BATMAN BAŞLIYOR’DA ROMANTİK SUÇLULUK, RADİKAL KÖTÜLÜK VE MODERN KAHRAMANLIĞIN REFLEKSİF İNŞASI

Yıl 2017, , 29 - 61, 15.03.2019

Göral E. Yılmaz Ercan

https://doi.org/10.32001/sinecine.536467

Öz

Ortaya çıkışları itibariyle modernitenin ürünleri ve örnekleri olan süper kahramanlar, popüler sinema aracılığıyla postmodern dünyaya taşınmışlar, fakat bu esnada sahip oldukları modern değerleri de beraberlerinde getirmişlerdir. Bu süper kahramanlar, postmodern bir dünyada, kendilerini bir kez daha “modern kahramanlar” olarak inşa etmekte ve sahip oldukları bu modern değerlerin postmoderniteyle çarpışması aracılığıyla gündeme gelmektedirler. Bu makalede, yönetmenliği Christopher Nolan tarafından yapılmış olan Batman Begins (Batman Başlıyor, 2005) filminin, modern ve postmodern kavramsallaştırmalar bağlamında, Lévi-Strauss’un ikili karşıtlıklar yöntemiyle çözümlenmesi amaçlanmıştır. Yapılan çözümleme sonucunda, Bruce Wayne’in kendi içindeki çelişkilerin üste-sinden gelme ve bu esnada Batman’e dönüşme sürecini anlatan BatmanBaşlıyor filminin, modern bir kahramanlık inşası hikâyesi aracılığıyla, belli başlı postmodern değerlerle bir çarpışmanın yanı sıra, özellikle moderni-tenin kendi içindeki çelişkilere ve karşıtlıklara dair belirgin bir çerçeve çizmekte olduğu saptanmıştır.

Anahtar Kelimeler

Modernite, postmodernite, Batman, ikili karşıtlıklar, Lévi-Strauss

Romantic Guilt, Radical Evil and The Reflexive Construction of The Modern Hero in Batman Begins

Öz

Superheroes, both products and examples of modernity given the circumstances of their emergence, have been transferred in our postmodern world through popular cinema, and they have brought all their modern values with them. These superheroes have been reconstructing themselves as “modern heroes” and have become a current issue through the clash of their modern values with postmodernity. This article analyzingBatman Begins (2005), directed by Christopher Nolan, employs the Lévi-Strauss method of binary oppositions within the context of modern and postmodern conceptualizations. As a result of this analysis, it is observed that Batman Begins, which is about Bruce Wayne’s overcoming his own internal conflicts and becoming Batman, draws a distinct frame around modernity’s very own conflicts.

