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Bu makalede Çağan Irmak’ın 2008 yılında yazıp yönettiği Ulak filmindeki Türk anlatı geleneğine ait motifler irdelenmektedir. Ayrıca anlatı geleneğimizin izleri Ulak filmi öznelinde incelenerek sinema anlatısına sunduğu imkanlar değerlendirilmektedir. Mitoloji ve destanlarla birlikte en eski anlatı örneklerinden olan masal türü, Ulak filminin ana temasını oluşturmaktadır. Film yapısal olarak da seyircisine masal anlatmaktadır. Filmin ana karakteri Zekeriya, bir masal anlatıcısıdır ve onun çocuklara anlattığı masallar filmin atmosferini oluşturur. Ahlak, yardımlaşma, sevgi gibi insani erdemleri ve kadim öğretileri içerisinde barındıran masal anlatısı, sinema sanatının imkanlarıyla birlikte büyülü bir hal alır. Masalın çocukların hayal aleminde farklı şekillerde canlandırılması zaman ve mekân kavramlarını göreceli hale getirmiştir. Bu görecelik masal türünün özgürce tahayyül edebilme özelliğidir. Ulak filmi, bu göreceliği, sinema imkanları çerçevesinde çocukların tahayyüllerini başlıklara ayırarak seyircisine yansıtmaya çalışır. Filmde masal anlatısı dışında Şaman ayinlerini andıran ritüeller, giyim tarzı ve takılar Anadolu coğrafyasına ait folklorü yansıtmaktadır. Bunun dışında mekân tasarımları, dil, tasavvuf gibi öğelerde filmin mistik atmosferini destekleyen diğer öğelerdir. Ulak filmi başlı başına Türk anlatı geleneğini dokusuna sahiptir. Bu makalede filme bu özelliği kazandıran motifleri daha spesifik bir şekilde ele alacağız
In this article, the patterns of the Turkish narrative tradition in Messenger, written by Cağan Irmak in 2008, are examined. In addition, the traces of our narrative tradition will be examined in the subject of the Messenger film and the opportunities it offers to the cinema narrative will be evaluated. One of the oldest narrative examples with mythology and epics, the fairy tale genre is the main theme of the movie Messenger. The film also tells the audience a story in a structural way. Playing the main character of the movie, Zekeriya is a fairy tale narrator and the stories he tells the children form the atmosphere of the movie. The fairy tale narrative, which contains human virtues such as morality, solidarity, love and ancient teachings, becomes magical with the possibilities of cinema art. The portrayal of the tale in different ways in the imagination of children has made the concepts of time and space relative. This relativity is the feature of freely imagining the type of fairy tale. Messengerfilm tries to reflect this relativity to the audience by dividing the imaginations of the children within the cinema. Apart from the fairy tale narration, the rituals, clothing styles and jewellery that resemble shamanic rituals reflect the folklore of Anatolian geography. Apart from this, space designs, language, and mysticism are other elements that support the film’s mystical atmosphere. The messenger film itself has the texture of the Turkish narrative tradition. In this article, we will consider the motives that give this feature to the film in a more specific way.
In this article, the patterns of the Turkish narrative tradition in Messenger, written by Çağan Irmak in 2008, are examined. In addition, the traces of our narrative tradition will be examined in the subject of Messenger film and the opportunities it offers to the cinema narrative will be evaluated. One of the oldest narrative examples with mythology and epics, the fairy tale genre is the main theme of the movie Messenger. The film also tells the audience a story in a structural way. Playing the main character of the movie, Zekeriya is a fairy tale narrator and the tales he tells the children form the atmosphere of the movie. The fairy tale narrative, which contains human virtues such as morality, solidarity, love and ancient teachings, becomes magical with the possibilities of cinema art. The portrayal of the tale in different ways in the imagination of children has made the concepts of time and space relative. This relativity is the feature of freely imagining the type of fairy tale. Messengerfilm tries to reflect this relativity to the audience by dividing the imaginations of the children within the cinema. Apart from the fairy tale narration, the rituals, clothing styles and jewellery that resemble shamanic rituals reflect the folklore of Anatolian geography. Apart from this, space designs, language, and mysticism are other elements that support the film’s mystical atmosphere. The messenger film itself has the texture of the Turkish narrative tradition. In this article, we will consider the motifs that give this feature to the film in a more specific way.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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