Digital Intimate Publics, Yesilcam Fandom and Nostalgia for Old Turkey

数字亲密公众、Yesilcam 粉丝圈和对老土耳其的怀旧

• 批准号: 2634049
• 金额: --
• 依托单位: Nottingham Trent University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2634049
• 关键词: Digital; Intimate; Publics; Yesilcam; Fandom

The golden age of Turkish popular cinema (hereafter referred to as Yesilcam) came to an abrupt halt withthe 1980 military coup. The popular cultural heritage of Yesilcam continues to influence not only currentTurkish TV series but also the way various audiences relate to the past. After 2015 when freedom ofexpression was diminished and means of public debate were eradicated in Turkey, the consumption ofYesilcam films have mobilised new spaces for the communication of political discourses and affectiveengagements with politics. The digital revival of Yesilcam has also become an arena for communities toredefine popular cultural heritage through fan labour.This research aims to consider young dissident women and LGBTI+s (aged 20-30) as the two digital"intimate publics" of Yesilcam films (Berlant, 2008), and to address how these audiences engage withcurrent authoritarian political discourses through their online interactions. Berlant's concept suggeststhat popular cultural texts by their address construct a sense of community, through feelings imagined tobe shared by a certain audience. The discussion and consumption of these texts provide a space forminorities to deal with, identify, and express the feelings that come with the experience of subordination,which allows enduring, resisting or coming to terms with their sociocultural position. I will explorewomen's and LGBTI+s' contentious relation to politics and aim to capture their multi-layeredengagement with Yesilcam films, in a political context defined by oppressive and violent politics ofsexuality.The research will follow a mixed method approach that combines a) a virtual ethnography of Facebookfan groups and a discourse analysis of fan discussions on select YouTube channels, b) archival research,c) virtual shadowing with twenty participants (women and LGBTI+ individuals identifying as dissident,digital natives aged 20-30), and d) in-depth interviews with 10-15 amateur archivists.This research builds on my master's thesis about the role of affect in audience identification withYesilcam melodramas during 1960-1980. This project has allowed me to gain insights and contacts fromthe field, which I will use as point of entry into the fieldwork. Furthermore, I have extensive experience inethnographic fieldwork both through my professional work in civil society research and academic work. Iwas also recruited to conduct an archival study for GABAM at Koc University, the article is pendingpublication.

土耳其大众电影的黄金时代（以下简称Yesilcam）在1980年的军事政变中戛然而止。Yesilcam的流行文化遗产不仅继续影响着当前的土耳其电视剧，而且还影响着各种观众与过去的关系。2015年后，土耳其的言论自由被削弱，公共辩论的手段被根除，Yesilcam电影的消费为政治话语的交流和与政治的情感接触调动了新的空间。Yesilcam的数字复兴也成为社区通过粉丝劳动重新定义流行文化遗产的竞技场。本研究旨在将持不同政见的年轻女性和LGBTI+（年龄20-30岁）视为Yesilcam电影的两个数字“亲密公众”（Berlant，2008），并解决这些观众如何通过他们的在线互动参与当前的威权政治话语。伯兰特的概念主张，流行文化文本通过其地址构建了一种社区感，通过想象中的感情，由一定的观众共享。对这些文本的讨论和消费为少数民族提供了一个空间，使他们能够处理、识别和表达从属经历带来的感受，这使得他们能够忍受、抵制或接受自己的社会文化地位。我将探索女性和LGBTI+与政治的争议关系，并旨在捕捉他们与Yesilcam电影的多层次参与，在一个由压迫和暴力的性政治定义的政治背景下。研究将遵循混合方法，结合a）Facebook粉丝群体的虚拟民族志和选择YouTube频道上粉丝讨论的话语分析，B）档案研究，c）与20名参与者（女性和LGBTI+个人识别为持不同政见者，年龄在20-30岁的数字原住民）进行虚拟跟踪，d）与10-15名业余档案管理员进行深入访谈。本研究建立在我的硕士论文的基础上，该论文是关于1960-1980年期间，情感在Yesilcam情节剧观众识别中的作用。这个项目让我获得了来自实地的见解和联系，我将以此作为进入实地工作的切入点。此外，我在民间社会研究和学术工作方面的专业工作，使我有着丰富的人类学实地工作经验。我还被招募到进行档案研究GABAM在科克大学，文章是pendingpublication。