında yeniden üretim biçimleri önemlidir. Yeniden üretim sırasında masallarda yapısal, ideolojik değişikliklerin yaşanması kaçınılmazdır. Bu değişikliklerin bariz şekilde hissedildiği masal örneklerinden biri de Pamuk Prenses ve Yedi Cüceler’dir. Çalışmanın konusunu, Pamuk Prenses ve Yedi Cüceler masalının yeniden üretim biçimi oluşturmaktadır. Pamuk Prenses ve Yedi Cüceler masalının yeniden üretiminde, ne tür değişiklerin yapıldığı ve bunların hangi ideolojik, ekonomik ve kültürel kaygılarla yapıldığını ortaya koymak çalışmanın sorunsalıdır. Bu sorunsal ışığında, ilk önce masalın, 1812 yılında Alman Grimm Kardeşler tarafından yazılı eser haline getirilmesine değinilmiş, ikinci olarak 1937’de Disney’in, Grimmler’in masalının çizgi film uyarlaması ve son olarak da Disney’in çizgi filminden 1970’de Ertem Göreç’in uyarlaması ele alınmıştır. Sonuçta ise, Pamuk Prenses ve Yedi Cüceler masalının sözlü anlatıdan yazılı anlatıya, animasyon anlatısına ve sinema film anlatısına her üretildiğinde, ideolojik kaygılarla yapısal değişiklikler yaşamış olduğunu söylemek mümkündür.

