Road Comedies as a Hybrid Subgenre; Good Luck Movie Example

Öz

Comedy and road movies as a genre in the history of cinema attract attention.Especially as of the silent cinema period, the genre of comedy takes its roots from the comedy and Persian tradition as a genre of ancient Greek drama, but it has also been fed by sub-genres of drama such as vaudeville, burlesque, sketch, and game forms such as Commedia dell'arte, parody and pantomime. In its center, road, passenger, vehicle, travel, movement, identity, culture, freedom, transformation, geography etc. Road movies, on the other hand, take their roots mainly from the western genre. It is sometimes seen that the narrative of comedy films is built at the center of road and road stories. As a result of this, we come across road comedies, which consist of both comedy films and road films. From this perspective, road comedies in the cinema can be seen as a hybrid subgenre. This hybrid subgenre is also encountered in Turkish cinema. In this study, the movie named Sağ Salim, a road comedy directed by Ersoy Güler and produced in 2012, was chosen within the framework of purposeful sampling, and the genre traditions of both comedy and road movies were evaluated and Sağ Salim, it was seen that the film was influenced by the generic traditions-consensus of road and comedy films in American cinema.

Anahtar Kelimeler

• cinema
• genre
• comedy
• road film

Bir Melez Alt Tür olarak Yol Komedileri; Sağ Salim Film Örneği

Öz

Sinema tarihinde bir tür olarak komedi ve yol filmleri dikkat çekmektedir. Özellikle sessiz sinema dönemi itibariyle komedi türü köklerini antik yunan dram sanatının bir türü olarak komedya ve fars geleneğinden almakla birlikte vodvil, burlesk, skeç gibi dram sanatının alt türlerinden ve Commedia dell'arte, parodi ile pandomim gibi oyun biçimlerinden de beslenmiştir. Merkezinde yol, yolcu, araç, seyahat, hareket, kimlik, kültür, özgürlük, dönüşüm, coğrafya vb. olan yol filmleri ise köklerini ağırlıklı olarak western türünden alır. Bazen komedi filmlerinin anlatısının yol ve yol hikayeleri merkezinde inşa edildiği görülmektedir. Bunun sonucu olarak karşımıza gerek komedi filmi gerekse yol filmi ögelerinden oluşan yol komedileri çıkmaktadır. Bu perspektiften bakınca Sinemada yol komedileri melez bir alt tür olarak görülebilir. Bu melez alt tür ile Türk sinemasında da karşılaşılmaktadır. Bu çalışmada amaca yönelik örneklem çerçevesinde yönetmenliğini Ersoy Güler’in yaptığı ve bir yol komedisi olan 2012 yılı yapımı Sağ Salim adlı film seçilmiş olup gerek komedi gerekse yol filmlerine ait türsel gelenekler değerlendirilmiş ve Sağ Salim adlı filmin Amerikan sinemasındaki yol ve komedi filmlerinin türsel geleneklerinden-uzlaşımlarından etkilendiği görülmüştür.

Anahtar Kelimeler

• sinema
• tür
• komedi
• yol filmi

Kaynakça

1. Abisel, N. (1995). Popüler Sinema ve Türler. İstanbul: Alan Yay.
2. Allen, R. & Smith, M. (1997). Film Theory and Philosophy. Oxford: Clarendon Press.
3. Anday, M.C.(1965). Gelişen Tiyatro. İstanbul: Çan Yay.
4. Aristoteles. (1987). Poetika. (çev.İsmail Tunalı). İstanbul: Remzi Kitabevi.
5. Azcona, M. M. (2010). The Multi-Protagonist Film. West Sussex: Wiley-Blackwell.
6. Bevis, M. (2013). Comedy: A Very Short Introduction. Oxford: Oxford University Press.
7. Bordwell, D. & Thompson, K. (2011). Film Sanatı (çev. Yılmaz, E. ve Onat, E. S.). Ankara: Deki Yay.
8. Bowie, A. M. (1993). Aristophanes Myth, Ritual and Comedy. Cambridge: Cambridge University Press.

