PDF Zotero Mendeley EndNote BibTex Cite

Bollywood Sineması: Hindistan’ın Hareketli Resim Sanayii Üzerine Notlar

Year 2013, Volume , Issue 18, 01.06.2013

Abstract

Sinema, ideolojik yeniden üretim ve maddi kazanç elde etme arasındaki etkileşimi anlayabilmek için verimli bir sanat ve medya alanıdır. Bu yazıda Bollywood sinemasında yeniden üretilen ideoloji ile bu sinemanın ticari boyutu arasındaki etkileşim açığa çıkarılmaktadır. Sömürgeci ve postsömürgeci süreçte sansür ve küreselleşmenin etkileri ile Bollywood sinemasında milliyetçi bir damar inşa edilmiştir. Yazıda önce Bollywood sinemasının tarihsel gelişimi üzerinde durulmuş, sonra günümüz küresel koşullarında bu sinemanın içinde bulunduğu ticari boyut ele alınmıştır. Postsömürgeci bir toplumsal pratik olarak Bollywood sineması dolayımı ile postkolonyal devlet antisömürgeci bir milliyetçiliği yeniden üretmektedir.

References

  • AKŞİT Bahattin (2006), “Küreselleşme, Kültür ve Uygarlık: Karşılaştırmalı
  • Sosyolojik Araştırmalar için Bir Kuramsal Çerçeve Denemesi”, Uluslararası Küreselleşme ve Türk Uygarlığı Sempozyumu Bildirileri, Bişkek: Kırgızistan Türkiye Manas Üniversitesi Yayınları, ss. 27-41. BARNOUW Erik and KRISHNASWAMY S. (1980), Indian film, Oxford: Oxford University Press.
  • BOEHMER Elleke (1995), Colonial and Postcolonial Literature: Migrant
  • Metaphors, Oxford: Oxford University Press. BOSE Mihir (2006), Bollywood: A History, Stroud Gloucestershire (England): Tempus Publications.
  • DASGUPTA Susmita (2006), Amitabh: The Making of A Superstar, New Delhi: Penguin Books.
  • FAY Garret (2011), Studying Bollywood, Wellingborough (UK): Auteur Publishing.
  • From International Blocbusters to National Hits: Analyses of the 2010
  • Unesco Institute for Statistics/UIS Survey on Feature Film Statistics (2012), UIS Information Bulletin, UNESCO.
  • Film Industry in India: New Horizons (2012), Ernst & Young Pvt. Ltd. Published in India.
  • India Plans to Relax Bollywood Censorship (2013, May 5), http://tribune.com. pk/story/544754/india-plans-to-relax-bollywood-censorship/
  • LOOMBA Ania (2000), Kolonyalizm Postkolonyalizm, Çev. Mehmet Küçük, İstanbul: Ayrıntı Yayınları.
  • Media and Entertainment in India: Digital Road Ahead (2011), Deloitte Touche Tohmatsu India Pvt. Ltd. and ASSOCHAM.
  • Roadmap for Single Window Clearance for Film Production in India: A Prelude (2013), Ernst & Young Pvt. Ltd. Published in India.
  • SAYIN Aylin (2010), Hâlâ Uzak Hâlâ Umutlu: Hindistan Günlüğü, İstanbul: Kalkedon.
  • SINGH Anita (2009, October 15), Kylie Minogue makes Bollywood debut with Chiggy Wiggy – Telegraph, telegraph.co.uk (July 25, 2010, http://www. telegraph.co.uk/news/newstopics/bollywood/6338490/Kylie-Minogue-makesBollywood-debut-with-Chiggy-Wiggy.html)
  • THOMPSON Kristin (2003), Film History: An Introduction (2nd edition), Boston: McGraw-Hill.

Bollywood Cinema: Notes on India’s Motion Picture Industry

Year 2013, Volume , Issue 18, 01.06.2013

Abstract

Cinema as an art and medium is a rich field that enables to analyze the interaction between ideological reproduction and commercial production. This article aims to investigate this interaction through the Bollywood cinema. Within the colonialist and post-colonialist process, the effects of the censorship and globalization have constituted a nationalist stream in Bollywood. In this context, this article firstly describes the historical development of the Bollywood cinema. Afterwards, the commercial dimensions of this cinema in today’s global conditions are introduced. The findings support the nation that the postcolonial state reproduces an anti-colonial nationalism out of Bollywood cinema as a postcolonial social practice.

