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Metropolis Revisited: Dialectic of Enlightenment, Modernity and Architectural Modernizm

Yıl 2013, Sayı: 10, 59 - 70, 01.07.2013

Öz

Theodor Adorno and Max Horkheimer asserted that the project of enlightenment which itself is already totalitarian aimed to overthrow the myths from the human mind and to install human beings as masters reverted to mythology at the end, in their master work ‘Dialectic of Enlightment: Philosophical Fragments’ (1947). As artistic products of Enlightment Project, cinema and architecture of early twentieth century affirmed Adorno and Horkheimer’s thesis. Fritz Lang’s Metropolis (1927)’s multi-layered messages enables us to comprehend the relationships between Enlightment as a paratigmatic change, Modernity as a historical period, Architectural Modernism as an artistic style which is a product of this paradigm and this historical period. In this film, dialectics of Enlightment/mitology and Architectural Modernism/historical content entwined. In reality, the tension between utopian futuristic architecture based on machine aesthetics of Metropolis and its distopian techno-totaliterian social order reflected the tension between utopian characteristic of Modern Avant-garde in architecture who rejects to use historical styles and historical content as mitology

Kaynakça

  • Abrams, Jerold. J. (2007). “The Dialectic of Enlightenment in Metropolis” Philosohy of Popular Culture: Philosophy of Science Fiction Film, ed. Sanders, Lexington, KY: University of Kentucky, s: 153-170.
  • Adorno, Theodor, W. Horkheimer, Max. (2010). Aydınlanmanın Diyalektiği, çev. Elif Öztarhan, Nihat Ülner, İstanbul: Kabalcı Yayınevi.
  • Albrecht, Donald (1996). “New York, Old York: The Rise and Fall of a Celluloid City”. in Film Architecture: Set Designs from Metropolis to Blade Runner, (ed) D. Neumann, New York, Munich: Prestel- Verlag, s: 39-47.
  • Balla Giaccomo, Depero Fortunato (2001). “The Futurist Reconstruction of the Universe.1915. Futurist Manifestoes, ed. Umbro Apollonio, Thames and Hudson, s: 197-200.
  • Banham, Reyner (1980). Theory and Design in the First Machine Age, Cambridge: MIT Press.
  • Baudrillard, Jean (1994). Simulacra and Simulation, trans. S. F. Glaser, Ann Arbor: University of Michigan Press.
  • Coleman, Nathaniel (2010). “The Peculiar Adventure of Utopia: Discourses of Modern Architecture in the 20th Century and Today”. International Society for the Philosophy of Architecture. http://isparchitecture.wordpress.com. (17.11.2012)
  • Colquhoun, Alan (1990) Mimari Eleştiri Yazıları, çev. A. Cengizkan, Ankara: Ş.V.M.V. Yayınları.
  • Dostoğlu, N. T. (2001) “Ütopya, Kent ve Mimarlık Üzerine Düşünceler”. Arredamento Mimarlık, 5: 73-76.
  • Jacobsen, Wolfgang, Sudendorf, Werner (2000). Metropolis: A Cinematic Laboratory for Modern Architecture, Stutgard, London: Axel Menges.
  • Jameson, Fredric (2005). Archaeologies of the future: The desire called utopia and other science fictions, London: Verso.
  • Kaes, Anton (1993). “Metropolis: City, Cinema, Modernity”. Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy, ed.Timothy O. Benson, Los Angeles: Los Angeles County Museum of Art, s: 146-165.
  • ______ (2009). Shell Shock Cinema: Weimar Culture and the Wounds of War, Princeton: Princeton University Press.
  • Le Corbusier, (2010). Bir Mimarlığa Doğru, çev. Serpil Merzi, İstanbul: YKY.
  • Milner, A. (2009). “Changing the Climate: The Politics of Dystopia”. Continuum: Journal of Media & Cultural Studies. 23: 827-838.
  • More, Thomas (2001). Utopia, trans. C. Miller, New Haven: Yale University Press.
  • Neumann, Dietrich (1996). “Before and After Metropolis: Film and Architecture in Search of the Modern City”. Film Architecture: Set Designs from Metropolis to Blade Runner, ed. Dietrich Neumann, New York, Munich: Prestel-Verlag, s: 33-38.
  • Roberts, Ian (2004). “Caligari Revisited: Circles, Cycles and Counter- Revolution in Robert Wiene’s Das Cabinet Des Dr. Caligari”, German Life and Letters 57 (2): 175-187.
  • Thompson, Kristin, Bordwell, David (2003). Film History: an Introduction, New York: McGraw-Hill Companies Inc.
  • Vidler, Anthony (1996). “The Explosion of Space: Architecture and Filmic Imaginary”. Film Architecture: Set Designs from Metropolis to Blade Runner, ed. Dietrich Neumann, New York, Munich: Prestel-Verlag, s: 13-25. İnternet Kaynakları
  • IMDB; Fritz Lang http://www.imdb.com/name/nm0000485/ (17.11.2012)
  • Stanford Encyclopedia of Philosophy; Theodor W. Adorno http://plato.stanford.edu/entries/adorno/ (17.11.2012)
  • Stanford Encyclopedia of Philosophy; Max Horkheimer http://plato.stanford.edu/entries/horkheimer/ (17.11.2012)
  • Paralax Görsel Kültür Arşivi 006, Cook, John, J. (2000) “Sessiz Sinemanın Kinetiği: Yirminci Yüzyılın Başlarında Sinema ve Hareket İlişkisi”. Çev. O. C. Çetin. http://www.hezarfen.net/paralax/006cooktr.htm (12.06.2013) Görsel Kaynaklar
  • Fotoğraf 1. Walter Gropius, Monument to the March Dead, 1921. http://en.wikipedia.org/wiki/File:Monument_to_the_March_ dead.jpg.
  • Fotoğraf 2. Metropolis filminde kalbi simgeleyen dev gong (Filmden kesit).
  • Fotoğraf 3. Sol: New York Kentinden görüntü http://newyorkresidence.co.uk/default_uk.aspx Sağ: Metropolis filminde kent (Filmden kesit).
  • Fotoğraf 4. Sol: Metropolis filmi afişinde kent, Orta: Giacomo Balla, Speeding-Automobile, 1913. h t t p : / /w w w. s a s . u p e n n . e d u / ~ j e n g l i s h /C o u r s e s / Spring02/104/Balla_SpeedingCar1.jpg Sağ: New York University Faculty Class Web Sites, Futurism sayfası http://www.nyu.edu/classes/reichert/sem/city/futurism. html
  • Fotoğraf 5. Metropolis filminde kent (Filmden kesit).
  • Fotoğraf 6. Antonio Sant’Elia, Citta Nuova, 1912-1914. http://www.nyu.edu/classes/reichert/sem/city/futurism. html
  • Fotoğraf 7. Metropolis filminde M-Makine ve işçiler (Filmden kesit).
  • Fotoğraf 8. Rotwang, laboratuarı ve robot Maria (Filmden kesit).
  • Fotoğraf 9. Sol ve Orta: Robot Maria, Yushiwara gece klübü, erkeklerin Maria’nın dansına tepkileri (Filmden kesit). Sağ: Giacomo Balla, Velocita D’Automobile + Luci, http://www.thecityreview.com/s07simp1.html

