Uyarlama Paradigmasını Aşmak: Türk Sinemasında Edebî Nesnelerin Görsel Belleği

Yıl 2025, Sayı: 1, 22 - 41

Serap Sarıbaş

Öz

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.

Anahtar Kelimeler

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

Öz

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.

Anahtar Kelimeler

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

Kaynakça

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