{"id":1347,"date":"2013-03-11T18:38:05","date_gmt":"2013-03-11T15:38:05","guid":{"rendered":"http:\/\/www.gokhanyorgancigil.com\/?p=1347"},"modified":"2017-05-12T00:30:52","modified_gmt":"2017-05-11T21:30:52","slug":"sinemada-devrim","status":"publish","type":"post","link":"https:\/\/www.gokhanyorgancigil.com\/?p=1347","title":{"rendered":"Sinemada devrim"},"content":{"rendered":"

Devrim sinemas\u0131n\u0131 de\u011fil, sineman\u0131n devrimini konu\u015fmak istiyorsak klasik ve modern d\u00f6nemler aras\u0131nda drama gelene\u011finin geli\u015fimine g\u00f6z atmak ka\u00e7\u0131n\u0131lmaz olacakt\u0131r. Marvin Carlson’un Tiyatro Teorileri<\/a> adl\u0131 kitab\u0131nda kronolojik bir s\u0131rayla tiyatro ve drama \u00fczerine ortaya konan fikirlerin bir d\u00f6k\u00fcm\u00fcn\u00fc bulabiliyoruz. Sinemay\u0131 da bu tarihsel arkaplandan ba\u011f\u0131ms\u0131z tutamay\u0131z. Teorik olarak, sinema ve tiyatronun ayn\u0131 g\u00f6vdenin iki ayr\u0131 kolu olduklar\u0131n\u0131 s\u00f6ylemek herhalde hata olmayacakt\u0131r.<\/p>\n

Aristo’nun Poetika’s\u0131 bat\u0131 uygarl\u0131\u011f\u0131n\u0131n b\u00fct\u00fcn sanat g\u00f6r\u00fc\u015f\u00fcn\u00fc derinden etkiledi\u011fi hatta \u015fekillendirdi\u011fi gibi Poetika’n\u0131n temel konular\u0131ndan biri olan dram sanat\u0131 da bu g\u00f6r\u00fc\u015flerden ikibin k\u00fcsur y\u0131ld\u0131r en m\u00fctevazi deyimiyle etkilenmi\u015ftir. Klasik tiyatrodaki \u00fc\u00e7 birlik kural\u0131ndan (mekan-zaman-olay birli\u011fi) ba\u015flayarak, Poetika’ya kar\u015f\u0131 fikirler geli\u015ftirilmi\u015f ve bug\u00fcnlere gelinmi\u015ftir. Bu anlamda resim sanat\u0131n\u0131n bat\u0131daki de\u011fi\u015fimi ile dram sanat\u0131n\u0131n de\u011fi\u015fimi aras\u0131nda paralellikler g\u00f6r\u00fcyorum. Ayd\u0131nlanma ve sonras\u0131 sanat felsefesindeki de\u011fi\u015fimlerin, \u00e7abalar\u0131n t\u00fcm\u00fcn\u00fcn k\u00f6keninde kavramsal olarak klasik teoriler vard\u0131r. Tepki, zaten kelime anlam\u0131yla bir \u00f6nc\u00fcl\u00fcn varl\u0131\u011f\u0131n\u0131 gerektirmez mi?<\/p>\n

\"bicim-icerik\"<\/a><\/p>\n

En kaba haliyle bi\u00e7im-i\u00e7erik eksenindeki yenilik aray\u0131\u015flar\u0131 sayesinde, modernlik sonras\u0131 olarak tan\u0131mlanm\u0131\u015f ya da bu iddiadaki ak\u0131mlara, her ge\u00e7en g\u00fcn yenilerinin eklendi\u011fi d\u00f6nemler ya\u015fad\u0131k, ya\u015f\u0131yoruz. \u015eaka de\u011fil, Aristo bu anlamda mutlak otoritesini korumaya devam ediyor. Bu otorite sanat eserlerinde de\u011fil, Poetika’s\u0131na “anti”ler icat etmeye \u00e7al\u0131\u015fan sanat\u00e7\u0131 zihinlerinde ya\u015f\u0131yor. B\u00fct\u00fcn bu icat \u00e7abalar\u0131n\u0131 yine hoyrat\u00e7a s\u0131n\u0131fland\u0131rmaya tabi tutacak olsak g\u00f6rece\u011fimiz \u015fey; bi\u00e7im-i\u00e7erik dualitesinden kopamayan sanat\u00e7\u0131 zihninin a\u011f\u0131rl\u0131kl\u0131 olarak bi\u00e7imsel bir devrim aray\u0131\u015f\u0131nda oldu\u011fudur.<\/p>\n