References

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  • Cornea, C. (2007). Science Fiction Cinema:Between Fantasy and Reality. Edinburgh : Edinburgh University Press.
  • Çırakman, A. (2002). Oryantalizmin Varsayımsal Temelleri:Fikri Sabit İmgelem ve Düşünce Tarihi. Doğu-Batı Dergisi (20/Oryantalizm-I), 181-198.
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  • Dickenson, B. (2006). Hollywood’s New Radicalism-War,Globalisation and The Movies From Reagan to George W. Bush. New York: I.B. Tauris&Co. Ltd.
  • Goto-Jones, C. (2015). Playing with Being in Digital Asia: Gamic Orientalism and the Virtual Dōjō. Asiascape: Digital Asia, 2(1-2), 20-56.
  • Hough, K. (2015). Demon Courage and Dread Engines: America’s Reaction to the Russo- Japanese Invasion Sublime. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism Imagining Asia in Speculative Fiction, History, and Media (s. 23-39). New Jersey: Rutgers University Press.
  • Ishii, D. (2015). Palimpsestic Orientalisms and Antiblackness;or, Joss Whedon’s Grand Vision of an Asian/American Tomorrow. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 180-192). New Jersey: Rutgers University Press.
  • Jeong, K. (2011). Crisis of Gender and The Nation in Korean Literature and Cinema: Modernity Arrives Again. Maryland: Lexington Books.
  • Jones, J. (2015). Japan Removed: Godzilla Adaptations and Erasure of the Politics of Nuclear Experience. M. Edwards içinde, The Atomic Bomb in Japanese Cinema: Critical Essays (s. 34-55). North Carolina: McFarland&Company Inc.
  • Kahraman, H. B. (2002). İçselleştirilmiş, Açık ve Gizli Oryantalizm ve Kemalizm. Doğu-Batı Dergisi (20/Oryantalizm-I), 153-180.
  • Kellner, D. (2013). Sinema Savaşları Bush-Cheney Döneminde Hollywood Sineması ve Siyaset. (G. Koca, Çev.) İstanbul: Metis Yayınları.
  • Keyman, F. (2002). Globalleşme, Oryantalizm ve Öteki Sorunu: 11 Eylül Sonrası Dünya ve Adalet. Doğu-Batı Dergisi (20/Oryantalizm-II), 11-32.
  • Klein, C. (2003). Cold War Orientalism Asia in the Middlebrow Imagination 1945-1961. Los Angeles: University of California Press.
  • Klein, C. (2020). Cold War Cosmopolitanism:Period Style in 1950s Korean Cinema. Oakland: University of California Press.
  • Konty, O. (2002). Üçgenin Tabanım Yok Sayan Pythagoras: Oryantalizm ve Ataerkillik Üzerine. Doğu Batı Dergisi (20/Oryantalizm-I), 117-134.
  • Kosnik, A. D. (2015). The Mask of Fu Manchu, Son of Sinbad, and Star Wars IV:A New Hope: Techno-Orientalistof Twentieth-Century. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 89-100). New Jersey: Rutgers University Press.
  • Low, M. (2003). Displaying the future: techno‐nationalism and the rise of the consumer in Postwar Japan. History and Technology, 19(3), 197-209.
  • Lozano-Méndez, A. (2010). Techno-Orientalism In East-Asian Contexts: Reiteration, Diversification, Adaptation. M. Telmissany ve S. T. Schwartz içinde, Counterpoints: Edward Said’s Legacy (s. 185-210). Newcastle: Cambridge Scholars Publishing.
  • Marchart, O. (1998). The East, the West and the Rest: Central and Eastern Europe between Techno-Orientalism and the New Electronic Frontier. Convergence: The International Journal of Research into New Media Technologies, 4(2), 56-75.
  • McKay, D. (2017). Camera Men: Techno-orientalism in Two Acts. Journal of American Studies, 51(3), 939-964.
  • McLoad, K. (2013). Afro-Samurai:Techno-orientalism and Contemporary Hip-hop. Popular Music, 32(2), 259-275.
  • Morley, D. ve Robins, K. (1995). Spaces of Identity-Global Media,Electronic Landscapes and Cultural Boundaries. New York : Routledge.
