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POSTMODERNİST FİLM: BIR SİNEMA TÜRÜ

Yıl 2011, Cilt 2, Sayı 1, 65 - 79, 03.05.2019

Öz


Makale, film kuramlarındaki çağdaş gelişmelerin içinde postmodernizmin yerini anlamlı bir şekilde belirleme sorununu ele alıyor. İddia üç parçalı: Postmodernizm teriminin tanımını çevreleyen anlamsal karışıklık tanımlanmış, postmodern estetiğe özgü bir dizi biçemsel ve yapısal elementlerle karşılaştırılmış sinema çalışmalarını temsil eden bir örnek yığını incelemek amacıyla söylemsel parametreler oluşturulmuş; bu analizin bulguları, “filmde postmodernizm, birçok bakımdan kuramsal durumu da aynı şekilde tartışmalı olan film noir’a benzeyen kapsamlı bir eleştirel kategori veya sinema türü oluşturmaktadır” hipotezini kurmak amacıyla kullanılmıştır.


Kaynakça

  • Altman, R. (1998). Re-usable Packaging: Generic Products and the Recycling Process. N. Browne (Ed.), Refiguring American Film Genres (pp. 1-42). Berkeley: University of California Press.
  • Belton, J. (1994). American Cinema, American Culture. New York: McGraw-Hill.
  • Bhabha, H. (1994). The Location of Culture. London: Routledge.
  • Booker, M. K. (2007). Postmodern Hollywood: What's New in Film and Why it Makes Us Feel So Strange. Westport CT: Praeger.
  • Booker, M. K. (2001). Monsters, Mushroom Clouds and the Cold War: American Science Fiction and the Roots of Postmodernism, 1946-1964. Westport CT: Greenwood.
  • Brooker, P. & Brooker, W. (Eds.). Postmodern After-Images: A Reader in Film, Television and Video. London: Arnold.
  • Carroll, N. (1998). Film in the Age of Postmodernism. Cambridge: Cambridge University Press.
  • Clifford, J. & Marcus, G. (1986). Writing Culture: The Poetics and Politics of Ethnography. Berkeley: University of California Press.
  • Cowie, E. (1993). Film Noir and Women. J. Copjec (Ed.), Shades of Noir (pp. 121-165). London: Verso.
  • Çelik-Norman, S. (2008). The Disaster Movie and its Implications for Genre Theory. İletişim (Galatasaray Üniversitesi İletişim Fakültesi) 2008/8, 145-160.
  • Eco, U. (1988). Casablanca, Cult Movies and Intertextual Collage. D. Lodge (Ed.), Modern Criticism and Theory (pp. 450-464). London: Longman.
  • Friedberg, A. (1993). Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press.
  • Fuery, P. (2000). New Developments in Film Theory. New York: Palgrave. Garrett, R. (2007). Postmodern Chick-Flicks: The Return of the Woman's Film. London: Macmillan.
  • Gellner, E. (1992). Postmodernism, Reason and Religion. London: Routledge.
  • Gormley, P. (2005). The New Brutality Film. Bristol UK: Intellect Books.
  • Harvey, D. (1997). Time and Space in the Postmodern Cinema. P. Brooker & W. Brooker (Eds.), Postmodern After-Images (pp. 43-69). London: Arnold.
  • Hebdige, D. (1986). Postmodernism and ‘The Other Side’. Journal of Communication Enquiry 10/2, 88-100.
  • Jameson, F. (1991). Postmodernism or the Cultural Logic of Late Capitalism. London: Verso.
  • Jauss, H. R. (1982). Towards an Aesthetic of Reception. Brighton U.K.: Harvester Press.
  • Juhasz, A. (2001). The Phallus Unfetished. J. Lewis (Ed.), The End of Cinema as We Know it: American Film in the Late Nineties (pp. 210-225). London: New York University Press.
  • Lyotard, J.F. (1979). The Postmodern Condition: a Report on Knowledge (G. Bennington & B. Massumi, Trans.). Manchester: Manchester University Press.
  • Neale, S. (2000). Genre and Hollywood. London: Routledge.
  • Pérez Soler, B. & Lawrenson, E. (2001). Pup Fiction. Sight and Sound 11/5I, 28-30.
  • Phillips, R. (1996). Genre, Star and Auteur: An Approach to Hollywood Cinema. J. Nelmes (Ed.), An Introduction to Film Studies (pp. 121-163). London: Routledge.
  • Ryall, T. (1975/6). Teaching through Genre. Screen Education, 17, 27-33.
  • Said, E. (1993). Culture and Imperialism. London: Chatto & Windus.
  • Sobchack, V. (1997), Postmodern Modes of Ethnicity. P. Brooker & W. Brooker (Eds.), Postmodern After-Images (pp. 101-121). London: Arnold.
  • Sobchack, V. (1998). Lounge Time, Postwar Crises and the Chronotope of Film Noir. N. Browne (Ed.) Refiguring American Film Genres (pp. 45-61). Berkeley: University of California Press.
  • Stam, R. (2000). Film Theory: An Introduction. Oxford: Blackwell.
  • Taylor, C. (1988). Black Cinema in the Post-aesthetic Era. J. Pines & P. Willemen (Eds.), Questions of Third Cinema (pp. 95-110). London: British Film Institute.
  • Tredell, N. (2002). Cinemas of the Mind. London: Icon Books.
  • Tuska, J. (1984). Dark Cinema: American Film Noir in Cultural Perspective. Westport: Greenwood Press.
  • Walsh, M. (1996). Jameson and ‘Global Aesthetics’. D. Bordwell & N. Carroll (Eds.), Post Theory (pp. 472-490). Wisconsin: University of Wisconsin Press.
  • Willis, S. (2000). Style, Posture and Idiom: Tarantino's Figures of Masculinity. C. Gledhill & L. Williams (Eds.), Reinventing Film Studies (pp. 272-289). London: Arnold.
  • Žižek, S. (1993). The Thing that Thinks: the Kantian Background of the Noir Subject. J. Copjec (Ed.), Shades of Noir (pp. 199-226). London: Verso.