Sanatsal bir devrim bi\u00e7imsel olmak zorunda m\u0131d\u0131r? Kurgu gibi bi\u00e7imsel elementlerle daha ne kadar devrim yapabilirsiniz? Bug\u00fcn d\u00fcnyan\u0131n d\u00f6rt bir k\u00f6\u015fesinde \u00e7\u0131k\u0131\u015f arayan sanat\u00e7\u0131lar\u0131n bi\u00e7imsel ayk\u0131r\u0131l\u0131klar ve e\u011fip b\u00fckmelerle debelenmesinin sonu nereye varacak? \u015ea\u015f\u0131rt\u0131c\u0131 olmak, sansasyonlar yaratmak i\u00e7in bi\u00e7imsel sinematik unsurlarla daha ne kadar oynayabilirsiniz? Sanat eseri ve benlik aras\u0131ndaki s\u0131n\u0131ra sald\u0131rmak i\u00e7in bi\u00e7imsel anomalilere ba\u015fvurmaktan s\u0131k\u0131lmad\u0131n\u0131z m\u0131? A\u011fa\u00e7lardan orman\u0131 g\u00f6remez hale gelen kafas\u0131 kar\u0131\u015f\u0131k modern insan, ara\u00e7lar\u0131n kutsalla\u015ft\u0131r\u0131ld\u0131\u011f\u0131 bir d\u00fcnyada yapayaln\u0131z kalm\u0131\u015ft\u0131r. \u0130htiya\u00e7 duyulan tek \u015fey sadeliktir. “Good old days” nostaljisinden \u00f6te bir durumdur bu.<\/p>\n

Bu y\u00fczden bi\u00e7imsel \u00e7abalarla devrim yapmak imkans\u0131z hale gelmi\u015ftir, kan\u0131m\u0131zca. Buna ra\u011fmen d\u00fcnyan\u0131n her yerinde amac\u0131 ister devrim yapmak olsun ister \u00e7\u0131k\u0131\u015f yap\u0131p \u015f\u00f6hrete kavu\u015fmak, pek \u00e7ok sanat\u00e7\u0131 bi\u00e7imsel bir devrimin pe\u015findedir. Peki kal\u0131plar\u0131n d\u0131\u015f\u0131na \u00e7\u0131kmak imkans\u0131z m\u0131d\u0131r? Aristo’nun ikibin k\u00fcsur y\u0131ll\u0131k bak\u0131\u015f a\u00e7\u0131s\u0131 kal\u0131plar\u0131n\u0131 kavramsal olarak en tepeye koydu\u011funuz kadar imkans\u0131zd\u0131r. Bu kavramsal hiyerar\u015fiyi g\u00f6rmemeyi ba\u015farabilirseniz, d\u00fc\u015f\u00fcncede var\u0131labilecek en sade hali ararmaktan yorulmazsan\u0131z, bir \u015fans\u0131n\u0131z olabilir.<\/p>\n

Sinemada (hatta sanatta) devrim bi\u00e7imsel olmayacakt\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Devrim sinemas\u0131n\u0131 de\u011fil, sineman\u0131n devrimini konu\u015fmak istiyorsak klasik ve modern d\u00f6nemler aras\u0131nda drama gelene\u011finin geli\u015fimine g\u00f6z atmak ka\u00e7\u0131n\u0131lmaz olacakt\u0131r. Marvin Carlson’un Tiyatro Teorileri adl\u0131 kitab\u0131nda kronolojik bir s\u0131rayla tiyatro ve drama \u00fczerine ortaya konan fikirlerin bir d\u00f6k\u00fcm\u00fcn\u00fc bulabiliyoruz. Sinemay\u0131 da bu tarihsel arkaplandan ba\u011f\u0131ms\u0131z tutamay\u0131z. Teorik olarak, sinema ve tiyatronun ayn\u0131 g\u00f6vdenin iki ayr\u0131 kolu […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[262,249],"tags":[117,85,115,114,77,116,118,417,111,84,65,72,34],"class_list":["post-1347","post","type-post","status-publish","format-standard","hentry","category-film-yapimi","category-sinema-tv","tag-aristo","tag-bati","tag-bicim","tag-devrim","tag-felsefe","tag-icerik","tag-klasik","tag-marvin-carlson","tag-modern","tag-paradigma","tag-postmodernite","tag-sanat-felsefesi","tag-sinema"],"_links":{"self":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/1347","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1347"}],"version-history":[{"count":7,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/1347\/revisions"}],"predecessor-version":[{"id":2126,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/1347\/revisions\/2126"}],"wp:attachment":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1347"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1347"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1347"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}