9. Chaffee, J. & Crik, O.(2015). The Routledge Companion to Commedia Dell’Arte. London: Routledge.
10. Costanzo, W.V. (2014). World Cinema through Global Genres. Oxford: Wiley Blackwell.
11. Glitre, K. (2006). Hollywood Romantic Comedy. Manchester: Manchester University Press.
12. Godfrey, N. (2018). The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood. New Brunswick: Rutgers University Press.
13. Grant, B.K. (2003). Film Genre Reader III. Austin: University of Texas Press.
14. Grant, B.K. (2006). Schirmer Encyclopedia of Film. Detroit: Thomson-Gale
15. Horton, A. (1991). Comedy / cinema/ theory. Berkeley: University of California Press.
16. Horton, A. (2000). Laughing Out Loud: Writing the Comedy-Centered Screenplay. Berkeley: University of California Press.
17. Horton, A. & Rapf, J.E. (2013). A ompanion to Film Comedy. Oford: John Wiley&Sons.
18. Kalat, D. (2019). Too Funny for Words. Jeferson: McFarland & Company.
19. Karnick, K.B. & Jenkins, H. (1995). Classical Hollywood Comedy. New York: Routledge.
20. Konstantakos, I.M. & Liotsakis, V. (2021). Suspense in Ancient Greek Literature. Walter: De Gruyter. Walter de Gruyter.
21. Kuhn, A. & Westwell, G. (2012). A Dictionary of Film Studies. Oxford: Oxford University Press.
22. Laderman, D. (2002). Driving Visions: Exploring the Road Movie. Austin: Driving Visions: Exploring the Road Movie.
23. Mccaffrey, W.D. (1963). The use of comic theory in the study of silent screen comedy, Central States Speech Journal, 14:3, 165-172,
24. Miller, H.W. (1944). Repetition of Lines in Aristophanes. The American Journal of Philology. 65:1, 26-36
25. Miller, W. (1993). Senaryo Yazımı (çev. Büyükerşen, Y.). Eskişehir: Anadolu Üniversitesi Yay.
26. Neale, S. (2000). Genre and Hollywood. London: Routledge.
27. Neale, S. & Krutnik, F. (1990).Popular Film and Television Comedy. London: Routledge.
28. Nutku, Ö. (2001). Dram Sanatı. İstanbul: Kabalcı Yay.
29. Orgeron, D. (2008). Road Movies. New York: Palgrave Macmillan.
30. Orr, J. (1997). Sinema ve Modernlik. (çev. Bahçıvan, A.). Ankara: Bilim ve Sanat Yay.
31. Paulus, T. & King, R. (2019). Slapstick Comedy. North Carolina: McFarland & Company.
32. Peacock, L. (2014). Slapstick and Comic Performance. New York: Palgrave Macmillan.
33. Pearson, R.E. & Simpson, P. (2001). Critical Dictionary of Film and Television Theory. London: Routledge.
34. Petrides, A.K. (2014). Menander, New Comedy and Visual. Cambridge: Cambridge University Press.
35. Rotstein, A. (2010). The Idea of Iambos. Oxford: Oxford University Press.
36. Selbo, J. (2015). Film Genre for the Screenwriter. New York: Routledge.
37. Sifakis, G.M. (1992). The Structure of Aristophanic Comedy. The Journal of Hellenic Studies, 112, 123-142
38. Sommerstein, A.H. (2019). The Encyclopedia of Greek Comedy. Hoboken: John Wiley & Sons.
39. Sover, A. (2018). The Languages of Humor: Verbal, Visual, and Physical Humor. London: Bloomsbury Academic.
40. Stott, A. (2005). Comedy. New York: Routledge.
41. Taaffe, L.K. (1993). Aristophanes and Woman. Oxon: Routledge.
42. Taner, H., And, M. ve Nutku, Ö. (1964). Tiyatro Terimleri Sözlüğü. Ankara: Türk Dil Kurumu Yay.
43. Vighi, F. (2012). Critical Theory and Film. London: Continuum.
44. Whitman, C.H. (1964). Aristophanes and The Comic Hero. Cambridge: Harward University Press.