The Representation of the Cultural and Ideological Construction Process of the Modern State through Films about Forming Orchestras in Turkish Cinema

The modernization of the Republic of Turkey involved not only political and institutional reforms but also profound cultural and aesthetic restructuring. Within this process, art, particularly music, served as a crucial instrument for establishing social order and reinforcing national identity. Polyphony and orchestral practice became symbols of modernization, embodying discipline, harmony, and order. Beyond music, the orchestra functions as a metaphor for the modern state’s organization, requiring individuals to cooperate in coordinated unity. This study analyzes Selamsız Bandosu (1987), Beynelmilel (2007), and Bir Cumhuriyet Şarkısı (2024), focusing on how the orchestra metaphor reflects the role of culture and ideology in constructing the modern Turkish state. Each film illustrates a distinct political era, revealing the state’s attempts to consolidate cultural hegemony, the forms these efforts assumed, and their frequent failures within the cinematic field. Employing a qualitative approach, the research situates each film within its political, social, and cultural context. The theoretical framework draws on Gramsci’s concept of hegemony, Foucault’s power-knowledge relation, Hall’s theory of representation, and Althusser’s ideology theory. Through these perspectives, cinema is approached not merely as an aesthetic form but as a key arena for cultural power, national identity formation, and ideological struggle.