Victor Erice Sinemasında Film Deneyimi
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Date
2020
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Kadir Has Üniversitesi
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Abstract
Bu çalışma Victor Erice sinemasını film fenomenolojisinin kavramlarıyla analiz etmektedir. Victor Erice filmleri hem anlatısal düzeyde hem de seyirci-film ilişkisinde modern felsefenin özne-nesne hiyerarşisini yıkacak estetik bir dil kullanır. Çalışmada film biçiminin kendine özgü bir algıya ve öznelliğe sahip olduğunu göstermek için film fenomenolojisindeki film-özne kavramı kullanılmıştır. Film-öznenin Victor Erice filmlerinde karakterler, nesneler ve manzaralar aracılığıyla kendini gösterdiği iddia edilmiştir. Çalışmada Merleau-Ponty'nin ontolojik fenomenolojisi ile Victor Erice filmleri karşılıklı bir okumaya tabii tutulmuştur. Filmlerin biçimsel stratejileri ile fenomenolojik metot arasındaki koşutluk ilişkisi analiz edilmiştir. Çalışma neticesinde varılan sonuç Victor Erice sinemasının fenomenolojideki gibi özne- nesne düalitesine karşı çıkan bir film deneyimi yarattığı ve bu film deneyiminin film zamanıyla yakından ilişkili olduğudur.
This research analyzes Victor Erice cinema with the concepts of film phenomenology. Victor Erice films use an aesthetic language that will break down the subject-object hierarchy of modern philosophy, both at the narrative level and in the spectator-film relationship. In this research, the concept of film-subject in film phenomenology was used to show that film form has its own perception and subjectivity. It is claimed that the film-subject manifests itself in the films of Victor Erice through characters, objects, and landscapes. As a method, the films of Merleau-Ponty's ontological phenomenology and Victor Erice were subjected to a mutual reading. The parallelism between the formal strategies of the films and the phenomenological method was analyzed. The conclusion reached in the context of the research is that Victor Erice cinema creates a film experience that opposes subject-object duality as in phenomenology and this film experience is closely related to film temporality.
This research analyzes Victor Erice cinema with the concepts of film phenomenology. Victor Erice films use an aesthetic language that will break down the subject-object hierarchy of modern philosophy, both at the narrative level and in the spectator-film relationship. In this research, the concept of film-subject in film phenomenology was used to show that film form has its own perception and subjectivity. It is claimed that the film-subject manifests itself in the films of Victor Erice through characters, objects, and landscapes. As a method, the films of Merleau-Ponty's ontological phenomenology and Victor Erice were subjected to a mutual reading. The parallelism between the formal strategies of the films and the phenomenological method was analyzed. The conclusion reached in the context of the research is that Victor Erice cinema creates a film experience that opposes subject-object duality as in phenomenology and this film experience is closely related to film temporality.