Bir Propaganda Aracı Olarak Türkiye’de Sinema: Atatürk Dönemi
Meltem Tekerekİlk olarak Osmanlı’nın son zamanlarında Türkiye’ye giren sinema, Cumhuriyet ilan edilinceye kadar olan süreçte bazı ilklerini yaşadı. Birinci Dünya Savaşı sırasında propaganda gücü fark edilen sinema; uzun savaş yıllarından sonra Türkiye’de Cumhuriyet ilan edildiğinde oldukça iptidai bir mirasa sahipti. Buna rağmen Cumhuriyet’in ilk yıllarında sinemanın propaganda ve telkin gücü konusunda farkındalık yüksekti. Ekonomik ve teknik sınırlılık sinemadan ancak belli bir ölçüde faydalanmayı mümkün kılabildi. Ancak başlangıçta edinilen bazı tecrübeler 1930’lu yıllardan itibaren Türkiye’de sinemanın alt yapısını oluşturmaya başladı. Sinema mevzuatı da bu dönemde oluşurken, sinemanın kitleler üzerindeki etkilerinden daha çok faydalanma yoluna gidildi. Atatürk’ün cumhurbaşkanlığı döneminde sinemadan faydalanma konusunda gösterilen bu çabanın amacı niteliği ve yansımaları araştırmanın konusunu oluşturmaktadır. Araştırma yapılırken; önce Türkiye’deki sinema alt yapısına değinilmiş, daha sonra sinemanın gelişimi konusundaki bu ilk süreç Atatürk’ün ve Cumhuriyet Halk Partisi’nin konuya yaklaşımı da göz önünde bulundurularak analiz edilmeye çalışılmıştır.
Cinema as a Propaganda Means: Ataturk Cycle
Meltem TekerekCinema which entered Turkey in the last period of the Ottoman Empire experienced some of its preliminaries until the Republic of Turkey was declared. The propaganda power of cinema had been noticed from the First World War. After long years of war when the Republic had been proclaimed in Turkey, cinema had an embryonic heritage. However, in the early years of the Republic, there was a heightened awareness of the propaganda properties and inspirational power of the cinema. Economic and technical limitations made it possible to benefit from cinema only to a certain extent. But as these initial limitations waned, the Republic started to build the infrastructure of cinema in Turkey from the 1930s. While cinema legislation was formed in this period, it aimed to benefit more from the effects of cinema on the masses. The purpose, the quality, and the reflections of this effort which brought about the benefit from cinema in Ataturk’s Presidency period, is the goal of this research. While research has been conducted previously, it primarily referred to the cinema infrastructure in Turkey. Later research focused on the impact that Ataturk and the Rebublican People’s Party had on the development process of cinema in Turkey.
Cinema is considered an effective propaganda tool during times of war and peace. The use of cinema for propaganda became known at the beginning of the 20th century in Turkey. There was also an awareness of this tool during the Ottoman period. Upon the request of Enver Pasha, the Central Army Cinema Department was established in 1915 for the use of cinema for propaganda in the Ottoman Army. So, experience was gained from previous history.
When the Republic was declared, it was decided that cinema should be used for propaganda and indoctrination. Because Turkey had been affected by the inter-war period, propaganda was used effectively to create a new world order. Among the main goals were the introduction of the new state inside and outside the country, the adoption of the new regime by the people, and the creation of the type of people that the new regime envisioned.
The developments regarding propaganda in the field of cinema during Atatürk’s Presidency form the subject of this study. The significant strides made in this area and their reflections on socio-economic and political spheres were addressed within the scope of the study. Documents in the Presidency of State Archives, the minutes of Grand National Assembly of Turkey, and other published materials were used for research and analysis. These documents proved important in terms of revealing the state’s approach to the issue.
The Republican People’s Party, which ruled the country, did not completely ignore the use of cinema for propaganda in the 1920s. However, as the party’s rule matured conditions changed, and more comprehensive and targeted studies were carried out in the early 1930s. As a result of these studies, a report was prepared by the party through the responsible bodies and it provided important data about the use of cinema for propaganda purposes in Turkey during this period. The report included detailed information such as comparative data about the cinema, the effects of cinema on the public, a project that could be carried out for dissemination of propaganda and the cost of this. It is noteworthy that providing alternative solutions for the financial burden of cinema production was a condition in those days. Turkey was influenced by the example of Soviet Russia, where good relations had developed during the Armistice years, in using cinema propaganda in educating the people.
Of course, during this period the lack of technical and economic opportunities was an obstacle in popularizing cinema. However, the lack of the cinema for propaganda and indoctrination purposes did not discourage Atatürk and the Party. Atatürk showed an interest in the subject of cinema, watched various movies from time to time, was involved in the filmmaking process with his image, criticized the films he watched, and gave instructions for making certain films.
Some of the films which have propaganda features of this period were Shirt of Fire (1923), Ankara Post (1929), A Nation Awakes (1932), Ankara, the Heart of Turkey (1934), Aysel, the Girl From the Swampy Roof (1935), and Forward Steps in the Turkish Revolution (1937).
After the first experiences of the 1920s in the field of cinema, one of the most significant developments in the 1930s was the formation of cinema legislation because cinema had become a sector that needed regulation. Therefore, the formation of legislation was studied in detail in the study. Cinema was an important tool even in printed media, which could be used for the party and thereby the state. The need for cinema to establish the national economy in general and to increase exports in particular was observed during the examination of the legislation studies. In explanations in the minutes of the Turkish parliament neither the Soviets nor Turkey were unique in the ability to benefit from using cinema for educating the public about economic developments. Generally, it was the chosen way of reducing the high tax rates that were contributed to public education and instruction by popularizing the cinema during legislative making. Since cinema should not pose a danger to the state or regime, the first censorship law was enacted to prevent the emergence of any undesirable effects of cinema during those years.
Thus, these developments in Ataturk’s period were a formation process that prepared the infrastructure of cinema in all aspects after a preparatory period in Turkey. This process, which was created by making use of world experience, is a reservoir that will constitute a resource for later periods.
