Türkiye’de Sinematograf: Kâzım Nami Duru’nun Türkiye’de Sinema Tarihyazımına Katkısı
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2020
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info:eu-repo/semantics/openAccess
Özet
Kâzım Nami Duru; Harbiye’de askeri eğitim almış, orduda yüzbaşılığa kadar yükselmiş, İttihat ve TerakkiCemiyeti’nin oluşumuna doğrudan katılmıştır. II. Meşrutiyet döneminde (1908-1918) askeri kariyerindenvazgeçerek kendisini öncelikle halk ve gençlik terbiyesine adamış bir pedagog, siyasetçi, Fransızca çevirmen, edebiyatçı, yazar ve gazeteci olarak bilinmektedir. Sinemayı sanat olarak değil de salt eğitim vepropaganda vasıtası olarak yani “halk ruhu üzerinde büyük tesir yapan kudretli bir telkin vasıtası” olarakpeşinen kabul eden bu angaje aydın acaba Türkiye’de sinema tarihyazımı düşünüldüğünde bir proto-sinema tarihçisi olarak kabul edilebilir mi? Bu çalışmanın amacı, Duru’nun, Türkiye’de henüz bilinmeyen,1932 yılında Fransızca yayımlanmış “Le cinématographe en Turquie” adlı kısa makalesinin tarihyazımsalçözümlenmesine odaklanmaktır. Duru’nun tarihsel söylemini hakkaniyetli şekilde tahlil edebilmek için kullanılacak olan yöntem Fransız tarihçi Michel de Certeau’nun tarih yazıcılığını “tarihyazımsal işlem” olarakele alıp çözümlemesine yarayan “üçlü yapı” uygulamasıdır. Duru’nun Türk sinema tarihini ilgilendiren tarihçisöylemi bu yöntembilimsel çerçevede bağlamsallaştırılarak ve tarihselleştirilerek incelenecektir.
Kâzım Nami Duru is known as a pedagogue, politician, translator of French, man of letters, writer and journalist who received his military education at the Ottoman Military Academy. He had advanced to the rank of captain in the military. He personally took part in the establishment of the Committee of Union and Progress, and gave up his military career in the Second Constitutional period (1908-1918) to dedicate himself to the education of the adults and youth. Is it possible to recognize this engaged intellectual who unquestionably accepted cinema principally as an education and propaganda tool rather than an art form, (i.e. “a strong indoctrination instrument with a significant influence on the spirit of the people”). Can Duru be regarded as a proto-film historian, considered as part of cinema historiography in Turkey? This study aims to focus on the historiographical analysis of Duru’s short essay “Le cinématographe en Turquie” which was published in French in 1932 but was little known in Turkey at the time. This study provides a balanced analysis of how Duru created a historical discourse, using “triple structure” through which the French historian Michel de Certeau addressed and analyzed historiography as a “historiographical operation”. This study examines Duru’s historiographical discourse and its impact on the Turkish cinema history through conceptualization and historicization in this methodological framework.
Kâzım Nami Duru is known as a pedagogue, politician, translator of French, man of letters, writer and journalist who received his military education at the Ottoman Military Academy. He had advanced to the rank of captain in the military. He personally took part in the establishment of the Committee of Union and Progress, and gave up his military career in the Second Constitutional period (1908-1918) to dedicate himself to the education of the adults and youth. Is it possible to recognize this engaged intellectual who unquestionably accepted cinema principally as an education and propaganda tool rather than an art form, (i.e. “a strong indoctrination instrument with a significant influence on the spirit of the people”). Can Duru be regarded as a proto-film historian, considered as part of cinema historiography in Turkey? This study aims to focus on the historiographical analysis of Duru’s short essay “Le cinématographe en Turquie” which was published in French in 1932 but was little known in Turkey at the time. This study provides a balanced analysis of how Duru created a historical discourse, using “triple structure” through which the French historian Michel de Certeau addressed and analyzed historiography as a “historiographical operation”. This study examines Duru’s historiographical discourse and its impact on the Turkish cinema history through conceptualization and historicization in this methodological framework.
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Ankara Üniversitesi İLEF Dergisi
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7
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