Anahtar Kelimeler

Modernity, postmodernity, Batman, binary oppositions, Lévi- Strauss

Kaynakça

• Alsford, M. (2006). Heroes and Villains. Londra: Baylor University.
• Aras, L. (2014). Pruitt Igoe’den günümüze postmodern çeşitlemeler: Kültürel dönüşüm ve tasarıma yansımalar. Sanat ve Tasarım Dergisi, 43-60.
• Ashenden, S. & Brown, J. (2014). Romantic guilt and identity. Economy and Society, 43 (1), 82-102. DOI: 10.1080/03085147.2013.868701.
• Auweele, D. V. (2013). The lutheran influence on Kant’s depraved will. International Journal of Philosophy of Religion, 73(2), 117-134. DOI: 10.1007/s11153-011-9331-4. Baudrillard, J. (1998). Simülakrlar ve Simülasyon (Çev. O. Adanır). İzmir: Dokuz Eylül.
• Campbell, J. (2004). The Hero With a Thousand Faces. Princeton & Oxford: Princeton University Press.
• Conroy, S. (2007). The nightmare of clever children: civilization, postmodernity, and the birth of the anxious body. Human Architecture: Journal of Sociology of Self- Knowledge, V (2), 21-40. http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=5&sid=9a6c79fe-3de5-46e0-a8d8-499853dc4c9b%40sessionmgr4007
• Dumsday, T. (2009). On cheering Charles Bronson: the ethics of vigilantism. The Southern Journal of Philosophy, 47 (1), 49-67. http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=7&sid=9a6c79fe-3de5-46e0-a8d8-499853dc4c9b%40sessionmgr4007
• Estes, C. P. (2004). Introduction to the 2004 commemorative edition, J. Campbell (yazar), The hero with a thousand faces commemorative edition (s. xxiii-xvi). Princeton & Oxford: Princeton University Press.
• Fincher, W. & Finn, D. (2006). Remaking the comic book superhero: civic participation in the age of reflexive modernity. Conference Papers - American Sociological Association. 2006 Annual Meeting, Montreal, 1-20. http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=9&sid=9a6c79fe-3de5-46e0-a8d8- 499853dc4c9b%40sessionmgr4007
• Fingeroth, D. (2004). Superman on the couch: What superheroes really tell us about ourselves and our society. New York: Continuum.
• Formosa, P. (2007). Kant on the radical evil of human nature. Philosophical Forum, 38(3), 221-245. DOI: 10.1111/j.1467-9191.2007.00265.x.
• Freie, J. F. (2012). Postmodern politics in America. Society, 49 (9), 323-327. http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=13&sid=9a6c79fe-3de5-46e0- a8d8-499853dc4c9b%40sessionmgr4007
• Giddens, A. (2010). The Consequences of Modernity. Cambridge: Polity.
• Giddens, A. (2014). Modernite ve Bireysel Kimlik: Geç Modern Çağda Benlik ve Toplum. (Çev. Ü. Tatlıcan) (2. baskı). İstanbul: Say.
• Gras, V. W. (1981). Myth and reconciliation of opposites: Jung and Lévi-Strauss. Journal of the History of Ideas, 42 (3), 471-488. http://web.a.ebscohost.com/ehost/detail/detail?vid=15&sid=9a6c79fe-3de5-46e0-a8d8- 499853dc4c9b%40sessionmgr4007&bdata=Jmxhbmc9dHImc2l0ZT1laG9zdC1saXZl#AN=11620603&db=cmedm
• Güngören, A. (1993). Giriş: Claude Lévi-Strauss ve söylensel düşüncenin yapıları. C. Lévi-Strauss, Din ve Büyü (s. 11-30). (Çev. & Ed. A. Güngören). (2.baskı) İstanbul: Yol.
• Hoberek, A. (2016). “But - what can anyone do about it?”: modernism, superheroes, and the unfinished business of the common good. Journal of Modern Literature. 39 (2), 115-125. DOI: 10.2979/jmodelite.39.2.09.
• Hourihan, M. (1997). Deconstructing the hero: literary theory and children’s literature. London & New York: Routledge.
• Huyssen, A. (2011). Postmodernin haritasını yapmak (Çev. M.Küçük). M. Küçük (Ed.), Modernite versus postmodernite (s. 231-261). İstanbul: Sel.
• Johnson, J. K. (2010). The countryside triumphant: Jefferson’s ideal of rural superiority in modern superhero mythology. The Journal of Popular Culture, 43 (4), 720-737. DOI: 10.1111/j.1540-5931.2010.00767.x.
• Johnson, V. (2014). “It’s what you do that defines you:” Christopher Nolan’s Batman as a moral philosopher. The Journal of Popular Culture, 47 (5), 952-967. DOI: 10.1111/jpcu.12181.
• Kellner, D. (2011). Toplumsal teori olarak postmodernizm: Bazı meydan okumalar ve sorunlar. M. Küçük (Ed.), Modernite Versus Postmodernite (s. 409-450). İstanbul: Sel.
• Kellner, D. (2013). Sinema savaşları: Bush-Cheney döneminde Hollywood sineması ve siyaset (Çev. G. Koca). İstanbul: Metis.
• Killian, K. (2007). Regular movie review: Batman (and world war III) begins: Hollywood takes on terror. Journal of Feminist Family Therapy, 19 (1), 77-82. http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=20&sid=9a6c79fe-3de5-46e0-a8d8-499853dc4c9b%40sessionmgr4007
• Kimmel, D. M. (2008). The Batman we deserve. D. O’Neil & L. Wilson (Eds.), Batman unauthorized: vigilantes, jokers, and heroes in Gotham City (s. 157-170). Texas: Benbella.
• Leeming, D. A. (1998). Mythology: The voyage of the hero (3. baskı). New York: Oxford University Press.
• Lehrich, C. I. (2011). Overture and finale: Lévi-Strauss, music and religion. Method and Theory in the Study of Religion, 23 (2011), 305-325. DOI: 10.1163/157006811X608403.
• Lévi-Strauss, C. (2013). Mit ve anlam (Çev. G. Y. Demir). İstanbul: İmge.
• Lyotard, J. (1984). The postmodern condition: A report on knowledge. (Çev. G. Bennington ve B. Massumi). Minneapolis: University of Minnesota Press.
• Lyotard, J. (2013). Postmodern Durum (Çev. İ. Birkan). Ankara: BilgeSu.
• Marano, M. (2008). Ra’s al Ghul: father figure as terrorist. D. O’Neil & L. Wilson (Eds.), Batman unauthorized: vigilantes, jokers, and heroes in Gotham City (s. 69-84). Texas: Benbella.
• Nolan, C. (Yönetmen). (2005). Batman Begins (Batman Başlıyor) [Film]. ABD: Warner Bros.
• Picart, K. J. S. (1997). Nietzsche as masked romantic. The Journal of Aesthetics and Art Criticism. 55 (3), 273-291. http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=23&sid=9a6c79fe-3de5-46e0-a8d8-499853dc4c9b%40sessionmgr4007
• Saunders, B. (2011). Do the gods wear capes? Spirituality, fantasy, and superheroes. London: Continuum.