Search

Türk Sineması’nda büyük seyirci kitlelerine ulaşan filmlerin önemli bir kısmını güldürü türündeki filmler oluşturmaktadır. 2000 sonrasında üretilen bu filmlerde yapımcıların seyirciye lümpen olarak adlandırılabilecek tiplerin anlatısını sunmayı tercih ettiği görülmektedir. Araştırmanın amacı, Marx’ın toplumsal bir grubu tanımlamak amacıyla ortaya attığı lümpen kavramı üzerinden oluşturulan mizahın, yerli güldürü sinemasındaki yansımasını incelemektir. Araştırmada amaçlı örneklem yöntemi doğrultusunda hem ana hem de yardımcı kahramanları lümpen tipler olan Geniş Aile: Yapıştır (2015) ve Geniş Aile 2: Her Türlü (2016) filmleri seçilmiş, bu filmler anlatı analizi yöntemiyle incelenmiştir. Filmlerdeki lümpen tipler üzerinden yapılan çözümlemeler, lümpenliğin filmlerin anlatılarında bir mizah unsuru olarak kullanıldığına işaret etmekte, lümpen tiplerin ise mizahın Üstünlük, Uyumsuzluk ve Rahatlama Kuramları aracılığıyla kurgulandığı görülmektedir., Comedies occupy a significant place among Turkish films that reach a large audience. Considering those produced after 2000, one may not that film makers have favored the narratives of people with characteristics best described as “lumpen.” This article examines the humor created through Marx’s concept of “lumpen,” the term he used to identify this social group. The film series Geniş Aile: Yapıştır (2015) and Geniş Aile 2: Her Türlü (2016) are selected for the purposive sampling method, because they feature primary and secondary characters who are both lumpen and flat. It is also pointed out that the analyzed characters are consistent with Superiority, Incongruity and Relief theories of humor. Findings of the analysis show that lumpenism is used as an important element of humor in the narratives of the sampled films.

Russian authorities do not recognize their participation in the Donbass war. Participation concealment in military conflicts is a long-standing Russian political tradition. The Soviet Union, which was modernized by Russia, did not recognize that it had fought in Korea, Vietnam, Angola, and Ogaden. Modern Russia, which has deployed its forces to Donbass, is officially convincing the world community and Russians that this war is an internal civil conflict in Ukraine. Although all information is available on the Internet about which Russian units are fighting in Donbass, who controls them and where the flows of Russian equipment, weapons, ammunition, soldiers, officers and even where the killed Russian soldiers are buried come from.That is why films about the Donbass war help the mass audience to understand who is actually fighting in Eastern Ukraine. An article is devoted to this topic, which analyzes feature films about the Russian-Ukrainian war that lasts in Donbass. In particular, Oleksiy Shapariev’s series "The Guard", films of Akhtem Seitablaiev "Cyborgs. Heroes never die", Serhiy Loznytsia "Donbass", Zaza Buadze "Call sign ‘Banderas’", Ivan Tymchenko "Ilovaisk 2014. Battalion ‘Donbass’", Valentyn Vasyanovych "Atlantis", Volodymyr Tykhyi "Our cats".In the context of world cinematography and peculiarities of the national character, it is presented how modern Ukrainian cinema develops the comedic traditions of war films. The reaction to films about the war by Ukrainian spectators, critics, Russian politicians and public officials, film awards at film festivals are shown., Російська влада не визнає своєї участі у війні на Донбасі. Приховування участі у військових конфліктах — давня російська політична традиція. Радянський Союз, який був модернізованою Росією, не визнавав, що воював у Кореї, В’єтнамі, Анголі, Огадені. Сучасна Росія, яка ввела свої війська на Донбас, на офіційному рівні переконує світову спільноту та росіян, що ця війна — внутрішній громадянський конфлікт України. Хоча в інтернеті доступна вся інформація про те, які російські підрозділи воюють на Донбасі, хто ними керує і звідки йдуть потоки російської техніки, зброї, боєприпасів, солдатів, офіцерів і навіть де ховають убитих російських вояків.Тому фільми про війну на Донбасі допомагають зрозуміти масовій аудиторії, хто насправді воює в Східній Україні. Цій темі присвячена стаття, у якій аналізуються ігрові фільми про російсько-українську війну, яка триває на Донбасі. Зокрема, серіал Олексія Шапарева «Гвардія», фільми Ахтема Сеїтаблаєва «Кіборги. Герої не вмирають», Сергія Лозниці «Донбас», Зази Буадзе «Позивний „Бандерас”», Івана Тимченка «Іловайськ 2014. Батальйон „Донбас”», Валентина Васяновича «Атлантида», Володимира Тихого «Наші котики».У контексті світового кінематографу та особливостей національного характеру подається, як сучасне українське кіно розвиває комедійні традиції фільмів про війну. Показано реакцію на фільми про війну українських глядачів, критиків, російських політиків і державних службовців та нагороди фільмів на кінофестивалях.

