Melodram’dan Anti-Melodram’a; Popüler Türk Sineması’nda İktidar, Arzu ve Kaygı Söyleminin Dönüşümü, Recep İvedik Örneği
From Melodrama to Anti-Melodrama; Transformation of Discourse of Power, Desire and Anxiety in Popular Turkish Cinema, Case of Recep İvedik

Summary/Abstract: In important moments of transformation experienced by societies, the relationship of culture with the produced symbolic objects and codes is reformed. This situation is related to the reconstruction of power, negotiation, resistance and new public opinion. For this reason, popular culture products and their transformation provides important data for the transformations of a society. Considering the products of popular culture as only as a product of alienation, contains risks the overlook of society's relationship to these objects and codes. Codes generated by society during the process of capitalization since the Tanzimat Era, includes continuities and periodic splits. The texts produced by the melodrama language, which is shaped by the tension existing between desire and tradition, come first among the areas where these codes are reflected in the culture. The melodrama tradition, where class desires and conflicts are mediated by an individual life and especially romantic love, shaped both post-Tanzimat Literature and popular cinema texts after 1950. This study tries to address the ideological ground on which the reconciliation created by the melodrama tradition is located within a historical context. The melodrama shaped by anxiety about social competition, desire and the wear of tradition is therefore considered as a popular field of struggle for hegemony and resistance. Socio-economic transformation after 1990 caused a radical transform in melodrama language in relation with the changes in daily life and ideology. The narratives based on black-melodrama, which combines the emptiness of the symbolic order with the gender crisis, is the most obvious manifestation of this break. This study states that the Recep İvedik film series constitutes a third tradition especially emphasizes and creates a radical transformation in the ideological position of romantic love and produces a discourse that reveals the social distinctions that melodrama tries to close so which can be called anti-melodrama. In this context, the study includes a sociological reading by making use of the Object-Relations Theory, Lacan psychoanalysis and Pierre Bourdieu's concept of cultural capital.

• Details
• Contents