Michael Haneke'nin film teorisi ve dramatik düşünce tarihi ile olan ilişkisi
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Date
2013
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Kadir Has Üniversitesi
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Abstract
Bu çalışma, Michael Haneke sinemasında var olduğu düşünülen sorumluluk duygusunun, hangi yapılarla oluşturulduğunu belirlemek için başladı fakat filmler arasında görülen dramaturjik ve biçimsel paralellikler nedeniyle, Michael Haneke'nin genel bir film teorisi olarak son buldu. Çalışmanın düşünce tarihi bölümündeki başlıkları, Aristoteles, Bertolt Brecht, Nicolai Hartman ve Marksist Estetik olarak belirlendi. Ardından, teatral açıdan açıklanan bu yapılarla sinematografinin ilişkisi kuruldu. Son bölümde ise Michael Haneke'nin üç filminin derinlemesine analizi yapılarak Michael Haneke sinemasının teorik altyapısı açıklanmaya çalışıldı. Seçilen filmler, performans ile gerçeklik arasında kurdukları ilişki bakımından, incelemeye daha çok imkan verdiği için seçilmiştir. Bu filmler Yedinci Kıta (1989), Funny Games (1997) ve Saklı (2005)'dır.
This study began as an effort to define the underlying structures which generate the sense of responsibility of the audience? that is considered to be in Michael Haneke's cinema, yet, due to the dramaturgical and formal parallelisms between the films, it resulted as a general theory on Michael Haneke's cinema. The titles for the history of thought section were designated as Aristoteles, Bertolt Brecht, Nicolai Hartmann and Marxist Aesthetics, followed by their explanations based on a theatrical perspective and their relations with cinematography. In the last section, three of his films have been thoroughly analyzed for explaining the theoretical basis of Michael Haneke's cinema. Due to the fact that those were the films that are more accommodating for their relations between performance and reality, they were specifically chosen for this study. The films are Seventhy Continent (1989), Funny Games(1997) and Hidden (2005).
This study began as an effort to define the underlying structures which generate the sense of responsibility of the audience? that is considered to be in Michael Haneke's cinema, yet, due to the dramaturgical and formal parallelisms between the films, it resulted as a general theory on Michael Haneke's cinema. The titles for the history of thought section were designated as Aristoteles, Bertolt Brecht, Nicolai Hartmann and Marxist Aesthetics, followed by their explanations based on a theatrical perspective and their relations with cinematography. In the last section, three of his films have been thoroughly analyzed for explaining the theoretical basis of Michael Haneke's cinema. Due to the fact that those were the films that are more accommodating for their relations between performance and reality, they were specifically chosen for this study. The films are Seventhy Continent (1989), Funny Games(1997) and Hidden (2005).
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Keywords
Michael Haneke, Sinema, Film teorisi, Cinema, Film theory