{"id":1963,"date":"2026-11-03T10:14:47","date_gmt":"2026-11-03T10:14:47","guid":{"rendered":"https:\/\/atolyer10.com\/?p=1963"},"modified":"2026-11-03T10:14:47","modified_gmt":"2026-11-03T10:14:47","slug":"kadrajin-iktidari-iradenin-zaferinde-sinema-ve-propaganda","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=1963","title":{"rendered":"Kadraj\u0131n \u0130ktidar\u0131: \u0130radenin Zaferi\u2019nde Sinema ve Propaganda"},"content":{"rendered":"\n\n\n

1935 tarihli bir film, bir siyasi mitingi belgelemekten daha fazlas\u0131n\u0131 yapt\u0131: Kalabal\u0131klar\u0131, mimariyi ve kamera a\u00e7\u0131lar\u0131n\u0131 kullanarak bir iktidar imgesi in\u015fa etti. Peki g\u00f6r\u00fcnt\u00fc ne zaman belgeden propagandaya d\u00f6n\u00fc\u015f\u00fcr?<\/em><\/p>\n\n

\"Bundesarchiv_Bild_102-16196%2C_N%C3%BCrnberg%2C_Reichsparteitag%2C_SA-_und_SS-Appell
G\u00f6rsel 1. 1934 N\u00fcrnberg Parti Kongresi\u2019nde kitlelerin simetrik dizili\u015fi. Kaynak: Bundesarchiv, Bild 102-16196 (ar\u015fiv kayd\u0131 ve lisans<\/a>).<\/em><\/figcaption><\/figure>\n

Sinema, d\u00fcnyay\u0131 yaln\u0131zca g\u00f6stermez; onu bir bak\u0131\u015f a\u00e7\u0131s\u0131 etraf\u0131nda yeniden kurar. Kamera a\u00e7\u0131s\u0131, kadraj, \u0131\u015f\u0131k, m\u00fczik ve kurgu, izleyicinin g\u00f6rd\u00fc\u011f\u00fcne y\u00fckledi\u011fi anlam\u0131 de\u011fi\u015ftirir. Bu nedenle sinema, estetik bir ifade alan\u0131 olmas\u0131n\u0131n yan\u0131 s\u0131ra siyasal ideolojilerin dola\u015f\u0131ma sokuldu\u011fu bir ileti\u015fim arac\u0131 olarak da de\u011ferlendirilir (Altun, 2010; Kasap Ortaklan, 2021).<\/p>\n

Bu ili\u015fkinin en tart\u0131\u015fmal\u0131 \u00f6rneklerinden biri Leni Riefenstahl\u2019\u0131n y\u00f6netti\u011fi \u0130radenin Zaferi (Triumph des Willens<\/em>, 1935)<\/strong> filmidir. Nazi Partisi\u2019nin 1934 N\u00fcrnberg Kongresi\u2019nden g\u00f6r\u00fcnt\u00fcler i\u00e7eren yap\u0131m, belgesel g\u00f6r\u00fcn\u00fcm\u00fc alt\u0131nda rejimin g\u00fcc\u00fcn\u00fc, b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc ve lider fig\u00fcr\u00fcn\u00fc y\u00fccelten bir anlat\u0131 olu\u015fturur (B\u00f6l\u00fckba\u015f\u0131, 2012; Riefenstahl, 1935).<\/p>\n

Bir mitingin sinemaya d\u00f6n\u00fc\u015fmesi<\/h2>\n

Eyl\u00fcl 1934\u2019te N\u00fcrnberg\u2019de \u00e7ekilen film, 28 Mart 1935\u2019te Berlin\u2019de g\u00f6sterime girmi\u015ftir. Nazi y\u00f6netiminin sipari\u015fiyle haz\u0131rlanan yap\u0131m\u0131n \u00e7ekimleri i\u00e7in Riefenstahl\u2019a geni\u015f teknik imk\u00e2nlar sa\u011flanm\u0131\u015f; film sonras\u0131nda siyasi e\u011fitim amac\u0131yla, okullar da d\u00e2hil olmak \u00fczere farkl\u0131 ortamlarda kullan\u0131lm\u0131\u015ft\u0131r (Documentation Center Nazi Party Rally Grounds, t.y.).<\/p>\n

