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Akıl Oyunu Filmleri

Year 2011, Volume: 2 Issue: 1, 81 - 104, 03.05.2019

Abstract

Merkezine aklı ve onunla ilişkili olguları alan bir grup filmi türler ve yapılar üstü gören Elsaesser bunları “akıl oyunu filmleri” başlığı ile yeni bir sınıflandırmaya tabi tutmaktadır. Çoğu kendi kült seyirci kitlesini yaratan bu filmler yazar tarafından iki kategoriye ayrılmaktadır: Bir tarafta, anlatısal açıdan kilit bilgileri kimi zaman ana karakterinden, kimi zaman seyircisinden ve kimi zamansa her ikisinden birden saklayan bulmaca filmler varken diğer tarafta patolojik vakaları (paranoya, şizofreni, hafıza kaybı vb.) ya da fantastik olguları (zihnin içine girme gibi) bahane ederek doğrudan akla odaklanan yapımlar söz konusudur. Algı bozmaya ya da çözüm üretmeye dayandığı için seyirciyle kurulan ilişkilerin yeniden gözden geçirilmesine neden olan bu filmlerin ortaya çıkışına dair, sanal dünyadaki yeni temsil sistemleri ve risk toplumu gibi nedenler belirlendikten sonra bunların semptomlarına ve sonuçlarına da değinilmektedir.

References

  • Bordwell, D. (2002). Film Futures. Substance, 97, 88-104.
  • Branigan, E. (2002). Nearly True: Forking Paths, Forking Interpretations. A Response to David Bordwell’s Film Futures. Substance, 97, 105-114.
  • Brown, M. (2006, 8 Aralık). Lookey Here: Lars von Trier is at it again. The Guardian, http://film.guardian.co.uk/News_Story/Guardian/O,, 1967275,00.html?82%3A+Film+news
  • Cameron, A. (2006). Contingency, Order, and the Modular Narrative: 21 Grams and Irreversible. The Velvet Light Trap, 58, 65-78.
  • Deleuze, G. (1992). Postscript on the Societies of Control. October, 59, 3-7.
  • Doane, M. A. (1987). The Desire to Desire. The Woman’s Film of the 1940’s. Bloomington: Indiana University.
  • Eig, J. (2003). A Beautiful Mind (fuck): Hollywood Structures of Identity. Jump Cut, 46. http://www.ejumpcat.org/archive/jc46.2003/eig.mindfilms/ index.html.
  • Elsaesser, T. (2005). Film Festival Networks: The New Topographies of Cinema in Europe, in European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University.
  • Gladwell, M. (2005, 16 Mayıs). Brain Candy: Is Pop Culture Dumbing us Down or Smartening us up? The New Yorker. http://www.newyorker.com/ archive/2005/05/16/050516
  • Hardt, M. & Negri, A. (2001). Empire. Cambridge, MA: Harvard University.
  • Johnson, S. (2005). Everything Bad is Good For You. New York: Riverhead.
  • King, G. & Krzywinska, T. (Eds.). (2002). ScreenPlay: Cinema/ Videogames/Interfaces. London: I.B.Taurus.
  • Kittler, F. (1999). Gramophone, Film, Typewriter. Stanford, CA: Stanford University.
  • Mittel, J. (2006). Narrative Complexity in Contemporary American Television. The Velvet Light Trap, 58, 29-40.
  • Mulhall, S. (2002). On Film. New York: Routledge.
  • Panek, E. (2006). The Poet and the Detective. Defining the Psychological Puzzle Film. Film Criticism, 31, 1/2, 62-88.
  • Pehla, K. (1991). Joe May und seine Detektive. Der Serienfilm als Kinoerlebnis. H-M. Bock & C. Lenssen (Eds.), Joe May. Regisseur und Produzent. München: edition text + kritik.
  • Ruskhoff, D. (1995). Playing the Future: What We Can learn From Digital Kids. New York: Riverhead.
  • Sankey, D. (2001). http://d.sankey.ca/blog/131/mindfuck-films
  • Simons, J. (2007). Playing With the Waves. Lars von Trier’s Game Cinema. Amsterdam: Amsterdam University.
  • Smith, M. (2001). Parallel Lines. J. Hillier (Ed.), American Independent Cinema: A Sight and Sound Reader (s. 155–161). London: BFI Publishing.
  • Smith, M, & Wartenberg, T. (2006). Thinking through Cinema: Film as Philosophy. Oxford: Blackwell.
  • Staiger, J. (2006). Complex Narratives, an Introduction. Film Criticism, 31, 1/2, 2-4.
  • Stewart, G. (2005, 6-7 Mayıs). VR ca. Y2K. (Yayınlanmamış Bildiri, Time©20: The Afterimage of Gilles Deleuze’s Film Philosophy Symposium’da sunulmuştur).
  • Thompson, K. (1999). Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Cambridge, MA: Harvard University.
  • Wilson, G. (2006). Transparency and twist in narrative fiction film. Journal of Aesthetics and Art Criticism, 61(1), 81-95. (Ayrıca Smith ve Wartenberg, 2006 kaynağı içinde de var).
  • Žižek, S. (2000). The Art of Ridiculous Sublime: On David Lynch’s Lost Highway. Wahington: University of Washington.
  • Žižek, S. (2001). The Fright Of Real Tears: Krzystof Kieslowski Between Theory and Post-Theory. London: British Film Institute.

