Cedi Osman

Political camera, culture and politics that extends from the late sixties to the mid-eighties and discusses how the Hollywood cinema responds to this orientation at a time when the political hands in the US community are turning to the right at an increasing rate A critical examination written on a base that draws attention to the relationship between. Ryan and Kellner, from the social atmosphere of the Sixties with libertarian and egalitarian values, are the way to Reagan’s wild capitalism, through Hollywood cinema. According to Ryan and Kellner, cinema is an indispensable tool for ideological production; Because they both have a common point: representation.

Cinema outside, ‘ standing ‘ does not show us ‘ something ‘, passing through the filter of the representative, by transforming it in this form, or this way, gives us a construct. Behind everything we see in the cinema, there is a preference for the form of representation. Ideology also rises on representations; It is created with the indispensable contribution of the representation of the building blocks related to our personal existence with the social institutions and values, gender roles. Therefore, the cinema may, by choosing the forms of representation that supports the sustaining ideology, can also contribute to the re-production of the dominant ideological reality, as well as to discredit it through alternative representations. The harmless looking supplement is very much in the Hollywood ‘ story story ‘ The social desires, the mundane with the metaphoric glorification, the fear and anxieties that have been covered.