Filmdeki insanlar, meydanlar ve t\u00f6renler ger\u00e7ek olsa da bunlar\u0131n izleyiciye sunulu\u015fu tarafs\u0131z bir kay\u0131t de\u011fildir. Kongrenin kameralar i\u00e7in d\u00fczenlenmesi, belirli \u00e7ekimlerin \u00f6ne \u00e7\u0131kar\u0131lmas\u0131 ve g\u00f6r\u00fcnt\u00fclerin montajla bir araya getirilmesi, siyasal etkinli\u011fi g\u00f6rsel bir g\u00f6steriye d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. B\u00f6l\u00fckba\u015f\u0131\u2019n\u0131n (2012) fa\u015fist esteti\u011fe ili\u015fkin tart\u0131\u015fmas\u0131, bu d\u00fczenlemeyi mit, rit\u00fcel ve semboller \u00fczerinden i\u015fleyen bir siyaset anlay\u0131\u015f\u0131yla ili\u015fkilendirir.<\/p>\n

\"Triumph_des_willens_1934
G\u00f6rsel 2. Filmin tarihsel tan\u0131t\u0131m g\u00f6rseli. Kaynak: Wikimedia Commons (ar\u015fiv kayd\u0131<\/a>).<\/em><\/figcaption><\/figure>\n

Liderin kadrajda in\u015fas\u0131<\/h2>\n

Filmin a\u00e7\u0131l\u0131\u015f\u0131nda bulutlar\u0131n aras\u0131ndan N\u00fcrnberg\u2019e yakla\u015fan bir u\u00e7ak g\u00f6r\u00fcl\u00fcr. Ard\u0131ndan \u015fehir, y\u00fcr\u00fcy\u00fc\u015f d\u00fczenindeki kalabal\u0131klar ve Hitler\u2019i kar\u015f\u0131layan insanlar g\u00f6sterilir. The Museum of Modern Art\u2019\u0131n (t.y.) \u00e7\u00f6z\u00fcmlemesine g\u00f6re Riefenstahl, daha sonra \u00e7ekilmi\u015f y\u00fcr\u00fcy\u00fc\u015f g\u00f6r\u00fcnt\u00fclerini u\u00e7ak yolculu\u011fuyla birle\u015ftirerek olaylar\u0131n ayn\u0131 anda ya\u015fand\u0131\u011f\u0131 izlenimini olu\u015fturmu\u015ftur. B\u00f6ylece s\u0131radan bir var\u0131\u015f an\u0131, liderin g\u00f6ky\u00fcz\u00fcnden kente geli\u015fi gibi t\u00f6rensel bir anlat\u0131ya d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Konu\u015fma sahnelerinde kullan\u0131lan alttan \u00e7ekimler<\/strong> de benzer bir etki yarat\u0131r. Kamera lideri b\u00fcy\u00fck, g\u00fc\u00e7l\u00fc ve eri\u015filmez g\u00f6sterirken geni\u015f a\u00e7\u0131l\u0131 kalabal\u0131k g\u00f6r\u00fcnt\u00fcleri, bireyleri onun \u00e7evresinde birle\u015fen bir topluluk olarak konumland\u0131r\u0131r (Riefenstahl, 1935). \u00c7ak\u0131\u2019n\u0131n (2018) Nazi propaganda afi\u015fleri \u00fczerine g\u00f6stergebilimsel incelemesi, farkl\u0131 bir g\u00f6rsel mecrada da ayn\u0131 lider k\u00fclt\u00fcn\u00fcn \u00fcretildi\u011fini ortaya koyar.<\/p>\n

\"Allgeier_riefenstahl_triumph_des_willens_1934
G\u00f6rsel 3. Leni Riefenstahl ve g\u00f6r\u00fcnt\u00fc y\u00f6netmeni Sepp Allgeier, N\u00fcrnberg \u00e7ekimleri s\u0131ras\u0131nda. Kaynak: Wikimedia Commons \/ Allgeier aile ar\u015fivi (ar\u015fiv kayd\u0131<\/a>).<\/em><\/figcaption><\/figure>\n

