Uyarlama Paradigmasını Aşmak: Türk Sinemasında Edebî Nesnelerin Görsel Belleği

Year 2025, Issue: 1, 22 - 41

Serap Sarıbaş

Abstract

Bu çalışma, Türk sineması–edebiyat ilişkisine dair akademik söylemde uzun süredir egemen olan uyarlama merkezli paradigmanın kuramsal sınırlarını tartışmaktadır. Çalışma, uyarlama kavramının ötesine geçerek, edebiyatı yalnızca metinsel aktarımın değil; sinemasal bağlamda maddi bir unsur ve görsel ikonografik formun üretim alanı olarak ele almaktadır. Yöntemsel olarak yazılı nesnelerin sinemadaki işlevi, yakın okuma ve görsel analiz teknikleriyle çözümlenmiştir. Kitap, mektup, defter ve rapor gibi nesneler Türk sinemasında, sıradan birer aksesuar olmanın ötesine geçerek bireysel hafızayı, toplumsal belleği ve kimlik müzakerelerini görünür kılan kültürel göstergelere dönüşmektedir. Derrida’nın “iz”, Benjamin’in “fragman”, Adorno’nun “tamamlanmamışlık estetiği” ve Nora’nın “bellek mekânı” kavramlarıyla birlikte okunduğunda, Türk sinemasında edebiyatın metinsel kaynak olmanın ötesinde, maddi, görsel ve kültürel bir arşiv inşa ettiği anlaşılmaktadır. Böylece sinema, yazının kendisini bir düşünme biçimi olarak yeniden üretir; görsel anlatı metinsel bellekle kesiştiği her noktada hem etik hem de estetik bir sorgulama alanı açar. Bu bağlamda çalışma, edebiyatın sinemadaki varlığını temsil düzleminden çıkararak, anlamın, belleğin ve biçimin kesişiminde işleyen dinamik bir yazı-nesne olarak değerlendirir.

Keywords

Edebiyat ve Sinema İlişkisi , Bellek Mekanları , Fragman Esteteği , Edebi Nesneler , Türk Sineması

Transcending the Adaptation Paradigm: The Visual Memory of Literary Objects in Turkish Cinema

Abstract

This article examines the theoretical constraints of the adaptation-centered paradigm that has long shaped scholarly discourse on the relationship between Turkish cinema and literature. Moving beyond the framework of fidelity, it argues that literature operates not only as a textual source but also as a material presence and an iconographic structure within cinematic space. Written artefacts such as books, letters, notebooks, and reports emerge in Turkish cinema not as decorative props but as cultural figures that render individual memory, collective remembrance, and identity negotiation visible. The visual articulation of these artefacts, when considered through Derrida’s notion of the trace, Benjamin’s conception of the fragment, Adorno’s aesthetics of incompletion, and Nora’s idea of sites of memory (lieux de mémoire), reveals literature in film as a multilayered epistemic field. Methodologically, the study employs close textual and visual analysis to examine how these objects mediate the intersections of aesthetics, memory, and cultural history. Thus, the cinema–literature nexus is redefined through a critical framework that privileges the objecthood and iconographic agency of writing as the locus where cinematic and literary forms converge.

Keywords

Literature and Cinema Relations , Sites of Memory , Aesthetics of Fragmentation , Literary Objects , Turkish Cinema