Metropolis Filmi: Aydınlanmanın Diyalektiği, Modernite, Mit ve Modern Mimari

Yıl 2013, Sayı: 10, 59 - 70, 01.07.2013

Öz

Theodor Adorno ve Max Horkheimer, ‘Aydınlanma’nın Diyalektiği: Felsefi Fragmanlar’ (1947) adlı yapıtlarında, Aydınlanma projesinin yapısı gereği totaliter olduğunu ve mitolojiyi insan düşüncesinden kovmuş olmasına rağmen kendisinin mite gerilediğini öne sürmektedirler. Aydınlanma paradigmasının ürünü olan birer sanat dalı olarak erken 20. yüzyıl sineması ve mimarlık, Adorno ve Horkheimer’in bu savlarını doğrulamaktadırlar. Fritz Lang’in Metropolis (1927) adlı filmi; bir paradigma değişimi olarak Aydınlanma’nın, tarihsel bir dönem olarak Modernite’nin ve bu tarihsel döneme özgü bir üslup olarak Modern Mimari hareketin birbirleri ile ilişkilerinin çözümlenebilmesine olanak sağlayan çok katmanlı bir anlamsal yapıya
sahiptir. Filmde Aydınlanma-mitoloji ile Modern Mimari-tarihsel içerik diyalektikleri paralel olarak işlenmiştir. Filmdeki, Metropolis’in makine estetiğine dayalı fütüristik ütopik mimarisi ile distopik tekno-totaliter toplumsal düzen arasındaki gerilim, gerçekte tarihsel üsluplardan yararlanmayı reddeden Modern Mimari hareketin ütopik karakteri ile mitoloji olarak tarihsel birikim arasındaki gerilimi yansıtmaktadır.