Kalabal\u0131\u011f\u0131n geometrisi: Birlik mi, tekbi\u00e7imlilik mi?<\/h2>\n

\u0130radenin Zaferi<\/em>\u2019nde binlerce ki\u015fi geni\u015f meydanlarda, birbirini tekrar eden \u00e7izgiler ve bloklar halinde g\u00f6r\u00fcn\u00fcr. Bayraklar\u0131n, \u00fcniformalar\u0131n ve e\u015fzamanl\u0131 hareketlerin olu\u015fturdu\u011fu d\u00fczen, farkl\u0131 bireylerden olu\u015fan toplulu\u011fu tek bir beden gibi temsil eder. Y\u00fcksek a\u00e7\u0131l\u0131 kadrajlarda insanlar\u0131n ki\u015fisel \u00f6zellikleri geri \u00e7ekilir; g\u00f6r\u00fcnt\u00fcde simetri ve disiplin \u00f6ne \u00e7\u0131kar (Riefenstahl, 1935).<\/p>\n

Susan Sontag (1975), fa\u015fist esteti\u011fin insan topluluklar\u0131n\u0131 nesnele\u015ftiren, onlar\u0131 g\u00f6rkemli t\u00f6renlerde d\u00fczenleyen ve her \u015feye h\u00fckmeden lider etraf\u0131nda \u00f6rg\u00fctleyen karakterine dikkat \u00e7eker. Bu perspektiften bak\u0131ld\u0131\u011f\u0131nda filmdeki geometrik g\u00fczellik yaln\u0131zca bi\u00e7imsel bir tercih de\u011fildir: Bireyselli\u011fin g\u00f6r\u00fcnmezle\u015fmesi, itaatin ve mutlak birli\u011fin estetik olarak sunulmas\u0131d\u0131r (B\u00f6l\u00fckba\u015f\u0131, 2012; Sontag, 1975).<\/p>\n

\"1934_Nuremberg_rally_%28cropped%29
G\u00f6rsel 4. N\u00fcrnberg mitinginde kitlesel dizili\u015f; y\u00fcksek bak\u0131\u015f a\u00e7\u0131s\u0131, bireyleri geometrik bir b\u00fct\u00fcn i\u00e7inde g\u00f6sterir. Kaynak: ACME \/ La Presse, Biblioth\u00e8que et Archives nationales du Qu\u00e9bec, no. 4175907 (ar\u015fiv kayd\u0131<\/a>.jpg)).<\/em><\/figcaption><\/figure>\n

Kamera, m\u00fczik ve kurgu: \u0130deolojinin g\u00f6r\u00fcnmeyen d\u00fczeni<\/h2>\n

Filmde propaganda yaln\u0131zca konu\u015fmalarda veya siyasal sembollerde bulunmaz. Bi\u00e7imin kendisi de mesaj ta\u015f\u0131r.<\/strong> Geni\u015f planlar kalabal\u0131\u011f\u0131 oldu\u011fundan da etkileyici bir b\u00fct\u00fcn olarak sunar; yak\u0131n \u00e7ekimler se\u00e7ilmi\u015f y\u00fczlerdeki co\u015fkuyu g\u00f6r\u00fcn\u00fcr k\u0131lar. M\u00fczik, ritim ve montaj ise birbirinden ayr\u0131 anlar\u0131 kesintisiz bir g\u00fc\u00e7 ve birlik anlat\u0131s\u0131nda birle\u015ftirir (Kasap Ortaklan, 2021; Riefenstahl, 1935).<\/p>\n

Riefenstahl\u2019\u0131n sinemas\u0131n\u0131 de\u011ferlendirmedeki g\u00fc\u00e7l\u00fck de burada ortaya \u00e7\u0131kar. Yenilik\u00e7i kamera konumlar\u0131 ve titiz kurgu, teknik a\u00e7\u0131dan incelenebilir; ancak bu unsurlar\u0131n Nazi rejimini y\u00fcceltmeye hizmet etti\u011fi ger\u00e7e\u011fi estetik takdirin d\u0131\u015f\u0131nda b\u0131rak\u0131lamaz. Kasap Ortaklan (2021), y\u00f6netmenin filmlerinin salt sanat olarak ele al\u0131nmas\u0131 ile siyasi i\u015flevlerinin merkeze konulmas\u0131 aras\u0131ndaki tart\u0131\u015fmay\u0131 bu \u00e7er\u00e7evede inceler.<\/p>\n