  • Napier, S. J. (2013, 08 20). The Wolverines’ Burden: Orientalism and the Superhero. 01 03, 2020 tarihinde https://www.huffpost.com/: https://www.huffpost.com/entry/ the-wolverines-burden-ori_b_3763815 adresinden alındı
  • Nguyen, M. T. ve Tu, T. L. (2007). Introduction. M. T. Nguyen ve T. L. Tu içinde, Alien Encounters-Popular Culture in Asian America (s. 1-34). London: Duke University Press.
  • Nihei, C. (2009). Thinking Outside the Chinese Box: David Mitchell and Murakami Haruki’s Subversion of Stereotypes About Japan. New Voices, 3, 86-103.
  • Niu, G. A. (2008). Techno-Orientalism, Nanotechnology, Posthumans and Post-Posthumans in Neal Stephenson’s and Linda Nagata’s Science Fiction. Melus, 33(4), 73-96.
  • Özden, Z. (2004). Film Eleştirisi-Film Eleştirisinde Temel Yaklaşımlar ve Tür Filmi Eleştirisi. Ankara: İmge Kitabevi.
  • Park, J. C. (2010). Yellow Future Oriental Style in Hollywood Cinema. Minneapolis: University of Minnesota Press.
  • Rivera, T. (2014). Do Asians Dream of Electric Shrieks?: Techno-Orientalism and Erotohistoriographic Masochism in Eidos Montreal’s Deus Ex: Human Revolution. Amerasia Journal, 40(2), 67-86.
  • Roh, D., Huang, B. ve Niu, G. (2015). Technologizing Orientalism: An Introduction. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 1-22). New Jersey: Rutgers University Press.
  • Ryan, M. ve Kellner, D. (2010). Politik Kamere-Çağdaş Hollywood Sinemasının İdeolojisi ve Politikası. (E. Özsayar, Çev.) İstanbul: Ayrıntı Yayınları.
  • Said, E. (1998). Oryantalizm. (N. Uzel, Çev.) İstanbul: İrfan Yayıncılık.
  • Sohn, S. H. (2008). Introduction:Alien/Asian:Imagining the Racialized Future. Melus, 33(4), 5-22.
  • Soni, J. (2020, 1 31). Huawei phone sales beat Apple in 2019. 2 13, 2020 tarihinde https:// www.techradar.com/: https://www.techradar.com/news/huawei-phone-salesbeat- apple-in-2019 adresinden alındı
  • Suzuki, E. (2017). Beasts from the Deep. Journal of Asian American Studies, 20(1), 11-28.
  • Tzarina, P. ve Fung, C. (2015). How Does It Not Know What It Is: The Techno-Orientalized Body in Ridley Scott’s Blade Runner and Larissa Lai’s Automaton Biohraphies. D. Roh, B. Huang ve G. Niu içinde, Techno orientalism:Imagining Asia in Speculative Fiction, History and Media (s. 193-208). New Jersey: Rutgers University Press.
  • Ueno, T. (1999). Techno-Orientalism and Media-Tribalism:On Japanese Animation and Rave Culture. Third Text, 13(47), 95-106.
  • Ueno, T. (2002). Japanimation and Techno-Orientalism. B. Grenville içinde, The Uncanny: Experiments in Cyborg Culture (s. 223-231). Vancouver: Arsenal Pulp Press.
  • Wagenaar, W. (2016). Wacky Japan: A Mew Face of Orientalism. Asia in Focus(3), 46-54.
  • Woronoff, J. (1996). Japan as -anything but- Number One. London: MacMillan Press.
  • Yamashita, K. T. ve Pablo, L. M. (2017). Anime Wong:Mobilizing(techno) Orientalism- Artistic Keynote and Conversation. Journal of Contemporary Drama in English, 5(1), 173-188.
  • Yavuz, H. (1998). Alafrangalığın Tarihi. İstanbul: Timaş Yayınları.
  • Yeats, D. (2015). Home Is Where the War Is: Remaking Techno-Orientalist Militarism on the Homefront. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 125-138). New Jersey: Rutgers University Press.
  • Yılmaz, E. (2008). Sinema ve İdeoloji İlişkileri Üzerine. B. Bakır, Y. Ünal ve S. Saliji içinde, Sinema, İdeoloji, Politika Sinemasal Yazılar 1 (s. 63-86). Ankara: Orient Yayıncılık.
  • Yu, T. (2008). Postmodern Futures: Naked Lunch, Blade Runner and Neuromancer. Melus, 33(4), 45-71.