References

• Adorno, T. W. (1997). Aesthetic theory (R. Hullot-Kentor, Trans.). University of Minnesota Press.
• Ahmed, S. (2004). The cultural politics of emotion. Routledge.
• Aksakal, E. (2019). Provincial culture over bureaucracy and men’s states: Once Upon a Time in Anatolia. Erzincan Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 12(2), 345–360. https://doi.org/10.29157/erzincansbed.2019.12.2.345360
• Alper, E. (Director). (2015). Abluka [Frenzy] [Film]. Liman Film.
• Alper, E. (Director). (2019). Kız Kardeşler [A Tale of Three Sisters] [Film]. Liman Film.
• Alper, Ö. (Director). (2011). Gelecek Uzun Sürer [Future Lasts Forever] [Film]. Bulut Film.
• Arslan, S. (2011). Cinema in Turkey: A new critical history. Oxford University Press.
• Assmann, A. (2008). Canon and archive. In A. Erll & A. Nünning (Eds.), Cultural memory studies: An international and interdisciplinary handbook (pp. 97–107). Walter de Gruyter.
• Assmann, A. (2011). Cultural memory and Western civilization: Functions, media, archives. Cambridge University Press.
• Assmann, J. (2011). Cultural memory and early civilization: Writing, remembrance, and political imagination. Cambridge University Press.
• Aydın, A. (Director). (2012). Küf [Mold] [Film]. Motiva Film.
• Bachelard, G. (1964). The poetics of space (M. Jolas, Trans.). Beacon Press.
• Barthes, R. (1977). Image, music, text (S. Heath, Trans.). Fontana Press.
• Benjamin, W. (1999). The arcades project (H. Eiland & K. McLaughlin, Trans.). Harvard University Press.
• Berlant, L. (2011). Cruel optimism. Duke University Press.
• Bhabha, H. K. (1994). The location of culture. Routledge.
• Bourdieu, P. (1993). The field of cultural production. Columbia University Press.
• Butler, J. (1990). Gender trouble: Feminism and the subversion of identity. Routledge.
• Caruth, C. (1996). Unclaimed experience: Trauma, narrative, and history. Johns Hopkins University Press.
• Certeau, M. de. (1984). The practice of everyday life (S. Rendall, Trans.). University of California Press.
• Çalışkan, Ö. (2023). Retro dystopia in Turkish cinema: A mouthless girl in the archive. Science Fiction Film and Television, 16(2), 87–104. https://doi.org/10.3828/sfftv.2023.7
• Ceylan, N. B. (Director). (2002). Uzak [Distant] [Film]. NBC Film.
• Ceylan, N. B. (Director). (2006). İklimler [Climates] [Film]. NBC Film.
• Ceylan, N. B. (Director). (2011). Bir Zamanlar Anadolu’da [Once Upon a Time in Anatolia] [Film]. Zeynofilm.
• Ceylan, N. B. (Director). (2018). Ahlat Ağacı [The Wild Pear Tree] [Film]. NBC Film.
• Culler, J. (2015). Theory of the lyric. Harvard University Press.
• Dağ, N. (Director). (2021). Bir Nefes Daha [When I’m Done Dying] [Film]. Solis Film.
• Demirkubuz, Z. (Director). (1997). Masumiyet [Innocence] [Film]. Mavi Film.
• Demirkubuz, Z. (Director). (2009). Kıskanmak [Envy] [Film]. Mavi Film.
• Demirkubuz, Z. (Director). (2012). Yeraltı [Inside] [Film]. Mavi Film.
• Derrida, J. (1995). Archive fever: A Freudian impression (E. Prenowitz, Trans.). University of Chicago Press.
• Erbil, D. (2024). Commodification anxiety and the memory-activism nexus in Turkey. Memory Studies, 17(3), 452–468. https://doi.org/10.1177/17506980231234567
• Erdem, R. (Director). (2008). Hayat Var [My Only Sunshine] [Film]. Atlantik Film.
• Erdem, R. (Director). (2009). Kosmos [Film]. Atlantik Film.
• Esmer, P. (Director). (2012). Gözetleme Kulesi [Watchtower] [Film]. Sinefilm.
• Gezen, M. (Director). (2016). Şair [The Poet] [Film]. Müjdat Gezen Sanat Merkezi.