Belgeselin ger\u00e7e\u011fi ile propagandan\u0131n ger\u00e7e\u011fi<\/h2>\n

\u0130radenin Zaferi<\/em> b\u00fct\u00fcn\u00fcyle hayal edilmi\u015f bir olay anlatmaz; ger\u00e7ek bir kongrenin g\u00f6r\u00fcnt\u00fclerini se\u00e7erek, s\u0131ralayarak ve sahneleyerek tek bir ideolojik yoruma<\/strong> ba\u011flar. Kamera, t\u00f6renlerin co\u015fkusunu g\u00f6r\u00fcn\u00fcr k\u0131larken bask\u0131 alt\u0131ndaki sesleri, toplumsal ayr\u0131\u015fmalar\u0131 ve muhalefeti kadraj\u0131n d\u0131\u015f\u0131nda b\u0131rak\u0131r. B\u00f6ylece kay\u0131t olma iddias\u0131, siyasal bir anlat\u0131n\u0131n ikna g\u00fcc\u00fcne d\u00f6n\u00fc\u015f\u00fcr (Altun, 2010; B\u00f6l\u00fckba\u015f\u0131, 2012).<\/p>\n

Louis Althusser\u2019in (1971) ideolojik devlet ayg\u0131tlar\u0131<\/em> kavram\u0131 bu etkiyi anlamak i\u00e7in bir kuramsal zemin sunar: \u0130deoloji, yaln\u0131zca a\u00e7\u0131k siyasi s\u00f6ylemlerle de\u011fil, toplumsal kurumlar ve k\u00fclt\u00fcrel pratikler arac\u0131l\u0131\u011f\u0131yla da yeniden \u00fcretilir. Film bu \u00e7er\u00e7eveden bak\u0131ld\u0131\u011f\u0131nda, izleyiciye bir iktidar\u0131 g\u00f6stermekle kalmaz; o iktidara duyulan ba\u011fl\u0131l\u0131\u011f\u0131n do\u011fal ve ortak bir duygu olarak kabul edilmesini hedefler.<\/p>\n

Bug\u00fcn\u00fcn izleyicisine kalan soru<\/h2>\n

\u0130radenin Zaferi<\/em> kendi tarihsel ba\u011flam\u0131nda Nazi propagandas\u0131n\u0131n \u00fcr\u00fcn\u00fcd\u00fcr; bug\u00fcn\u00fcn her politik videosunu bu filmle e\u015fitlemek do\u011fru olmaz. Yine de film, g\u00f6r\u00fcnt\u00fcn\u00fcn nas\u0131l se\u00e7ildi\u011fini, hangi duygunun kurguyla \u00f6ne \u00e7\u0131kar\u0131ld\u0131\u011f\u0131n\u0131 ve kimlerin g\u00f6r\u00fcnmez k\u0131l\u0131nd\u0131\u011f\u0131n\u0131 sorgulaman\u0131n \u00f6nemini hat\u0131rlat\u0131r.<\/p>\n

Bir siyasi miting videosunu, haber g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc ya da sosyal medyada dola\u015f\u0131ma giren k\u0131sa bir kayd\u0131 izlerken yaln\u0131zca \u201cNe g\u00f6r\u00fcyorum?\u201d<\/strong> sorusunu de\u011fil, \u201cBu g\u00f6r\u00fcnt\u00fc bana neyi, hangi a\u00e7\u0131dan ve neden g\u00f6steriyor?\u201d<\/strong> sorusunu da sormak gerekir.<\/p>\n

Sonu\u00e7ta sinema, ger\u00e7ekli\u011fe a\u00e7\u0131lan saydam bir pencere de\u011fildir. Kadraj hem g\u00f6sterir hem d\u0131\u015far\u0131da b\u0131rak\u0131r.<\/strong> \u0130radenin Zaferi<\/em>\u2019nin g\u00f6rsel dili, estetik bir anlat\u0131m\u0131n nas\u0131l ideolojik iknaya d\u00f6n\u00fc\u015febilece\u011fini anlamak i\u00e7in h\u00e2l\u00e2 \u00f6nemli bir \u00f6rnektir.<\/p>\n

Kaynak\u00e7a <\/h2>\n

Althusser, L. (1971). Ideology and ideological state apparatuses (Notes towards an investigation). \u0130\u00e7inde Lenin and philosophy and other essays<\/em> (B. Brewster, \u00c7ev., ss. 127\u2013186). Monthly Review Press.<\/p>\n

