Core-periphery relations in Orhan Gencebay and İbrahim Tatlıses films

In this study, it is examined how core-periphery relations are dealt in 1970?s Orhan Gencebay and 1980?s İbrahim Tatlıses films. Core-periphery relations in Turkey has been experienced as two marginal polars both in pre-Republic and post-Republic eras and the gap between core and periphery has not been closed until 1980?s. Internal immigration has been increased and resulted with the urban population overcoming the rural population in 1980?s. Besides, state-nation has lost its effect through the neo-liberal policies during 1980?s and the distance between core and periphery has decreased and the actual (hierarchical) relation has broken. This study focuses on the 1970?s and 1980?s in which those breakages has been experienced in its full extent.Core-periphery relations which showed a changing course from pre-Republic era to 1980?s showed up in cinema too. In popular Turkish films, the countryman image which has been pictured as a person who is excluded from the core and therefore had to accept the urban official culture and transform, has replaced itself to an image who raise his voice and criticize. The arabesque culture which has been characterized in 1970?s as a culture of people who resists to urban environment but also tries to compromise, has also changed from 1970?s to 1980?s. This study examines this change of arabesque song films.