POSTMODERNIST FILM: A CINEMATIC GENRE

Yıl 2011, Cilt 2, Sayı 1, 65 - 79, 03.05.2019

Öz

The essay addresses the problem of locating postmodernism meaningfully within contemporary developments in film theory. The argument is tripartite: the semantic confusion surrounding the definition of the term postmodernism is delineated; discursive parameters are established in terms of a representative body of cinematic works matched against a set of stylistic and structural elements characteristic of the postmodern aesthetic; the findings of this analysis are used to construct a hypothesis that postmodernism in film constitutes a generic critical category or cinematic genre coordinate in many respects to film noir, the theoretical status of which is similarly contentious.

Kaynakça

  • Altman, R. (1998). Re-usable Packaging: Generic Products and the Recycling Process. N. Browne (Ed.), Refiguring American Film Genres (pp. 1-42). Berkeley: University of California Press.
  • Belton, J. (1994). American Cinema, American Culture. New York: McGraw-Hill.
  • Bhabha, H. (1994). The Location of Culture. London: Routledge.
  • Booker, M. K. (2007). Postmodern Hollywood: What's New in Film and Why it Makes Us Feel So Strange. Westport CT: Praeger.
  • Booker, M. K. (2001). Monsters, Mushroom Clouds and the Cold War: American Science Fiction and the Roots of Postmodernism, 1946-1964. Westport CT: Greenwood.
  • Brooker, P. & Brooker, W. (Eds.). Postmodern After-Images: A Reader in Film, Television and Video. London: Arnold.
  • Carroll, N. (1998). Film in the Age of Postmodernism. Cambridge: Cambridge University Press.
  • Clifford, J. & Marcus, G. (1986). Writing Culture: The Poetics and Politics of Ethnography. Berkeley: University of California Press.
  • Cowie, E. (1993). Film Noir and Women. J. Copjec (Ed.), Shades of Noir (pp. 121-165). London: Verso.
  • Çelik-Norman, S. (2008). The Disaster Movie and its Implications for Genre Theory. İletişim (Galatasaray Üniversitesi İletişim Fakültesi) 2008/8, 145-160.
  • Eco, U. (1988). Casablanca, Cult Movies and Intertextual Collage. D. Lodge (Ed.), Modern Criticism and Theory (pp. 450-464). London: Longman.
  • Friedberg, A. (1993). Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press.
  • Fuery, P. (2000). New Developments in Film Theory. New York: Palgrave. Garrett, R. (2007). Postmodern Chick-Flicks: The Return of the Woman's Film. London: Macmillan.
  • Gellner, E. (1992). Postmodernism, Reason and Religion. London: Routledge.
  • Gormley, P. (2005). The New Brutality Film. Bristol UK: Intellect Books.
  • Harvey, D. (1997). Time and Space in the Postmodern Cinema. P. Brooker & W. Brooker (Eds.), Postmodern After-Images (pp. 43-69). London: Arnold.