Altun, S. U. (2010). Hitler Almanyas\u0131\u2019nda sanat ve propaganda. Sanat ve Tasar\u0131m Dergisi, 1<\/em>(5), 23\u201339. https:\/\/doi.org\/10.18603\/std.76009<\/a><\/p>\n

B\u00f6l\u00fckba\u015f\u0131, M. (2012). Fa\u015fist estetik: Leni Riefenstahl filmleri \u00fczerine bir inceleme<\/em> [Y\u00fcksek lisans tezi, \u0130stanbul \u00dcniversitesi]. \u0130stanbul \u00dcniversitesi A\u00e7\u0131k Eri\u015fim Ar\u015fivi. https:\/\/nek.istanbul.edu.tr\/ekos\/TEZ\/49424.pdf<\/a><\/p>\n

\u00c7ak\u0131, C. (2018). Adolf Hitler\u2019in k\u00fclt lider in\u015fas\u0131nda kullan\u0131lan propaganda posterlerinin g\u00f6stergebilimsel analizi. Abant K\u00fclt\u00fcrel Ara\u015ft\u0131rmalar Dergisi, 3<\/em>(6), 24\u201338. https:\/\/dergipark.org.tr\/tr\/pub\/akader\/article\/414654<\/a><\/p>\n

Documentation Center Nazi Party Rally Grounds. (t.y.). Leni Riefenstahl\u2019s \u201cTriumph of the Will\u201d<\/em>. https:\/\/museums.nuernberg.de\/documentation-center\/nazi-party-rallies\/triumph-of-the-will<\/a><\/p>\n

Kasap Ortaklan, O. (2021). Leni Riefenstahl sinemas\u0131n\u0131 tart\u0131\u015fmak. Alternatif Politika, 13<\/em>(3), 790\u2013815. https:\/\/doi.org\/10.53376\/ap.2021.27<\/a><\/p>\n

Riefenstahl, L. (Y\u00f6netmen). (1935). Triumph des Willens<\/em> [Film]. Reichsparteitagfilm der L. R. Studio-Film.<\/p>\n

Sontag, S. (1975, 6 \u015eubat). Fascinating fascism. The New York Review of Books<\/em>. https:\/\/www.nybooks.com\/articles\/1975\/02\/06\/fascinating-fascism\/<\/a><\/p>\n

The Museum of Modern Art. (t.y.). Leni Riefenstahl: Der Triumph des Willens (Triumph of the Will)<\/em>. https:\/\/www.moma.org\/collection\/works\/301177<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

1935 tarihli bir film, bir siyasi mitingi belgelemekten daha fazlas\u0131n\u0131 yapt\u0131: Kalabal\u0131klar\u0131, mimariyi ve kamera a\u00e7\u0131lar\u0131n\u0131 kullanarak bir iktidar imgesi in\u015fa etti. Peki g\u00f6r\u00fcnt\u00fc ne zaman belgeden propagandaya d\u00f6n\u00fc\u015f\u00fcr? G\u00f6rsel 1. 1934 N\u00fcrnberg Parti Kongresi\u2019nde kitlelerin simetrik dizili\u015fi. Kaynak: Bundesarchiv, Bild 102-16196 (ar\u015fiv kayd\u0131 ve lisans). Sinema, d\u00fcnyay\u0131 yaln\u0131zca g\u00f6stermez; onu bir bak\u0131\u015f a\u00e7\u0131s\u0131 etraf\u0131nda […]<\/p>\n","protected":false},"author":19,"featured_media":1978,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[328,296,324,317,325,321,327,326,323,47,330,322,329,307],"class_list":["post-1963","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sinema","tag-fasist-estetik","tag-film-analizi","tag-gorsel-analiz","tag-gorsel-kultur","tag-ideoloji","tag-iradenin-zaferi","tag-leni-riefenstahl","tag-nazi-propagandasi","tag-politik-sinema","tag-sinema","tag-sinema-tarihi","tag-sinema-ve-propaganda","tag-sinema-ve-siyaset","tag-sinematografi"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1963","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1963"}],"version-history":[{"count":2,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1963\/revisions"}],"predecessor-version":[{"id":1977,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1963\/revisions\/1977"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/1978"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1963"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1963"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}