Abstract:

Although Otto e Mezzo, Andrei Rublev, Synecdoche, New York movies appear to be very different films at first glance, there is an important common point that connects three films: the crisis of the artist in the creative crisis, the result of an aesthetic outcome of the artistic creation of the truth. The three films also feature the intense subjectivity of Federico Fellini, Andrei Tarkovski and Charlie Kaufman’s approaches to reality. As part of the study, Oscar Wilde, who will take the theory of aesthetics as a starting point, said that art merely expresses itself, and claimed that life more imitates art than art imitates life. From the moment the cinema first came into history, it has created a sphere of debate on reality. Three films to be taken on show different approaches to reality. The scope and claim of the study is to discuss the possibility or impossibility of the film re-creation of the truth as a art discipline, by studying the films, the artistic character and the approaches of the directors who are the creator in the creation crisis through the films, on the formal and content level, the possibility or impossibility of the film re-creation of the truth as a film narration in the art. In the films of Otto e Mezzo and Andrei Rublev, it is possible by the artist to overcome the creation crisis, accepting that art is not an external, but an inner essence. In Synecdoche, New York, the artist who can’t accept it disappears in his own work, but the creator of the film, the director Kaufman, creates the work, overcome the crisis and captures a film that offers the explanation of the truth, the real and the non-real. Based on Oscar Wilde’s aesthetic theories, according to the conclusion from the comparison of three films, the artwork is indeed independent while creating its own reality, and creating its own truth while doing so.

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Abstract:

Although the films Otto e Mezzo, Andrei Rublev, Synecdoche, New York appear to be very different at first glance, there is one important common point that connects the three films: This crisis of the artist in the crisis of creation stems from an aesthetic impasse about the artistic creation of reality. All three films feature intense subjectivity of their directors Federico Fellini, Andrei Tarkovski and Charlie Kaufman's approach to reality. Oscar Wilde, whose aesthetic theory we will take as the starting point in the study, said that art expresses only itself and claims that life imitates art rather than art imitates life. Cinema also has been an area of debate about reality from the moment it first appeared on the screen of history. The three films to be discussed present different approaches to reality. The scope and assertion of the study is to examine the approaches of the directors who are artists and creators of the creative crisis through the films based on Oscar Wilde's views after accepting cinema as an art discipline. Yet another aim is to discuss the possibility or impossibility of cinematic re-creation of art as cinematic narration at the level of form and content. In the movies Otto e Mezzo and Andrei Rublev, it is possible for the artist to overcome the crisis of creation by accepting that art has an inner essence, not an external one. In Synecdoche, New York, the artist disappears into his own work, but his creator, director Kaufman, overcomes the crisis by creating the work and makes a film that offers a fictitious interpretation of reality. Based also on the aesthetic theories of Oscar Wilde, the comparison of the three films concludes that the work of art is independent from external reality while creating its own truth and makes its own actuality in doing so.