Three Forms of the (Fair Tale of) “Snow White and the Seven Dwarfs”: Brothers Grimm, Walt Disney and Ertem Göreç

Year 2020, Volume: 7 Issue: 2, 965 - 988, 24.07.2020
https://doi.org/10.17680/erciyesiletisim.726217

Abstract

Reproduction forms are important in the transfer of tales from generation to generation, which are products of oral culture. Structural, ideological changes are inevitable in fairy tales during reproduction. One of the examples of fairy tales where these changes are clearly felt is Snow White and the Seven Dwarfs. The subject of the study is the reproduction of Snow White and the Seven Dwarfs. The purpose of the study is to reveal what kinds of changes were made in the reproduction of the Snow White and the Seven Dwarfs and what ideological, economic and cultural concerns they were made. In light of this problematic, three forms of this tale are examined. In the study, firstly, the fairy tale written by German Grimm Brother in 182, secondly the Disney’s animation adaptation of Grimm’s fairy tale in 1937, and finally the adaptation of Ertem Göreç from Disney’s cartoon in 1970 were discussed. In conclusion, it is possible to say that the story of Snow White and the Seven Dwarves has been subjected to structural changes with ideological concerns every time it is produced from oral narrative to written narration, animation narration and cinema film narrative.

References

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  • Binark, M. (1998). Oryantalist Söylem ve Japonya Meiji Dönenıi (1868-1912) Japon Kadın Hareketi Tarihini Okumak. Kültür ve İletişim, 1(1), 65-90. Boztemur, R. (2002). Marx Doğu Sorunu ve Oryantalizm. Doğu-Batı Dergisi (20/ Oryantalizm-I), 135-152.
  • Choe, S. ve Kim, S. Y. (2015). Never Stop Playing: StarCraft and Asian Gamer Death. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 113-124). New Jersey: Rutgers University Press.
  • Chun, W. H. (2007). Race and Software. M. T. Nguyen ve T. L. Tu içinde, Alien Encounters- Popular Culture in Asian America (s. 305-334). London: Duke University Press.
  • Cornea, C. (2007). Science Fiction Cinema:Between Fantasy and Reality. Edinburgh : Edinburgh University Press.
  • Çırakman, A. (2002). Oryantalizmin Varsayımsal Temelleri:Fikri Sabit İmgelem ve Düşünce Tarihi. Doğu-Batı Dergisi (20/Oryantalizm-I), 181-198.
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  • Dickenson, B. (2006). Hollywood’s New Radicalism-War,Globalisation and The Movies From Reagan to George W. Bush. New York: I.B. Tauris&Co. Ltd.
  • Goto-Jones, C. (2015). Playing with Being in Digital Asia: Gamic Orientalism and the Virtual Dōjō. Asiascape: Digital Asia, 2(1-2), 20-56.
  • Hough, K. (2015). Demon Courage and Dread Engines: America’s Reaction to the Russo- Japanese Invasion Sublime. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism Imagining Asia in Speculative Fiction, History, and Media (s. 23-39). New Jersey: Rutgers University Press.
  • Ishii, D. (2015). Palimpsestic Orientalisms and Antiblackness;or, Joss Whedon’s Grand Vision of an Asian/American Tomorrow. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 180-192). New Jersey: Rutgers University Press.
  • Jeong, K. (2011). Crisis of Gender and The Nation in Korean Literature and Cinema: Modernity Arrives Again. Maryland: Lexington Books.
  • Jones, J. (2015). Japan Removed: Godzilla Adaptations and Erasure of the Politics of Nuclear Experience. M. Edwards içinde, The Atomic Bomb in Japanese Cinema: Critical Essays (s. 34-55). North Carolina: McFarland&Company Inc.
  • Kahraman, H. B. (2002). İçselleştirilmiş, Açık ve Gizli Oryantalizm ve Kemalizm. Doğu-Batı Dergisi (20/Oryantalizm-I), 153-180.
  • Kellner, D. (2013). Sinema Savaşları Bush-Cheney Döneminde Hollywood Sineması ve Siyaset. (G. Koca, Çev.) İstanbul: Metis Yayınları.
  • Keyman, F. (2002). Globalleşme, Oryantalizm ve Öteki Sorunu: 11 Eylül Sonrası Dünya ve Adalet. Doğu-Batı Dergisi (20/Oryantalizm-II), 11-32.
  • Klein, C. (2003). Cold War Orientalism Asia in the Middlebrow Imagination 1945-1961. Los Angeles: University of California Press.
  • Klein, C. (2020). Cold War Cosmopolitanism:Period Style in 1950s Korean Cinema. Oakland: University of California Press.
  • Konty, O. (2002). Üçgenin Tabanım Yok Sayan Pythagoras: Oryantalizm ve Ataerkillik Üzerine. Doğu Batı Dergisi (20/Oryantalizm-I), 117-134.
  • Kosnik, A. D. (2015). The Mask of Fu Manchu, Son of Sinbad, and Star Wars IV:A New Hope: Techno-Orientalistof Twentieth-Century. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 89-100). New Jersey: Rutgers University Press.
  • Low, M. (2003). Displaying the future: techno‐nationalism and the rise of the consumer in Postwar Japan. History and Technology, 19(3), 197-209.