References

  • AKŞİT Bahattin (2006), “Küreselleşme, Kültür ve Uygarlık: Karşılaştırmalı
  • Sosyolojik Araştırmalar için Bir Kuramsal Çerçeve Denemesi”, Uluslararası Küreselleşme ve Türk Uygarlığı Sempozyumu Bildirileri, Bişkek: Kırgızistan Türkiye Manas Üniversitesi Yayınları, ss. 27-41. BARNOUW Erik and KRISHNASWAMY S. (1980), Indian film, Oxford: Oxford University Press.
  • BOEHMER Elleke (1995), Colonial and Postcolonial Literature: Migrant
  • Metaphors, Oxford: Oxford University Press. BOSE Mihir (2006), Bollywood: A History, Stroud Gloucestershire (England): Tempus Publications.
  • DASGUPTA Susmita (2006), Amitabh: The Making of A Superstar, New Delhi: Penguin Books.
  • FAY Garret (2011), Studying Bollywood, Wellingborough (UK): Auteur Publishing.
  • From International Blocbusters to National Hits: Analyses of the 2010
  • Unesco Institute for Statistics/UIS Survey on Feature Film Statistics (2012), UIS Information Bulletin, UNESCO.
  • Film Industry in India: New Horizons (2012), Ernst & Young Pvt. Ltd. Published in India.
  • India Plans to Relax Bollywood Censorship (2013, May 5), http://tribune.com. pk/story/544754/india-plans-to-relax-bollywood-censorship/
  • LOOMBA Ania (2000), Kolonyalizm Postkolonyalizm, Çev. Mehmet Küçük, İstanbul: Ayrıntı Yayınları.
  • Media and Entertainment in India: Digital Road Ahead (2011), Deloitte Touche Tohmatsu India Pvt. Ltd. and ASSOCHAM.
  • Roadmap for Single Window Clearance for Film Production in India: A Prelude (2013), Ernst & Young Pvt. Ltd. Published in India.
  • SAYIN Aylin (2010), Hâlâ Uzak Hâlâ Umutlu: Hindistan Günlüğü, İstanbul: Kalkedon.
  • SINGH Anita (2009, October 15), Kylie Minogue makes Bollywood debut with Chiggy Wiggy – Telegraph, telegraph.co.uk (July 25, 2010, http://www. telegraph.co.uk/news/newstopics/bollywood/6338490/Kylie-Minogue-makesBollywood-debut-with-Chiggy-Wiggy.html)
  • THOMPSON Kristin (2003), Film History: An Introduction (2nd edition), Boston: McGraw-Hill.

Cinéma Bollywood: notes sur l’industrie des images animées de l’Inde

Year 2013, Volume , Issue 18, 01.06.2013

Abstract

Pour comprendre l’interaction entre la reproduction idéologique et la dimension commerciale, le cinéma est un domaine riche en tant que art et média. Dans cet article, l’interaction en question sera explicitée en détail à travers le cinéma de Bollywood. Durant la période de colonialisme et de postcolonialisme par l’effet de la censure et de la globalisation, le cinéma de Bollywood s’est orienté vers un certain trajet qui l’amenait ainsi vers le nationalisme. Dans cette optique, au premier abord, nous allons traiter de l‘historique du cinéma de Bollywood, pour ensuite mettre à jour les conditions actuelles dues à la globalisation qui ont influencé les dimensions commerciales du cinéma de Bollywood. En dernier nous tenterons d’expliquer comment le nationalisme anticoloniale est projetée dans le cinéma bollywoodien en tant que pratique sociale postcoloniale.

References

  • AKŞİT Bahattin (2006), “Küreselleşme, Kültür ve Uygarlık: Karşılaştırmalı
  • Sosyolojik Araştırmalar için Bir Kuramsal Çerçeve Denemesi”, Uluslararası Küreselleşme ve Türk Uygarlığı Sempozyumu Bildirileri, Bişkek: Kırgızistan Türkiye Manas Üniversitesi Yayınları, ss. 27-41. BARNOUW Erik and KRISHNASWAMY S. (1980), Indian film, Oxford: Oxford University Press.
  • BOEHMER Elleke (1995), Colonial and Postcolonial Literature: Migrant
  • Metaphors, Oxford: Oxford University Press. BOSE Mihir (2006), Bollywood: A History, Stroud Gloucestershire (England): Tempus Publications.
  • DASGUPTA Susmita (2006), Amitabh: The Making of A Superstar, New Delhi: Penguin Books.
  • FAY Garret (2011), Studying Bollywood, Wellingborough (UK): Auteur Publishing.
  • From International Blocbusters to National Hits: Analyses of the 2010
  • Unesco Institute for Statistics/UIS Survey on Feature Film Statistics (2012), UIS Information Bulletin, UNESCO.
  • Film Industry in India: New Horizons (2012), Ernst & Young Pvt. Ltd. Published in India.
  • India Plans to Relax Bollywood Censorship (2013, May 5), http://tribune.com. pk/story/544754/india-plans-to-relax-bollywood-censorship/
  • LOOMBA Ania (2000), Kolonyalizm Postkolonyalizm, Çev. Mehmet Küçük, İstanbul: Ayrıntı Yayınları.
  • Media and Entertainment in India: Digital Road Ahead (2011), Deloitte Touche Tohmatsu India Pvt. Ltd. and ASSOCHAM.
  • Roadmap for Single Window Clearance for Film Production in India: A Prelude (2013), Ernst & Young Pvt. Ltd. Published in India.
  • SAYIN Aylin (2010), Hâlâ Uzak Hâlâ Umutlu: Hindistan Günlüğü, İstanbul: Kalkedon.
  • SINGH Anita (2009, October 15), Kylie Minogue makes Bollywood debut with Chiggy Wiggy – Telegraph, telegraph.co.uk (July 25, 2010, http://www. telegraph.co.uk/news/newstopics/bollywood/6338490/Kylie-Minogue-makesBollywood-debut-with-Chiggy-Wiggy.html)
  • THOMPSON Kristin (2003), Film History: An Introduction (2nd edition), Boston: McGraw-Hill.

Details

Primary Language Turkish
Journal Section Articles
Authors

Doç. Dr. Murat İRİ This is me

Publication Date June 1, 2013
Published in Issue Year 2013, Volume , Issue 18

Cite

APA İri, D. D. M. (2013). Bollywood Sineması: Hindistan’ın Hareketli Resim Sanayii Üzerine Notlar . Galatasaray Üniversitesi İletişim Dergisi , (18) , . Retrieved from http://iletisimdergisi.gsu.edu.tr/en/pub/issue/7361/96406

Creative Commons Lisansı