• Güven, Z. C. (2025). Nuri Bilge Ceylan and Zeki Demirkubuz in new Turkish cinema: Slowness as cultural strategy. Journal of Turkish Film Studies, 12(1), 25–48.
• Irmak, Ç. (Director). (2005). Babam ve Oğlum [My Father and My Son] [Film]. ANS Production.
• İsmailoğlu, S. (2025). Adaptation in Metin Erksan’s cinema: The angel of transformation. Social Sciences Research Journal, 10(1), 112–129.
• Kara, M. (Director). (2015). Kalandar Soğuğu [Cold of Kalandar] [Film]. Kara Film.
• Kavur, Ö. (Director). (1987). Anayurt Oteli [Motherland Hotel] [Film]. Kurgu Film.
• Kickasola, J. K. (2016). Tracking the fallen apple: Ineffability, religious tropes, and moral imagination in Once Upon a Time in Anatolia. Journal of Religion & Film, 20(1), 1–18. https://doi.org/10.32873/uno.dc.jrf.20.01.13
• Kristeva, J. (1980). Desire in language: A semiotic approach to literature and art (T. Gora, A. Jardine, & L. Roudiez, Trans.). Columbia University Press.
• Mitchell, W. J. T. (1994). Picture theory: Essays on verbal and visual representation. University of Chicago Press. Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6–18. https://doi.org/10.1093/screen/16.3.6
• Nora, P. (1989). Between memory and history: Les lieux de mémoire. Representations, 26, 7–25.
• Okyay, A. D. (Director). (2020). Hayaletler [Ghosts] [Film]. Barışık Productions.
• Oliver, K. (2001). Witnessing: Beyond recognition. University of Minnesota Press.
• Özgüç, A. (2005). Türk sineması sansür tarihi. Dünya Yayıncılık.
• Özön, N. (1962). Türk sineması tarihi. Artist Yayınları.
• Ricoeur, P. (2004). Memory, history, forgetting (K. Blamey & D. Pellauer, Trans.). University of Chicago Press. Scognamillo, G. (1998). Türk sinema tarihi. Kabalcı Yayınları.
• Sedgwick, E. K. (2003). Touching feeling: Affect, pedagogy, performativity. Duke University Press.
• Serdaroğlu, F. (2024). Nuri Bilge Ceylan sinemasında etik ve estetik. SineFilozofi, 17, 1–16. https://doi.org/10.31122/sinefilozofi.1239209
• Spivak, G. C. (1988). Can the subaltern speak? In C. Nelson & L. Grossberg (Eds.), Marxism and the interpretation of culture (pp. 271–313). University of Illinois Press.
• Stam, R. (2000). Beyond fidelity: The dialogics of adaptation. In J. Naremore (Ed.), Film adaptation (pp. 54–76). Rutgers University Press.
• Stewart, S. (1993). On longing: Narratives of the miniature, the gigantic, the souvenir, the collection. Duke University Press.
• Suner, A. (2010). New Turkish cinema: Belonging, identity and memory. I. B. Tauris.
• Ustaoğlu, Y. (Director). (1999). Güneşe Yolculuk [Journey to the Sun] [Film]. Pandora Film.
• Ustaoğlu, Y. (Director). (2004). Bulutları Beklerken [Waiting for the Clouds] [Film]. Ustaoğlu Film.
• White, H. (1987). The content of the form: Narrative discourse and historical representation. Johns Hopkins University Press.
• Yılmaz, A. (Director). (1964). Vurun Kahpeye [Strike the Whore] [Film]. Acar Film.
• Yılmaz, A. (Director). (1978). Selvi Boylum Al Yazmalım [The Girl with the Red Scarf] [Film]. Erman Film / Güney Film.
• Yılmaz, E. (2015). Türk melodramlarında yazılı belgelerin görsel işlevleri. Sinecine, 6(2), 59–75. https://doi.org/10.32001/sinecine.2015.6.2.59
• Yüksel, E. (2017). Bir uyarlama örneği olarak Yeraltı filmi. Sinecine, 8(1), 39–59. https://doi.org/10.32001/sinecine.536704
• Zaim, D. (Director). (2006). Cenneti Beklerken [Waiting for Heaven] [Film]. Marathon Filmcilik.
• Zaim, D. (Director). (2016). Rüya [Dream] [Film]. Marathon Filmcilik.