  • Lozano-Méndez, A. (2010). Techno-Orientalism In East-Asian Contexts: Reiteration, Diversification, Adaptation. M. Telmissany ve S. T. Schwartz içinde, Counterpoints: Edward Said’s Legacy (s. 185-210). Newcastle: Cambridge Scholars Publishing.
  • Marchart, O. (1998). The East, the West and the Rest: Central and Eastern Europe between Techno-Orientalism and the New Electronic Frontier. Convergence: The International Journal of Research into New Media Technologies, 4(2), 56-75.
  • McKay, D. (2017). Camera Men: Techno-orientalism in Two Acts. Journal of American Studies, 51(3), 939-964.
  • McLoad, K. (2013). Afro-Samurai:Techno-orientalism and Contemporary Hip-hop. Popular Music, 32(2), 259-275.
  • Morley, D. ve Robins, K. (1995). Spaces of Identity-Global Media,Electronic Landscapes and Cultural Boundaries. New York : Routledge.
  • Napier, S. J. (2013, 08 20). The Wolverines’ Burden: Orientalism and the Superhero. 01 03, 2020 tarihinde https://www.huffpost.com/: https://www.huffpost.com/entry/ the-wolverines-burden-ori_b_3763815 adresinden alındı
  • Nguyen, M. T. ve Tu, T. L. (2007). Introduction. M. T. Nguyen ve T. L. Tu içinde, Alien Encounters-Popular Culture in Asian America (s. 1-34). London: Duke University Press.
  • Nihei, C. (2009). Thinking Outside the Chinese Box: David Mitchell and Murakami Haruki’s Subversion of Stereotypes About Japan. New Voices, 3, 86-103.
  • Niu, G. A. (2008). Techno-Orientalism, Nanotechnology, Posthumans and Post-Posthumans in Neal Stephenson’s and Linda Nagata’s Science Fiction. Melus, 33(4), 73-96.
  • Özden, Z. (2004). Film Eleştirisi-Film Eleştirisinde Temel Yaklaşımlar ve Tür Filmi Eleştirisi. Ankara: İmge Kitabevi.
  • Park, J. C. (2010). Yellow Future Oriental Style in Hollywood Cinema. Minneapolis: University of Minnesota Press.
  • Rivera, T. (2014). Do Asians Dream of Electric Shrieks?: Techno-Orientalism and Erotohistoriographic Masochism in Eidos Montreal’s Deus Ex: Human Revolution. Amerasia Journal, 40(2), 67-86.
  • Roh, D., Huang, B. ve Niu, G. (2015). Technologizing Orientalism: An Introduction. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 1-22). New Jersey: Rutgers University Press.
  • Ryan, M. ve Kellner, D. (2010). Politik Kamere-Çağdaş Hollywood Sinemasının İdeolojisi ve Politikası. (E. Özsayar, Çev.) İstanbul: Ayrıntı Yayınları.
  • Said, E. (1998). Oryantalizm. (N. Uzel, Çev.) İstanbul: İrfan Yayıncılık.
  • Sohn, S. H. (2008). Introduction:Alien/Asian:Imagining the Racialized Future. Melus, 33(4), 5-22.
  • Soni, J. (2020, 1 31). Huawei phone sales beat Apple in 2019. 2 13, 2020 tarihinde https:// www.techradar.com/: https://www.techradar.com/news/huawei-phone-salesbeat- apple-in-2019 adresinden alındı
  • Suzuki, E. (2017). Beasts from the Deep. Journal of Asian American Studies, 20(1), 11-28.
  • Tzarina, P. ve Fung, C. (2015). How Does It Not Know What It Is: The Techno-Orientalized Body in Ridley Scott’s Blade Runner and Larissa Lai’s Automaton Biohraphies. D. Roh, B. Huang ve G. Niu içinde, Techno orientalism:Imagining Asia in Speculative Fiction, History and Media (s. 193-208). New Jersey: Rutgers University Press.
  • Ueno, T. (1999). Techno-Orientalism and Media-Tribalism:On Japanese Animation and Rave Culture. Third Text, 13(47), 95-106.
  • Ueno, T. (2002). Japanimation and Techno-Orientalism. B. Grenville içinde, The Uncanny: Experiments in Cyborg Culture (s. 223-231). Vancouver: Arsenal Pulp Press.
  • Wagenaar, W. (2016). Wacky Japan: A Mew Face of Orientalism. Asia in Focus(3), 46-54.
  • Woronoff, J. (1996). Japan as -anything but- Number One. London: MacMillan Press.
  • Yamashita, K. T. ve Pablo, L. M. (2017). Anime Wong:Mobilizing(techno) Orientalism- Artistic Keynote and Conversation. Journal of Contemporary Drama in English, 5(1), 173-188.
  • Yavuz, H. (1998). Alafrangalığın Tarihi. İstanbul: Timaş Yayınları.
  • Yeats, D. (2015). Home Is Where the War Is: Remaking Techno-Orientalist Militarism on the Homefront. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 125-138). New Jersey: Rutgers University Press.
  • Yılmaz, E. (2008). Sinema ve İdeoloji İlişkileri Üzerine. B. Bakır, Y. Ünal ve S. Saliji içinde, Sinema, İdeoloji, Politika Sinemasal Yazılar 1 (s. 63-86). Ankara: Orient Yayıncılık.
  • Yu, T. (2008). Postmodern Futures: Naked Lunch, Blade Runner and Neuromancer. Melus, 33(4), 45-71.
There are 50 citations in total.

Details

Primary Language Turkish
Subjects Radio-Television
Journal Section Türkçe Araştırma Makaleleri
Authors

Zeynep Gültekin Akçay 0000-0003-3050-3090

Publication Date July 24, 2020
Submission Date April 24, 2020
Published in Issue Year 2020 Volume: 7 Issue: 2

Cite

APA Gültekin Akçay, Z. (2020). Pamuk Prenses ve Yedi Cüceler Masalının Üç Hali: Grimm Kardeşler, Walt Disney Ve Ertem Göreç. Erciyes İletişim Dergisi, 7(2), 965-988. https://doi.org/10.17680/erciyesiletisim.726217