Russian authorities do not recognize their participation in the Donbass war. Participation concealment in military conflicts is a long-standing Russian political tradition. The Soviet Union, which was modernized by Russia, did not recognize that it had fought in Korea, Vietnam, Angola, and Ogaden. Modern Russia, which has deployed its forces to Donbass, is officially convincing the world community and Russians that this war is an internal civil conflict in Ukraine. Although all information is available on the Internet about which Russian units are fighting in Donbass, who controls them and where the flows of Russian equipment, weapons, ammunition, soldiers, officers and even where the killed Russian soldiers are buried come from. That is why films about the Donbass war help the mass audience to understand who is actually fighting in Eastern Ukraine. An article is devoted to this topic, which analyzes feature films about the Russian-Ukrainian war that lasts in Donbass. In particular, Oleksiy Shapariev’s series "The Guard", films of Akhtem Seitablaiev "Cyborgs. Heroes never die", Serhiy Loznytsia "Donbass", Zaza Buadze "Call sign ‘Banderas’", Ivan Tymchenko "Ilovaisk 2014. Battalion ‘Donbass’", Valentyn Vasyanovych "Atlantis", Volodymyr Tykhyi "Our cats". In the context of world cinematography and peculiarities of the national character, it is presented how modern Ukrainian cinema develops the comedic traditions of war films. The reaction to films about the war by Ukrainian spectators, critics, Russian politicians and public officials, film awards at film festivals are shown.

Nowadays the Ukrainian crisis society directs man to the creative realization of the individual, but at the same time does not provide specific resources for it. At the present stage of the development of philosophy in the era of the global, social and spiritual crisis, it is becoming important the formation of a new ideological paradigm of a marginal personality that requires research in the field of philosophy and cultural studies. New models of life, moral values, and different worldview emerge through marginality, that’s why the phenomenon of margin is always relevant. The marginal personality is important for any society at all stages of its development and in various forms of its manifestation. The social contradictions are compounded by the growing scale of margin in the society. They form the basis for the deployment of global crises, which consequences are unpredictable from the standpoint of modern science. Perhaps, marginality is a condition, which produces the changes of the social and cultural sphere. The article doesn`t emphasize the nature of these changes, but it should be taken into account both inner (at the level of the value core) and outer; both positive, promoting the development, and negative, leading to the destruction. The accent is made on the activity oriented nature of the marginality, which is able to provoke changes and force a subject to innovations. The marginality has also a certain demonstrative (indicative) character. If the essence and increase of the marginal entities in the social and cultural sphere are captured, we can prove the inevitable changes, the acceleration of the social dynamic. That`s why the marginality is able to provoke social and cultural changes but also be an indicator of the social and cultural sphere state. The above defined updates the socio-philosophical analysis of the peculiarities of margin in the context of globalization, determinants and mechanisms of social transit of the marginalized communities into the integrated socio-cultural space.

Resumen Este artículo analiza el cuento “Las fieras”, del argentino Roberto Arlt, como producto final de una investigación académica dirigida por el sistema de posgrado de literatura latinoamericana de la Universidad de Costa Rica. Se llevó a cabo un estudio de los diversos recursos estilísticos que este autor emplea para deconstruir la imagen de la sociedad bonaerense de los años 30: lenguaje, abordaje de una temática marginal, juego de oposiciones. Los principales aspectos analizados son el ingreso en el lumpen, silencio como lenguaje, lumpen como despojo de la máscara y condición de las mujeres en el lump en. Abstract Between ferocity and boredom: an approach to the short story “las fieras”, by roberto arlt This paper is an analysis of the short story “Las fieras”, by the Argentinean author Roberto Arlt, as a result of academic research in the postgraduate program in Latin American Literature of the Universidad de Costa Rica. The stylistic resources which this author uses to deconstruct the image of the Buenos Aires society of the 30’s, the approach of a marginal theme, and play of opposites are studied. The main analyzed aspects are the becoming part of the lumpen (underclass), silence as language, the lumpen as the removal of masks and the situation of women in the lumpen.