The Mind-Game Film

Year 2011, Volume: 2 Issue: 1, 81 - 104, 03.05.2019

Abstract

Elsaesser takes a group of films that center on mind and related mental phenomena, believing that they are beyond genres and structures, and creates a new classification called “the mind-game film.” Such films, many of which have created their own cult audience, are divided into two categories: at one level there are puzzle-films, which hide key information from their main characters, their audience, and sometimes from both, and at the second level there are films that focus directly on mind in terms of some pathology (e.g., paranoia, schizophrenia, memory loss) or fantastic phenomena (e.g., entering another person’s mind). These films cause one to reconsider the relationship of a film to its audience by breaking down perceptions or creating solutions. Elsaesser attributes the cause of these films to new representative systems in the virtual world and to risk societies. The symptoms and the results of these causes are also examined.

References

  • Bordwell, D. (2002). Film Futures. Substance, 97, 88-104.
  • Branigan, E. (2002). Nearly True: Forking Paths, Forking Interpretations. A Response to David Bordwell’s Film Futures. Substance, 97, 105-114.
  • Brown, M. (2006, 8 Aralık). Lookey Here: Lars von Trier is at it again. The Guardian, http://film.guardian.co.uk/News_Story/Guardian/O,, 1967275,00.html?82%3A+Film+news
  • Cameron, A. (2006). Contingency, Order, and the Modular Narrative: 21 Grams and Irreversible. The Velvet Light Trap, 58, 65-78.
  • Deleuze, G. (1992). Postscript on the Societies of Control. October, 59, 3-7.
  • Doane, M. A. (1987). The Desire to Desire. The Woman’s Film of the 1940’s. Bloomington: Indiana University.
  • Eig, J. (2003). A Beautiful Mind (fuck): Hollywood Structures of Identity. Jump Cut, 46. http://www.ejumpcat.org/archive/jc46.2003/eig.mindfilms/ index.html.
  • Elsaesser, T. (2005). Film Festival Networks: The New Topographies of Cinema in Europe, in European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University.
  • Gladwell, M. (2005, 16 Mayıs). Brain Candy: Is Pop Culture Dumbing us Down or Smartening us up? The New Yorker. http://www.newyorker.com/ archive/2005/05/16/050516
  • Hardt, M. & Negri, A. (2001). Empire. Cambridge, MA: Harvard University.
  • Johnson, S. (2005). Everything Bad is Good For You. New York: Riverhead.
  • King, G. & Krzywinska, T. (Eds.). (2002). ScreenPlay: Cinema/ Videogames/Interfaces. London: I.B.Taurus.
  • Kittler, F. (1999). Gramophone, Film, Typewriter. Stanford, CA: Stanford University.
  • Mittel, J. (2006). Narrative Complexity in Contemporary American Television. The Velvet Light Trap, 58, 29-40.
  • Mulhall, S. (2002). On Film. New York: Routledge.
  • Panek, E. (2006). The Poet and the Detective. Defining the Psychological Puzzle Film. Film Criticism, 31, 1/2, 62-88.
  • Pehla, K. (1991). Joe May und seine Detektive. Der Serienfilm als Kinoerlebnis. H-M. Bock & C. Lenssen (Eds.), Joe May. Regisseur und Produzent. München: edition text + kritik.
  • Ruskhoff, D. (1995). Playing the Future: What We Can learn From Digital Kids. New York: Riverhead.
  • Sankey, D. (2001). http://d.sankey.ca/blog/131/mindfuck-films
  • Simons, J. (2007). Playing With the Waves. Lars von Trier’s Game Cinema. Amsterdam: Amsterdam University.
  • Smith, M. (2001). Parallel Lines. J. Hillier (Ed.), American Independent Cinema: A Sight and Sound Reader (s. 155–161). London: BFI Publishing.
  • Smith, M, & Wartenberg, T. (2006). Thinking through Cinema: Film as Philosophy. Oxford: Blackwell.
  • Staiger, J. (2006). Complex Narratives, an Introduction. Film Criticism, 31, 1/2, 2-4.
  • Stewart, G. (2005, 6-7 Mayıs). VR ca. Y2K. (Yayınlanmamış Bildiri, Time©20: The Afterimage of Gilles Deleuze’s Film Philosophy Symposium’da sunulmuştur).
  • Thompson, K. (1999). Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Cambridge, MA: Harvard University.
  • Wilson, G. (2006). Transparency and twist in narrative fiction film. Journal of Aesthetics and Art Criticism, 61(1), 81-95. (Ayrıca Smith ve Wartenberg, 2006 kaynağı içinde de var).
  • Žižek, S. (2000). The Art of Ridiculous Sublime: On David Lynch’s Lost Highway. Wahington: University of Washington.
  • Žižek, S. (2001). The Fright Of Real Tears: Krzystof Kieslowski Between Theory and Post-Theory. London: British Film Institute.
There are 28 citations in total.

Details

Primary Language Turkish
Journal Section Translation
Authors

Bahar Şimşek This is me

Ebru Serap İşeri Erdoğan This is me

Ahmet Gürata This is me

Semire Ruken Öztürk This is me

Publication Date May 3, 2019
Published in Issue Year 2011 Volume: 2 Issue: 1

Cite

APA Şimşek, B., İşeri Erdoğan, E. S., Gürata, A., Öztürk, S. R. (2019). Akıl Oyunu Filmleri. Sinecine: Sinema Araştırmaları Dergisi, 2(1), 81-104.

sinecine TR DİZİN ve FIAF tarafından taranmaktadır.