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Anti-Hollywood Perspektifinden Robert Altman Sinemasina Bakmak

Year 2020, Volume: 16 Issue: 31, 3837 - 3852, 30.11.2020
https://doi.org/10.26466/opus.811929

Abstract

Bu makale, Robert Altman’ın McCabe and Mrs. Miller (1971) ve Nashville (1975) isimli filmlerinden yola çıkarak; yönetmenin anlatısal ve sinemasal söylem bağlamında geliştirmiş olduğu kendine has üslubu anti-Hollywood perspektifinden incelemeyi amaçlamıştır. Çalışma, Altman’ın birçok filminde görülen ve bu iki filminde çok daha belirgin olan niteliklere odaklanmıştır. Bunlardan en önemlisi, Altman’ın film metinlerinde -adeta Amerika’nın kendisiyle özdeşleşen- western türünün anlatısal kodlarını ironik bir biçimde alt-üst etmiş (bir bakıma anti-western metnine dönüştürmüş) olmasıdır. Altman’ın bunu yaparken sıklıkla öz-düşünümsel (self-reflexive) öğelere başvurmuş ve açık sonlarla seyircinin düşünüş ve sorgusunu popüler kültür üzerine yöneltmiş olduğu görülür. Her iki filmin de üretildiği 70’li yıllar, hem Amerikan toplumu hem de Hollywood için bir umut döneminin sona erdiği yıllardır. 60’ların devrimci ruhundan uzaklaşılmış, Vietnam Savaşı’nın yarattığı yıkımın etkileri toplumsal ve ekonomik alanda çok daha fazla hissedilmeye başlanmıştır. Bununla birlikte 60’ların umudu haline gelmiş olan Yeni Hollywood akımı yerini yeniden geleneksel anlatı kodlarıyla örülmüş büyük bütçeli filmlere bırakmış, stüdyolar film üretim alanındaki hâkimiyeti yeniden ele geçirmiştir. Altman, tam da böyle bir dönemde ürettiği filmlerle bu umudu sürdürmeye çalışmış, kendine has üslubunu korumuştur. Çalışmanın incelediği filmlerde erkeklik, politika ve şov dünyası üzerinden Amerikan kültürüne dair keskin ve ironik bir eleştirinin, anti-Hollywood perspektifinde özgün bir sinemasal söylemle ortaya konulduğu görülmüştür.

Supporting Institution

İstanbul Kültür Üniversitesi

References

  • American Film Institute (2020). Western. Accessed on 15th June 2020 from https://www.afi.com/afis-10-top-10/
  • Bazin, A. (2005). The Western: Or the American Film Par Excellence. What is Cinema? Vol. 2. Berkeley, Los Angeles, London: University of California Press, 140-148.
  • Biskind, P. (1998). Easy riders, raging bulls: How the sex-drugs-and rock’n’roll generation saved hollywood. New York: Simon & Schuster Paperbacks.
  • Chatman, S. (1980). Story and discourse. New York: Cornell University Press.
  • Gilbey, R. (2003) It don’t worry me: Nashville, Jaws, Star Wars and Beyond. New York: Faber and Faber.
  • Kael, P. (1994). McCabe & Mrs. Miller: Pipe Dream.In For Keeps: 30 Years at the Movies, (p.375–378). New York: Plume.
  • Klein, M. (1975). Nashville and the American Dream. Jump Cut: A Review of Contemporary Media, 9, 6-7.
  • Michael R. and Kellner D. (1988). Camera politica: The politics and ideology of contemporary Hollywoodfilm. Bloomington and Indianapolis: Indiana University Press.
  • Roger B. R. (1977). Robert Altman's "Nashville": Popular film and the American Character. South Atlantic Bulletin, 42(4). 41-50.
  • Self, R. T. (2002). Robert Altman’s subliminal reality. Minneapolis: University of Minnesota Press.
  • Stam, R. and Miller, T. (2000). Film and theory. Oxford: Blackwell Publishers.
  • Sterritt, D. (ed.), (2000). Robert Altman: Interviews. Mississippi: University Press of Mississippi.
  • Stuart, J. (200). The Nashville chronicles: the making of Robert Altman’s masterpiece. New York: Simon & Schuster.
  • Teo, S. (2015). Altman and the Western, or a Hollywood Director’s History Lesson of the American West. In Ed. A. Danks, 1st Ed. A Companion to Robert Altman, (p.254-273).. John Wiley & Sons,
  • Thompson, R. (2006). (ed.) Altman on Altman. New York: Faber and Faber.
  • Wood, R. (1986). Hollywood from Vietnam to Reagan. New York: Columbia University Press.
  • Yılmaz, E. (2009). 68 ve Sinema. İstanbul: Hayalet Kitap.

