{"id":14981,"date":"2026-05-05T07:28:42","date_gmt":"2026-05-05T07:28:42","guid":{"rendered":"https:\/\/akdenizolay.com.tr\/index.php\/2026\/05\/05\/italyan-sinemasi-ve-ulusal-kimligine-dair-ayrintili-bir-inceleme-italyan-ulusal-sinemasi\/"},"modified":"2026-05-05T07:28:43","modified_gmt":"2026-05-05T07:28:43","slug":"italyan-sinemasi-ve-ulusal-kimligine-dair-ayrintili-bir-inceleme-italyan-ulusal-sinemasi","status":"publish","type":"post","link":"https:\/\/akdenizolay.com.tr\/index.php\/2026\/05\/05\/italyan-sinemasi-ve-ulusal-kimligine-dair-ayrintili-bir-inceleme-italyan-ulusal-sinemasi\/","title":{"rendered":"\u0130talyan sinemas\u0131 ve ulusal kimli\u011fine dair ayr\u0131nt\u0131l\u0131 bir inceleme: \u201c\u0130talyan Ulusal Sinemas\u0131\u201d"},"content":{"rendered":"

\u00a0Vak\u0131fBank K\u00fclt\u00fcr Yay\u0131nlar\u0131 (VBKY), Pierre Sorlin\u2019in kaleme ald\u0131\u011f\u0131, Deniz Arslan\u2019\u0131n dilimize \u00e7evirdi\u011fi\u00a0\u201c\u0130talyan Ulusal Sinemas\u0131\u201d<\/em>\u00a0adl\u0131 eseri okurlarla bulu\u015fturuyor. Bu kapsaml\u0131 \u00e7al\u0131\u015fma, sinemay\u0131 yaln\u0131zca toplumu yans\u0131tan pasif bir ayna olarak de\u011fil, ulusal kimli\u011fin in\u015fas\u0131nda etkin rol oynayan kurucu bir pratik olarak ele al\u0131yor ve modern \u0130talya\u2019n\u0131n d\u00f6n\u00fc\u015f\u00fcm\u00fcnde beyazperdenin \u00fcstlendi\u011fi kritik rol\u00fc g\u00f6zler \u00f6n\u00fcne seriyor.\u00a0<\/strong><\/p>\n

VBKY\u2019nin sanat kitapl\u0131\u011f\u0131, Pierre Sorlin imzas\u0131n\u0131 ta\u015f\u0131yan\u00a0\u201c\u0130talyan Ulusal Sinemas\u0131\u201d<\/em>\u00a0ile geni\u015flemeye devam ediyor. Sorlin\u2019in bu de\u011ferli \u00e7al\u0131\u015fmas\u0131, sundu\u011fu derinlikli sosyolojik perspektifle \u201cSanat Sinemas\u0131\u201d ile \u201cPop\u00fcler Sinema\u201d aras\u0131ndaki gerilimi \u00e7ok katmanl\u0131 bir bi\u00e7imde inceliyor. Sinemay\u0131 yaln\u0131zca estetik bir ifade alan\u0131 olarak de\u011fil, ayn\u0131 zamanda toplumsal yap\u0131larla s\u00fcrekli etkile\u015fim h\u00e2linde olan bir k\u00fclt\u00fcrel \u00fcretim bi\u00e7imi olarak ele alan kitap, bu iki yakla\u015f\u0131m aras\u0131ndaki s\u0131n\u0131rlar\u0131n nas\u0131l \u00e7izildi\u011fini ve zaman i\u00e7inde nas\u0131l d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc ortaya koyuyor. Sineman\u0131n ulusal kimli\u011fin olu\u015fumundaki belirleyici rol\u00fcn\u00fc merkeze alan eser, \u0130talyan ulusal sinemas\u0131 \u00fczerinden modern \u0130talya\u2019n\u0131n ge\u00e7irdi\u011fi k\u00fclt\u00fcrel ve toplumsal d\u00f6n\u00fc\u015f\u00fcm\u00fc tarihsel bir ba\u011flam i\u00e7inde de\u011ferlendiriyor. Bu y\u00f6n\u00fcyle kitap, yaln\u0131zca \u0130talya\u2019ya odaklanmakla kalmay\u0131p benzer s\u00fcre\u00e7lerden ge\u00e7en di\u011fer ulusal sinemalar i\u00e7in de kar\u015f\u0131la\u015ft\u0131rmal\u0131 bir okuma imk\u00e2n\u0131 sunuyor. \u00d6zellikle T\u00fcrk sinemas\u0131n\u0131n ge\u00e7irdi\u011fi d\u00f6n\u00fc\u015f\u00fcmleri ve kendi i\u00e7 \u00e7eli\u015fkilerini anlamland\u0131rmak isteyen okurlar i\u00e7in \u00f6nemli bir d\u00fc\u015f\u00fcnsel \u00e7er\u00e7eve ve tarihsel perspektif sa\u011fl\u0131yor. Ayr\u0131ca kitapta, \u0130talyan sinemas\u0131na ili\u015fkin kapsaml\u0131 bir filmografinin yan\u0131 s\u0131ra zengin bir kaynak\u00e7aya da yer verilerek, konuyla ilgilenen ara\u015ft\u0131rmac\u0131lar ve sinema merakl\u0131lar\u0131 i\u00e7in ba\u015fvurulabilecek nitelikli bir referans kayna\u011f\u0131 olu\u015fturuluyor.<\/p>\n

