Birer Pastiş Olarak Nuri Bilge Ceylan Kareleri: Caspar David Friedrich ve Ilya Glazunov

Year 2024, Issue: 33, 145 - 170, 30.06.2024

Türker Körük

https://doi.org/10.26650/sty.2024.1385003

Abstract

Postmodern dönem olarak nitelendirilen günümüzde, metinlerarasılık kavramı eski Rus Biçimcilerinin ve metin kuramcılarının aksine sadece yazılı ve sözlü bir metinde değil, uzun zamandır birçok sanat dalı arasında ortaya çıkmakta ve değerlendirilmektedir. Göstergelerarasılık, resimlerarasılık, müziklerarasılık gibi birkaç yeni isim de alan kavram, esas temelini Rus biçimci ve düşünür Mihail Bahtin’in ‘söyleşim’ fikrinden alır. ‘Söyleşim’ fikri, bir metnin herhangi bir başka metinle ya da metinlerle ilişki içerisinde olduğunu ve bu ilişkinin kaçınılmaz olduğunu savunur. Bu sav, iki metin (eser) arasındaki karşılıklı etkilerin çözümlenmesinde yararlanılan ve 20. yüzyıl dilbilimcileri ve bazı düşünürler tarafından geliştirilen-çeşitlenen bir yöntem olarak kabul görür. Metinlerarasılık kavramının alıntı, alaycı dönüştürüm, anıştırma, parodi (yansılama), kolaj gibi en başat yöntemlerinden olan pastiş (öykünme), diğer tüm biçimler gibi iki metin arasındaki biçimsel ve biçemsel benzerliklerden, eklemelerden ya da eksiltmelerden yararlanır. Bu eklemeler-eksiltmeler ya da benzerlikler birçok kuramcının da pastişi diğer yöntemlerden ayırdığı gibi; öykünülen metnin ya da o metnin sahibinin yüceltilmesi, övülmesi ve değer atfedilmesiyle gerçek anlamını kazanır. Bu çalışmada, Nuri Bilge Ceylan’ın Kış Uykusu adlı filminde belirgin bir etkisi olan Rus ressam Ilya Glazunov’un eserleri ve diğer bir ressam Caspar David Friedrich’in bazı eserleri yönetmenin bazı fotoğraflarında ve film karelerinde bir pastiş ögesi olarak incelenecektir. Nuri Bilge Ceylan’ın bu ressamlara öykündüğü kendisi tarafından dile getirilmemiş olsa da, Kış Uykusu Filmi’nde sergilediği tavır bu çalışmayı yapmayı gerekli kılmıştır.

Keywords

Nuri Bilge Ceylan, Ilya Glazunov, Caspar David Friedrich, Metinlerarasılık, Pastiş

Nuri Bilge Ceylan’s Frames as a Pastiche: Caspar David Friedrich and Ilya Glazunov

Abstract

In today’s postmodern period, the concept of intertextuality has emerged and been evaluated not only in written and oral texts but also in many other art forms, as opposed to the ancient Russian formers and theorists. The concept has taken on a few new names such as intersemiotics, interpicturality, and intermusicality and is based on the Russian formative and thinker Mikhail Bahtin’s idea of dialogism. This idea argues that a text has a relation with any other text, and this relationship is inevitable. This argument is accepted as a method developed by some 20th-century linguists and thinkers who exploited it to solve the mutual effects between two texts. Similar to transformation, allusion, parody, and collage, pastiche is one of the most important method of intertextuality. It makes use of the formal and stylistic similarities between two texts. It also benefits from additions and subtractions and gains true meaning by exalting and praising the emulated text or the owner of that text. This study will examine the works of Russian painter Ilya Glazunov, who had a significant influence on Nuri Bilge Ceylan’s movie Winter Sleep, and some works by another painter, Caspar David Friedrich, as a pastiche element in some of the director’s photographs and film frames. Even though Ceylan has not said that he emulated these painters, his attitude in the movie Winter Sleep made carrying out this study necessary.

Keywords

Nuri Bilge Ceylan, Ilya Glazunov, Caspar David Friedrich, intertextuality, pastiche

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