Oryantalizm ve Self Oryantalizm Bağlamında Türk Sinemasında “Öteki” Olarak “Ben”in Sunumu: Akın, Özpetek ve Karaçelik Filmleri Örneği

Abstract

The theme of Orientalism in Turkish cinema has been extensively explored in various studies; however, the majority of the existing literature has primarily focused on Hollywood or European cinema. These studies prominently reveal the existence and influence of Orientalism in cinema. In recent years, with the emergence of the East’s stance against Orientalism, attention has been drawn to the scarcity of research on “self-orientalism” and “occidentalism” in the literature, with most of the relevant studies centering on European-supported Turkish films and “accented cinema.” This thesis examines Orientalism in Turkish cinema, with a focus on self-orientalist and occidentalist representations. It analyzes three films each by Fatih Akın, Ferzan Özpetek, and Tolga Karaçelik, all of which have won awards at European festivals, been screened internationally or featured in Turkish film festivals. The films are studied through the lens of Symbolic Interaction Theory and analyzed using Van Dijk’s Critical Discourse Analysis method. Drawing from Baudrillard’s simulation theory, the representations of “self” and “other,” as well as portrayals of Turkey and Turkish identity, are examined in comparison to Orientalist stereotypes and Western narratives. This study aims to contribute to the body of literature on cultural representations and “self” portrayals in Turkish cinema, particularly under the influence of Orientalism. By exploring how Orientalism, self-Orientalism, and Occidentalism are constructed in the works of the selected filmmakers, the research seeks to provide a deeper understanding of the broader implications of these themes in cinematic practices.