\u00a0Kitaptan:<\/strong><\/p>\n

\u201cPierre Sorlin\u2019in elinizdeki bu eseri, \u0130talyan Ulusal Sinemas\u0131, bir sanat dal\u0131 ve k\u00fclt\u00fcr prati\u011finin tarihsel bir \u00e7\u00f6z\u00fcmlemesi olmas\u0131\u00adn\u0131n yan\u0131 s\u0131ra \u0130talyan toplumunun son y\u00fczy\u0131lda ge\u00e7irdi\u011fi k\u00f6kl\u00fc d\u00f6n\u00fc\u015f\u00fcmlerin sinema alan\u0131 oda\u011f\u0131nda sosyolojik bir okumas\u0131d\u0131r. Bir sosyolog olan Sorlin, sinemay\u0131 sadece toplumu yans\u0131t\u0131p kay\u00addeden pasif bir ayna olarak g\u00f6rmez. Aksine, sineman\u0131n \u0130talyan ulusunun bizzat \u201ckurucusu\u201d ve \u201c\u015fekillendiricisi\u201d olan hayati bir k\u00fclt\u00fcrel pratik oldu\u011funu savunur. \u0130talyan sinemas\u0131n\u0131 geli\u015fim ve d\u00f6n\u00fc\u015f\u00fcm i\u00e7erisindeki \u0130talyan toplumunun \u00f6nemli bir boyutu olarak ele al\u0131r.<\/em><\/p>\n

Kitab\u0131n merkezindeki temel tez, modern \u00f6ncesi d\u00f6nemde dilsel, co\u011frafi ve k\u00fclt\u00fcrel olarak son derece par\u00e7al\u0131 bir yap\u0131 arz eden \u0130talya\u2019n\u0131n, bug\u00fcn bildi\u011fimiz anlamda bir \u201culus\u201da d\u00f6n\u00fc\u015f\u00adme s\u00fcrecinin b\u00fcy\u00fck oranda filmler arac\u0131l\u0131\u011f\u0131yla ger\u00e7ekle\u015fti\u011fidir. \u00d6zellikle sesli sineman\u0131n geli\u015fiyle birlikte, leh\u00e7elerin ve yerel kimliklerin \u00f6tesinde ortak bir \u201c\u0130talyanl\u0131k\u201d tahayy\u00fcl\u00fc, perdedeki g\u00f6r\u00fcnt\u00fcler ve sesler \u00fczerinden in\u015fa edilmi\u015ftir. Sosyolojinin en te\u00admel meselelerinden biri olan ve genellikle 1980 sonras\u0131 literat\u00fcrde s\u0131k\u00e7a tart\u0131\u015f\u0131lan \u201culus in\u015fas\u0131\u201d s\u00fcreci, Sorlin\u2019e g\u00f6re \u0130talya \u00f6zelinde en somut kar\u015f\u0131l\u0131\u011f\u0131n\u0131 sinema salonlar\u0131nda bulmu\u015ftur.\u201d<\/em><\/p>\n

