Varligin İçkinliginden Tureyen Hayat Fikri: Abbas Kiarostami Nuri Bilge Ceylan Zeki Demirkubuz Sinemalarina Bakis

Abstract

Son donem Turk Sinemasina bakildiginda filmlerde ve karakterlerde askin bir hayat tasarimindan dogan acilar istiraplar kendini gostermektedir. olum ve ayrilikacilarinin karakterlere ve oradan da seyirciye gectigi bu sinemalarin onculleri Nuri Bilge Ceylan ve Zeki Demirkubuz sinemalaridir. Diger yandan Ceylan.in veDemirkubuz.un etkilendigi yonetmen olan Abbas Kiarostami sinemasinda ickin bir hayat tasarimindan kaynakli surur gorulmektedir. Bu tezde Kiarostami sinemasinin hayat dolu olabilmesinin sebepleri Spinoza.nin ickin metafizik hayat tasarimitemelinde arastirilmis ve Kiarostami sinemasinin Ceylan ve Demirkubuz sinemasindan nasil farklilasabildigi incelenmistir.

Late Turkish Cinema is marked by feelings of sorrow and grief that derive from theidea of transcendent being. In the films of Nuri Bilge Ceylan and Zeki Demirkubuz,the pioneers of this kind of cinema, the sorrows of death and seperation contaminatethe characters and the audience. In contrast, the cinema of Abbas Kiarostami, whohas been an influential figure for both Ceylan and Demirkubuz, is characterized bythe joy which is a direct result of the idea of an immanent life. This thesisinvestigates the reasons for this aspect of Kiarostami?s cinema on the basis of theimmanent metaphysics of Spinoza, and tries to understand how his cinema is able todifferentiate itself in comparison to those of Ceylan and Demirkubuz.