  • Hebdige, D. (1986). Postmodernism and ‘The Other Side’. Journal of Communication Enquiry 10/2, 88-100.
  • Jameson, F. (1991). Postmodernism or the Cultural Logic of Late Capitalism. London: Verso.
  • Jauss, H. R. (1982). Towards an Aesthetic of Reception. Brighton U.K.: Harvester Press.
  • Juhasz, A. (2001). The Phallus Unfetished. J. Lewis (Ed.), The End of Cinema as We Know it: American Film in the Late Nineties (pp. 210-225). London: New York University Press.
  • Lyotard, J.F. (1979). The Postmodern Condition: a Report on Knowledge (G. Bennington & B. Massumi, Trans.). Manchester: Manchester University Press.
  • Neale, S. (2000). Genre and Hollywood. London: Routledge.
  • Pérez Soler, B. & Lawrenson, E. (2001). Pup Fiction. Sight and Sound 11/5I, 28-30.
  • Phillips, R. (1996). Genre, Star and Auteur: An Approach to Hollywood Cinema. J. Nelmes (Ed.), An Introduction to Film Studies (pp. 121-163). London: Routledge.
  • Ryall, T. (1975/6). Teaching through Genre. Screen Education, 17, 27-33.
  • Said, E. (1993). Culture and Imperialism. London: Chatto & Windus.
  • Sobchack, V. (1997), Postmodern Modes of Ethnicity. P. Brooker & W. Brooker (Eds.), Postmodern After-Images (pp. 101-121). London: Arnold.
  • Sobchack, V. (1998). Lounge Time, Postwar Crises and the Chronotope of Film Noir. N. Browne (Ed.) Refiguring American Film Genres (pp. 45-61). Berkeley: University of California Press.
  • Stam, R. (2000). Film Theory: An Introduction. Oxford: Blackwell.
  • Taylor, C. (1988). Black Cinema in the Post-aesthetic Era. J. Pines & P. Willemen (Eds.), Questions of Third Cinema (pp. 95-110). London: British Film Institute.
  • Tredell, N. (2002). Cinemas of the Mind. London: Icon Books.
  • Tuska, J. (1984). Dark Cinema: American Film Noir in Cultural Perspective. Westport: Greenwood Press.
  • Walsh, M. (1996). Jameson and ‘Global Aesthetics’. D. Bordwell & N. Carroll (Eds.), Post Theory (pp. 472-490). Wisconsin: University of Wisconsin Press.
  • Willis, S. (2000). Style, Posture and Idiom: Tarantino's Figures of Masculinity. C. Gledhill & L. Williams (Eds.), Reinventing Film Studies (pp. 272-289). London: Arnold.
  • Žižek, S. (1993). The Thing that Thinks: the Kantian Background of the Noir Subject. J. Copjec (Ed.), Shades of Noir (pp. 199-226). London: Verso.

Ayrıntılar

Birincil Dil İngilizce
Konular Sanat
Bölüm Makale
Yazarlar

Sibel ÇELİK NORMAN Bu kişi benim (Sorumlu Yazar)
ANADOLU ÜNİVERSİTESİ, İLETİŞİM BİLİMLERİ FAKÜLTESİ
Türkiye

Yayımlanma Tarihi 3 Mayıs 2019
Yayınlandığı Sayı Yıl 2011, Cilt 2, Sayı 1

Kaynak Göster

APA Çelik Norman, S. (2019). POSTMODERNIST FILM: A CINEMATIC GENRE . sinecine: Sinema Araştırmaları Dergisi , 2 (1) , 65-79 . Retrieved from https://dergipark.org.tr/tr/pub/sinecine/issue/44874/558580

sinecine TR DİZİN ve FIAF tarafından taranmaktadır.