Yazar Hakk\u0131nda;<\/strong><\/p>\n

Frans\u0131z tarih\u00e7i ve sinema sosyolo\u011fu. Vefat\u0131na kadar Paris-Sorbonne Nouvelle \u00dcniversitesinde (Paris III) Emeritus Profes\u00f6r olarak g\u00f6rev yapm\u0131\u015ft\u0131r. Akademik kariyerine Lyon \u00dcniversitesinde sosyal tarih alan\u0131nda ba\u015flayan Sorlin, daha sonra Paris 8-Vincennes \u00dcniversitesinde sinema ve tarih ili\u015fkisi \u00fczerine yo\u011funla\u015fm\u0131\u015ft\u0131r. \u00c7al\u0131\u015fmalar\u0131nda sinemay\u0131 sadece estetik bir obje olarak de\u011fil, toplumsal temsillerin ve ulusal kimliklerin in\u015fa edildi\u011fi tarihsel bir mecra olarak ele alm\u0131\u015ft\u0131r. \u0130talya ile g\u00fc\u00e7l\u00fc akademik ba\u011flar\u0131 bulunan yazar, Bologna\u2019daki Istituto Ferruccio Parri ve Oxford\u2019daki Maison Fran\u00e7aise gibi kurumlarda ara\u015ft\u0131rmalar y\u00fcr\u00fctm\u00fc\u015ft\u00fcr. Sinema sosyolojisi disiplininin kurucu isimlerinden kabul edilen Sorlin\u2019in ba\u015fl\u0131ca eserleri aras\u0131nda\u00a0Sociologie du cin\u00e9ma\u00a0<\/em>(1977),\u00a0The Film in History\u00a0<\/em>(1980),\u00a0European Cinemas, European Societies\u00a01939-1990\u00a0<\/em>(1991) ve\u00a0Italian National Cinema\u00a0<\/em>(1996) yer almaktad\u0131r.<\/p>\n

K\u00dcNYE<\/strong><\/p>\n

Yay\u0131nevi: VBKY<\/strong><\/p>\n

Kategori: Sanat \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong><\/p>\n

Yazan:\u00a0Pierre Sorlin\u00a0<\/strong><\/p>\n

Kitab\u0131n ad\u0131:\u00a0\u0130talyan Ulusal Sinemas\u0131 \u00a0<\/strong><\/p>\n

Proje ve Kitap Edit\u00f6r\u00fc: Mesut Bostan<\/strong><\/p>\n

T\u00fcrk\u00e7esi: Deniz Arslan\u00a0<\/strong><\/p>\n

Kapak ve Sayfa Uygulama: Y\u00fcmna Sar\u0131kaya<\/strong><\/p>\n

Son Okuma: Handan \u00d6yken<\/strong><\/p>\n

Sayfa say\u0131s\u0131: 336 \u00a0<\/strong><\/p>\n

\u00a0<\/p>\n

Kaynak: (BYZHA) Beyaz Haber Ajans\u0131<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Vak\u0131fBank K\u00fclt\u00fcr Yay\u0131nlar\u0131 (VBKY), Pierre Sorlin\u2019in kaleme ald\u0131\u011f\u0131, Deniz Arslan\u2019\u0131n dilimize \u00e7evirdi\u011fi\u00a0\u201c\u0130talyan Ulusal Sinemas\u0131\u201d\u00a0adl\u0131 eseri okurlarla bulu\u015fturuyor.<\/p>\n","protected":false},"author":1,"featured_media":14982,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24],"tags":[],"class_list":["post-14981","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat"],"_links":{"self":[{"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/14981","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=14981"}],"version-history":[{"count":1,"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/14981\/revisions"}],"predecessor-version":[{"id":14983,"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/14981\/revisions\/14983"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/media\/14982"}],"wp:attachment":[{"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=14981"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=14981"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/akdenizolay.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=14981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}