Mizah; dramatik, fonetik ve görsel sanat alanlarının hepsinde varlık gösterebilen sinema sanatının da tür ayırt etmeksizin kullandığı ya da başvurduğu kaynaklardan biridir. Öyle ki komedi türü, üretim ve izlenirlik açısından sinemanın ortaya çıkışından günümüze dek dünya genelinde popüler film türlerinden biri olmuştur. Komedi, dünya sinemasının genelinde olduğu gibi Türk Sineması'nda da başlangıcından günümüze dek her dönem popüler film türlerinin başında gelmiştir. Özellikle son dönem Türk Sineması'nda gösterime giren ve büyük seyirci kitlelerine ulaşan filmlerin önemli bir kısmını komedi türündeki filmler oluşturmaktadır. Türk komedi sinemasında 2000 sonrasında üretilen filmlere bakıldığında film yapımcılarının yoğun bir biçimde seyirciye lümpen olarak adlandırılabilecek tiplerin anlatısını sunmayı tercih ettiği görülmektedir. Araştırmanın amacı, Marks'ın toplumsal bir grubu tanımlamak amacıyla ortaya attığı lümpen kavramı üzerinden oluşturulan mizahın 2000 sonrası yerli komedi sinemasındaki yansımasını incelemektir. Araştırmada yöntem olarak anlatı analizi ve betimsel analiz yöntemleri tercih edilmiştir. Araştırmada amaçlı örneklem yöntemi doğrultusunda anlatısında en az bir lümpen tipin bulunduğu 2000-2015 yılları arasında gösterime girmiş toplamda sekiz komedi filmi örneklem olarak seçilmiştir. Bu filmler; G.O.R.A.(2004), Organize İşler (2005), Maskeli Beşler: İntikam Peşinde (2005), Recep İvedik (2008), Kolpaçino (2009), Çalgı Çengi (2011), Geniş Aile: Yapıştır (2015) ve Ali Kundilli (2005)'dir. Filmlerdeki lümpen tipler üzerinden yapılan çözümleme sürecinde elde edilen bulgular, lümpenliğin filmlerin anlatılarında mizahın üstünlük, uyumsuzluk ve rahatlama kuramları aracılığıyla bir mizah unsuru olarak kullanıldığını ortaya koymaktadır. Humor can be present in all dramatic, phonetic and visual art fields, and is one of the sources which the art of cinema uses or refers to without taking its genre into account. So much so that comedy type humor has been one of the movie types that has become popular worldwide in terms of production and rating ever since the emergence of cinema. Comedy films constitute an important part among the recently released Turkish cinema films that have reached a large group of audiences. Looking at the comedy films produced after 2000, it is seen that filmmakers have preferred to intensely present the narrative of the kind of people that can be called lumpen. The aim of the study is to examine the reflections of the humor created through Marx's concept of lumpen, which he had come up with in order to identify a social group, in post-2000 Turkish comedy films. In the study, narrative analysis and descriptive analysis methods have been preferred as research methods. In the study, using the purposive sampling method, a total of eight comedy films have been selected as samples from filmss released between the years 2000-2015 that have a narrative of at least one lumpen person. These films are; G.O.R.A. (2004) Organize Isler (2005), Maskeli Besler: Intikam Pesinde (2005), Recep Ivedik (2008), Kolpacino (2009), Calgi Cengi (2011), Genis Aile: Yapistir (2015) and Ali Kundilli (2005). The findings obtained from the analysis process of the lumpen people in the films reveal that lumpenism is used as an element of humor in the narrative of the films through utilizing the Superiority, Incongruity and Relief theories of humor. The lumpen people in these films cause the act of laughing to occur due to their absurd behaviors as well as causing the audience to have a feeling of superiority to these lumpen people and thus leads them to relief. 214