Yalnız Anti-Kahramanlar: Jean Gabin ve Alain Delon

Yıl 2011, Cilt: 14 (1) Sayı: 27, 68 - 104, 01.06.2011

Nejat Ulusay

Öz

Jean Gabin ve Alain Delon, Fransız sinemasının önde gelen iki yıldız oyuncusudur. Her iki oyuncu, Fransız sinemasında önemli bir yeri olan polisiye türün çok sayıda filminde rol aldı. Gabin 1930’larda proleter ve kırılgan bir erkekliği temsil ederken, Delon 1960’ların kırılgan ‘burjuva maço’su olarak anılır. Gabin ve Delon, polisiye türde üç filmde bir araya geldi. Bu makale, iki yıldızın kariyerlerini ele almakta ve oyuncuların filmlerindeki erkeklik temsilleri ile oyunculuk tarzlarını değerlendirmeyi amaçlamaktadır.

Anahtar Kelimeler

Fransız sineması,  polisiye tür,  yıldızlar,  erkeklik,  minimalist oyunculuk

The Lonely Anti-Heroes: Jean Gabin and Alain Delon

Öz

Jean Gabin and Alain Delon are two international stars of French cinema belonging to different generations. Both Gabin and Delon played in many films of the same genre, the policier, which has an important place in French cinema. While Gabin represents the ‘fragile macho’ working class rebel of the 1930s, Delon represents the ‘fragile macho’ bourgeois rebel of the 1960s. Gabin and Delon shared the leading parts of three policiers. This essay aims to focus on the careers of two stars, and tries to understand the masculinities and performing styles of them throughout their films

Anahtar Kelimeler

French cinema,  policier (polar),  stars,  masculinity,  minimalist acting

Kaynakça

• Bazin, André (1971). What is Cinema? Volume II. Çev., Hugh Gray. California: University of California.
• Bazin, André (1985). “André Bazin, Jacques Doniıl-Valcroze, Pierre Kast, Roger Leenhardt, Jacques Rivette, Eric Rohmer: Six Characters in Search of auteurs; a discussion about the French Cinema”. Cahiers du Cinema (Vol. 1). Jim Hillier (der.) içinde. Londra: Routledge.
• Bazin, André (2000). Sinema Nedir? Çev., İbrahim Şener. İstanbul: İzdüşüm.
• Bean, Robin (1965). “Reaching for the world.” Films and Filming 125.
• Bean, Robin (1970). “Creating with a passion.” Films and Filming 189.
• Buss, Robin (1988). The French Through Their Films. London: B.T. Batsford Ltd.
• Darke, Chris (2003). “Alain Delon.” Dünya Sinema Tarihi. Geoffrey Nowell Smith (der.) içinde. Çev., Ahmet Fethi. İstanbul: Kabalcı. 654.
• Dyer, Richard (1979). Stars. Londra: BFI.
• Cousins, R.R. (2000). “Jean Gabin.” International Dictionary of Films and Filmmakers-3: Actors and Actresses. Tom Pendergast ve Sara Pendergats (der.) içinde. New York: St. James Press. 459-461.
• Forbes, Jill (1992). The Cinema in France After the New Wave. Londra: BFI.
• Gaffney, John ve Diana Hokmes (2008). “Stardom in Theory and Context.” Stardom in Postwar France. John Gaffney (der.) içinde. New York: Berghahn Books. 7-25.
• Green, Ian (1984). “Malefunction.” Screen 25(4-5): 36-48.
• Hayward, Susan (1993). French National Cinema. London: Routledge.
• Katz, Ephraim (1982). The International Film Encyclopedia. London: Mcmillan.
• Kirkham, Pat ve Janet Thumin (der.) (1993). You Tarzan: Masculinity, Movies and Men. London: Lawrence and Wishart.
• Konisberg, Ira (1993). The Complete Film Dictionary. London: Bloomsbury Publishing Limited.
• Kovács, András Bálint (2010). Modernizmi Seyretmek: Avrupa Sanat Sineması: 1950-1980. Çev., Ertan Yılmaz. Ankara: De Ki.
• McArthur, Colin (1972). Underworld USA. London: Secker and Warburg.
• Neale, Steve (1983). “Masculinity as Spectacle.” Screen (6): 2-17.
• Nogueira, Rui (der.) (1971). Melville on Melville. London: Secker and Warburg.
• Palmer, Tim (2006). “Le Samourai/The Godson.” The Cinema of France. Phil Powrie (der.) içinde. London: Wallflower. 123-132.
• Powrie, Phil (1998a). “Stars.” Encyclopedia of Contemporary French Culture. Alex Hughes (der.) içinde. London: Routledge. 507.
• Powrie, Phil (1998b). “Alain Delon.” Encyclopedia of Contemporary French Culture. Alex Hughes (der.) içinde. London: Routledge. 147.
• Renoir, Jean (1989). Renoir on Renoir. Çev., Carol Volk. Cambridge: Cambridge University Press.
• Sarris, Andrew (1981). “Jean Gabin: The doomed proletarian hero.” The Movie Star. Elisabeth Weis (der.) içinde. New York: The Viking Press.
• Straayer, Chris (2001). “The Talented Poststructuralist: Heteromasculinity, Gay Artifice, and Class Passing.” Masculinity: Bodies, Movies, Culture. Peter Lehman (der.) içinde. New York: Routledge. 115-132.
• Tabery, Karel (2000). “Alain Delon.” International Dictionary of Films and Filmmakers-3: Actors and Actresses. Tom Pendergast ve Sara Pendergats (der.) içinde. New York: St. James Press. 335-337.
• Thomson, David (2010). “Alain Delon.” The Guardian. 19 Ağustos 2010.
• Truffaut, François (1985). “The Rogues are Weary.” Cahiers du Cinema Volume I: The 1950s: Neo Realism, Hollywood, New Wave. Jim Hiller (der.) içinde. Çev., Liz Heron. London: Routledge. 28-30.
• Vincendeau, Ginette (1985). “Community, Nostalgia and the Spectacle of Masculinity.” Screen 26(6): 18-38.
• Vincendeau, Ginette (1993a). “Gérard Depardieu: The Axion of Contemporary French Cinema.” Screen 34(4): 343-361.
• Vincendeau, Ginette (1993b). “Anatomy of a Myth: Jean Gabin.” Nottingham Film Studies 32(1): 19-29.
• Vincendeau, Ginette (1994). “The Beast’s Beauty: Jean Gabin, Masculinity and the French Hero.” Women and Film: A Sight and Sound Reader. Pam Cook ve Philip Dodd (der.) içinde. London: Scarlett Press. 115-122.
• Vincendeau, Ginette (1996). The Companion to French Cinema. London: Cassell ve BFI.
• Vincendeau, Ginette (2001). “‘Autistic Masculinity’ in Jean-Pierre Melville’s Crime Thrillers.” Gender and French Cinema. Alex Hughes (der.) içinde. Oxford: Berg Publishers. 139-155.
• Wexman, Virginia Wright (2006). A History of Film. Boston: Pearson.
• Williams, Alan (1992). Republic of Images: A History of French Filmmaking. Cambridge, Mass.: Harvard University Press.