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2000’ler Türk Sineması’nda İstanbul’un ne söylediği ve nasıl gösterildiği üzerinden hareket eden bu çalışmada, sinema ve kent meselesine bakarken kavramsal ve tarihsel bir kategorizasyona başvurulmuştur. İncelenecek filmler belirlenirken 2000’ler Türk Sineması’nda “sanat” sinemasına bakılmış, “popüler” film örnekleri dışarıda bırakılmıştır. Bu bağlamda, sermayenin kentleşmesi dönemi içerisinde yer alan ve araştırmanın ampirik kısmını oluşturan ve aidiyetsiz mekân başlığı altında C Blok (Zeki Demirkubuz, 1994), Tabutta Rövaşata (Derviş Zaim, 1996), Güneşe Yolculuk (Yeşim Ustaoğlu, 1999), Uzak (Nuri Bilge Ceylan, 2002), Hayat Var (Reha Erdem, 2006), Meleğin Düşüşü (Semih Kaplanoğlu, 2007) ve Çoğunluk (Seren Yüce, 2010) filmleri aidiyetsiz mekân başlığı altında incelenmiştir. Bu inceleme yapılırken film çözümlemesinde tarihsel eleştiriden, sinematografik anlamda ise “kare kare çözümleme” tekniğinden faydalanılmıştır. Filmlerde aidiyetsiz mekânlarıyla İstanbul, yaşamanın ve yerleşmenin mümkün olmadığı, tehdit eden kent halindedir. Aidiyetini mekânla ve bunun bir adım ilerisi olan kentle kuramayan 2000’ler Türk Sineması’nın karakterleri İstanbul’da huzursuzluk içerisinde yaşarlar. Karakterler mekân olarak bedenleriyle de bir aidiyet ilişkisi kuramazlar. Aidiyet duygusunun mekânı beden; filmlerde kıstırılmışlık, taciz, işkence gibi edimlerle de aidiyetsiz bir mekâna dönüşür.
In this work, which develops with reference to how the city is visualized/showed in 2000's cinema, conceptual and historical categorization is applied in examining cinema and city subject. When determining the movies to be analyzed, "art" movies in 2000's are preferred, "popular" movies are excluded. Within this context, movies in the 'Urbanization of Capital' period are examined under the subject of irrelevant space, which consists the empirical part of this study are included, namely as C Blok (Zeki Demirkubuz, 1994), Tabutta Rövaşata (Derviş Zaim, 1996), Sun's Journey (Yeşim Ustaoğlu, 1999), Far (Nuri Bilge Ceylan, 2002), Life (Reha Erdem, 2006), Angel's Fall (Semih Kaplanoğlu, 2007), and Majority (Seren Yüce, 2010). For the analysis of the movies, "historical criticism" is adopted as a critical approach and "frame analysis method" is used in the cinematographic sense in this study. In the movies, Istanbul poses as a threatening city, since it is not quite possible to live and settle down in this irrelevant space. The characters of the movies in 2000's cinema, who could not be able to have a sense of belonging with the space and the city, live in Istanbul with unrest. The characters could not be able to establish a sense of belonging with their bodies, as well. The body, as a space of sense of belonging, turns into an irrelevant space with such acts as imprisonment, harassment and torture in the movies.
In this work, which develops with reference to how the city is visualized/showed in 2000’s cinema, conceptual and historical categorization is applied in examining cinema and city subject. When determining the movies to be analyzed, “art” movies in 2000’s are preferred, “popular” movies are excluded. Within this context, movies in the ‘Urbanization of Capital’ period are examined under the subject of irrelevant space, which consist the empirical part of this study are included, namely as C Blok (Zeki Demirkubuz, 1994), Tabutta Rövaşata (Derviş Zaim, 1996), Güneşe Yolculuk (Yeşim Ustaoğlu, 1999), Uzak (Nuri Bilge Ceylan, 2002), Hayat Var (Reha Erdem, 2006), Meleğin Düşüşü (Semih Kaplanoğlu, 2007), and Çoğunluk (Seren Yüce, 2010). For the analysis of the movies, “historical criticism” is adopted as a critical approach and “frame analysis method” is used in the cinematographic sense in this study. In the movies, Istanbul poses as a threatening city, since it is not quite possible to live and settle down in this irrelevant space. The characters of the movies in 2000’s cinema, who could not be able to have a sense of belonging with the space and the city, live in Istanbul with unrest. The characters could not be able to establish a sense of belonging with their bodies, as well. The body, as a space of sense of belonging, turns into an irrelevant space with such acts as imprisonment, harassment and torture in the movies.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Ulusal
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