sinecine sinecine: Sinema Araştırmaları Dergisi 2636-784X Semire Ruken ÖZTÜRK 10.32001/sinecine.540267 FİLMDE SUÇ VE ADALET: POSTYAPISALCI BİR OKUMA CRIME AND JUSTICE IN FILM: A POSTSTRUCTURALIST READING Liktor Çoşkun BAHÇEŞEHİR ÜNİVERSİTESİ, İLETİŞİM FAKÜLTESİ 03 15 2015 6 1 9 28 12 03 2014 02 16 2015 Copyright © 2010, sinecine: Sinema Araştırmaları Dergisi 2010 sinecine: Sinema Araştırmaları Dergisi

Bu makale, Richard Brooks’un In Cold Blood (Soğukkanlılıkla, 1967), Stanley Kubrick’in A Clockwork Orange (Otomatik Portakal, 1971) ve Orson Welles’in The Trial (Dava, 1962) filmlerine yoğunlaşarak, işledikleri –ya da işledikleri düşünülen– bir suç yüzünden kanun tarafından cezalandırılan karakterlere odaklanan bu üç film üzerinden suç, ceza ve adalet kavramlarını postyapısalcı açıdan incelemeyi hedeflemektedir. Bu incelemede, ceza yöntemlerinin zaman içinde değişen güç ilişkilerine bağlı olarak değişikliğe uğradığını savunan Michel Foucault ve alışılageldik, özcü yasa ve adalet anlayışlarını yapısöküme uğratan Jacques Derrida’nın teorileri başta olmak üzere güç ve adalet hakkındaki postyapısalcı söylemler temel alınmıştır. Bu makalenin amacı, ele alınan filmlerin üçünün de, başkarakterlerin çarptırıldığı cezaların haklılığını sorgulamak suretiyle, toplumda baskın olan ceza yöntemlerini ve adalet tanımlarını eleştirerek, ceza yasalarının haklı bir zemine dayandırılmasının olanaksızlığını savunan postyapısalcı görüşü pekiştirdiğini göstermektir.

This article explores the concepts of crime, punishment and justice from a poststructuralist perspective in three films, namely In Cold Blood (Richard Brooks, 1967), A Clockwork Orange (Stanley Kubrick, 1971), and The Trial (Orson Welles, 1962), all of which feature protagonists who are punished by law for a crime they have – or, in the case of the last film, are thought to have – committed. The films will be analysed through the lens of poststructuralist discourses on power and justice, in particular the theories of Michel Foucault, who argues that punitive practices vary depending on the changing power relations in society, and of Jacques Derrida, who sets out to deconstruct the conventional, essentialist understanding of law and justice. This article will attempt to demonstrate that these three films, which question the legitimacy of the punishment inflicted on the protagonists, present a critique of dominant punitive practices and established definitions of justice in such a way as to reinforce the poststructuralist stance that precludes the possibility that punitive laws can be grounded upon a legitimate basis.

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