1990 sonrasi Hollywood korku sinemasinda mise-en-abyme

Abstract

1990 sonrasi Hollywood Korku Sinemasi'nin giderek kan kaybettigi ve cekilen filmlerin birbirinin tekrari hâline geldigi soylenmektedir. ''Metakorku'' olarak siniflandirilan bu filmlerin kendi yapilarina referans vererek tur kodlarini aynaladiklari gorulmektedir. Wes Craven John Carpenter ve Drew Goddard gibi yonetmenlerin filmlerinde ise bu konvansiyonlar sadece ifsa edilmek kalmaz ayni zamanda ihlâl de edilerek yeni bir soylem arayisina girilir. Korku Sinemasi'nin temsil krizini vurgulayan bu filmler diger bir yandan filmin sundugu gercek ve kurmaca arasindaki sinirin da bulaniklasmasini saglamaktadir. Filmin kendi farkindaligina varmasinin dolayisiyla kendi temsil sorununu yansitmasinin ve kendini yansitmasinin mise-en-abyme stratejisi ile desteklendigi gorulmektedir. Bu arastirmada New Nightmare (Wes Craven 1994) in the Mouth of Madness (John Carpenter 1994) ve The Cabin in the Woods (Drew Goddard 2012) filmlerinin formal analizi yapilarak 1990 sonrasi Hollywood Korku Sinemasi'nda mise-en-abyme anlatim stratejisinin nasil olusturuldugu ve neye hizmet ettigi arastirilmaktadir. Korku sinemasinin konvansiyonlarini nasil ifsa edip sonrasinda cignedigi ve bu kendini aynalayan orneklerinin nasil bir egilime isaret ettigine deginilmekle birlikte ortaya cikan temsil krizinin ayni zamanda anlatim bicimi ve endustri acisindan nasil bir imkân olarak degerlendirilebilecegi gibi sorularin cevabi aranmaktadir. Filmlerin analizi sonucunda mise- en-abyme anlatim stratejisinin kendi temsil sorunundan yola cikarak yeni bir anlatim biciminin kapisini actigi gozlemlenmistir.It is being said, the post 1990s Hollywood Horror Cinema's films have been gradually losing blood and repeating themselves. Named as "metahorror", it can be seen that these films reflex the codes of the genre by referencing to their own structures. In the films of directors like Wes Craven, John Carpenter and Drew Goddard these conventions are not only being constructed but also deconstructed in the sake of looking for a new discourse. Emphasizing the representation crisis of The Horror Cinema in the one hand, these films are also providing the boundary between reality [the films themselves present] and fiction blur. The film being self-conscious, hence, reflexing its own representation problem and being self-reflexive is being supported by mise-en-abyme strategy. In this thesis, with the formal analysis of New Nightmare (Wes Craven, 1994), In The Mouth of Madness (John Carpenter, 1994) and The Cabin In The Woods (Drew Goddard, 2012) how the mise-en-abyme strategy has been constructed and to what it is serving in the post-1990's Hollywood Horror Cinema is being researched. It is being mentioned how the films reflex the conventions of the horror cinema at first, then deconstruct them and what kind of tendency the self-reflexive examples refer, also the answers of the questions like how the occurred representation crisis can be used as opportunity by narrative and industry is being looked for. At the end of the analysis of the films, it is being seen that the strategy of mise-en-abyme reflexes the anxieties of the society and opens a new narration method starting by of its own representation crisis.