Looking At Robert Altman’s Cinema Through An Anti-Hollywood Perspective

Year 2020, Volume: 16 Issue: 31, 3837 - 3852, 30.11.2020
https://doi.org/10.26466/opus.811929

Abstract

This article aims to analyze Robert Altman’s narrative and cinematic discourses as developed through his personal style from an anti-Hollywood perspective, by looking at two of his films: McCabe and Mrs. Miller (1971) and Nashville (1975). The article will concentrate on filmic characteristics seen in many of Altman’s films but more prominent in these particular films. Among these characteristics, one can see subversion of generic tropes; particularly that of the western – a genre which is associated with America itself. Through the ironic subversion of narrative codes, Altman has created an anti-western text. While doing this, Altman often employs self-reflexive elements and open endings in order to make the audience reflect on the values of their culture, particularly popular culture. The films, made in the 1970s, come after a period of hope for society and Hollywood; while the revolutionary fervor of the 1960s had fizzled, the devastating effects of the Vietnam War were being felt throughout society. Moreover, Hollywood’s renaissance was slowly giving way to blockbusters. In the films examined, Altman engages in a criticism of American culture by looking at masculinity, politics and show business. This criticism is laden with irony, employing an anti-Hollywood perspective, as distinguished by his auteurism.

References

  • American Film Institute (2020). Western. Accessed on 15th June 2020 from https://www.afi.com/afis-10-top-10/
  • Bazin, A. (2005). The Western: Or the American Film Par Excellence. What is Cinema? Vol. 2. Berkeley, Los Angeles, London: University of California Press, 140-148.
  • Biskind, P. (1998). Easy riders, raging bulls: How the sex-drugs-and rock’n’roll generation saved hollywood. New York: Simon & Schuster Paperbacks.
  • Chatman, S. (1980). Story and discourse. New York: Cornell University Press.
  • Gilbey, R. (2003) It don’t worry me: Nashville, Jaws, Star Wars and Beyond. New York: Faber and Faber.
  • Kael, P. (1994). McCabe & Mrs. Miller: Pipe Dream.In For Keeps: 30 Years at the Movies, (p.375–378). New York: Plume.
  • Klein, M. (1975). Nashville and the American Dream. Jump Cut: A Review of Contemporary Media, 9, 6-7.
  • Michael R. and Kellner D. (1988). Camera politica: The politics and ideology of contemporary Hollywoodfilm. Bloomington and Indianapolis: Indiana University Press.
  • Roger B. R. (1977). Robert Altman's "Nashville": Popular film and the American Character. South Atlantic Bulletin, 42(4). 41-50.
  • Self, R. T. (2002). Robert Altman’s subliminal reality. Minneapolis: University of Minnesota Press.
  • Stam, R. and Miller, T. (2000). Film and theory. Oxford: Blackwell Publishers.
  • Sterritt, D. (ed.), (2000). Robert Altman: Interviews. Mississippi: University Press of Mississippi.
  • Stuart, J. (200). The Nashville chronicles: the making of Robert Altman’s masterpiece. New York: Simon & Schuster.
  • Teo, S. (2015). Altman and the Western, or a Hollywood Director’s History Lesson of the American West. In Ed. A. Danks, 1st Ed. A Companion to Robert Altman, (p.254-273).. John Wiley & Sons,
  • Thompson, R. (2006). (ed.) Altman on Altman. New York: Faber and Faber.
  • Wood, R. (1986). Hollywood from Vietnam to Reagan. New York: Columbia University Press.
  • Yılmaz, E. (2009). 68 ve Sinema. İstanbul: Hayalet Kitap.
There are 17 citations in total.

Details

Primary Language English
Subjects Sociology
Journal Section Articles
Authors

Perihan Taş Öz 0000-0002-4577-7898

Şirin Fulya Erensoy 0000-0002-5826-0361

Publication Date November 30, 2020
Acceptance Date November 9, 2020
Published in Issue Year 2020 Volume: 16 Issue: 31

Cite

APA Taş Öz, P., & Erensoy, Ş. F. (2020). Looking At Robert Altman’s Cinema Through An Anti-Hollywood Perspective. OPUS International Journal of Society Researches, 16(31), 3837-3852. https://doi.org/10.26466/opus.811929