Kaynakça

  • Abrams, Jerold. J. (2007). “The Dialectic of Enlightenment in Metropolis” Philosohy of Popular Culture: Philosophy of Science Fiction Film, ed. Sanders, Lexington, KY: University of Kentucky, s: 153-170.
  • Adorno, Theodor, W. Horkheimer, Max. (2010). Aydınlanmanın Diyalektiği, çev. Elif Öztarhan, Nihat Ülner, İstanbul: Kabalcı Yayınevi.
  • Albrecht, Donald (1996). “New York, Old York: The Rise and Fall of a Celluloid City”. in Film Architecture: Set Designs from Metropolis to Blade Runner, (ed) D. Neumann, New York, Munich: Prestel- Verlag, s: 39-47.
  • Balla Giaccomo, Depero Fortunato (2001). “The Futurist Reconstruction of the Universe.1915. Futurist Manifestoes, ed. Umbro Apollonio, Thames and Hudson, s: 197-200.
  • Banham, Reyner (1980). Theory and Design in the First Machine Age, Cambridge: MIT Press.
  • Baudrillard, Jean (1994). Simulacra and Simulation, trans. S. F. Glaser, Ann Arbor: University of Michigan Press.
  • Coleman, Nathaniel (2010). “The Peculiar Adventure of Utopia: Discourses of Modern Architecture in the 20th Century and Today”. International Society for the Philosophy of Architecture. http://isparchitecture.wordpress.com. (17.11.2012)
  • Colquhoun, Alan (1990) Mimari Eleştiri Yazıları, çev. A. Cengizkan, Ankara: Ş.V.M.V. Yayınları.
  • Dostoğlu, N. T. (2001) “Ütopya, Kent ve Mimarlık Üzerine Düşünceler”. Arredamento Mimarlık, 5: 73-76.
  • Jacobsen, Wolfgang, Sudendorf, Werner (2000). Metropolis: A Cinematic Laboratory for Modern Architecture, Stutgard, London: Axel Menges.
  • Jameson, Fredric (2005). Archaeologies of the future: The desire called utopia and other science fictions, London: Verso.
  • Kaes, Anton (1993). “Metropolis: City, Cinema, Modernity”. Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy, ed.Timothy O. Benson, Los Angeles: Los Angeles County Museum of Art, s: 146-165.
  • ______ (2009). Shell Shock Cinema: Weimar Culture and the Wounds of War, Princeton: Princeton University Press.
  • Le Corbusier, (2010). Bir Mimarlığa Doğru, çev. Serpil Merzi, İstanbul: YKY.
  • Milner, A. (2009). “Changing the Climate: The Politics of Dystopia”. Continuum: Journal of Media & Cultural Studies. 23: 827-838.
  • More, Thomas (2001). Utopia, trans. C. Miller, New Haven: Yale University Press.
  • Neumann, Dietrich (1996). “Before and After Metropolis: Film and Architecture in Search of the Modern City”. Film Architecture: Set Designs from Metropolis to Blade Runner, ed. Dietrich Neumann, New York, Munich: Prestel-Verlag, s: 33-38.
  • Roberts, Ian (2004). “Caligari Revisited: Circles, Cycles and Counter- Revolution in Robert Wiene’s Das Cabinet Des Dr. Caligari”, German Life and Letters 57 (2): 175-187.
  • Thompson, Kristin, Bordwell, David (2003). Film History: an Introduction, New York: McGraw-Hill Companies Inc.
  • Vidler, Anthony (1996). “The Explosion of Space: Architecture and Filmic Imaginary”. Film Architecture: Set Designs from Metropolis to Blade Runner, ed. Dietrich Neumann, New York, Munich: Prestel-Verlag, s: 13-25. İnternet Kaynakları
  • IMDB; Fritz Lang http://www.imdb.com/name/nm0000485/ (17.11.2012)
  • Stanford Encyclopedia of Philosophy; Theodor W. Adorno http://plato.stanford.edu/entries/adorno/ (17.11.2012)
  • Stanford Encyclopedia of Philosophy; Max Horkheimer http://plato.stanford.edu/entries/horkheimer/ (17.11.2012)
  • Paralax Görsel Kültür Arşivi 006, Cook, John, J. (2000) “Sessiz Sinemanın Kinetiği: Yirminci Yüzyılın Başlarında Sinema ve Hareket İlişkisi”. Çev. O. C. Çetin. http://www.hezarfen.net/paralax/006cooktr.htm (12.06.2013) Görsel Kaynaklar
  • Fotoğraf 1. Walter Gropius, Monument to the March Dead, 1921. http://en.wikipedia.org/wiki/File:Monument_to_the_March_ dead.jpg.
  • Fotoğraf 2. Metropolis filminde kalbi simgeleyen dev gong (Filmden kesit).
  • Fotoğraf 3. Sol: New York Kentinden görüntü http://newyorkresidence.co.uk/default_uk.aspx Sağ: Metropolis filminde kent (Filmden kesit).
  • Fotoğraf 4. Sol: Metropolis filmi afişinde kent, Orta: Giacomo Balla, Speeding-Automobile, 1913. h t t p : / /w w w. s a s . u p e n n . e d u / ~ j e n g l i s h /C o u r s e s / Spring02/104/Balla_SpeedingCar1.jpg Sağ: New York University Faculty Class Web Sites, Futurism sayfası http://www.nyu.edu/classes/reichert/sem/city/futurism. html
  • Fotoğraf 5. Metropolis filminde kent (Filmden kesit).
  • Fotoğraf 6. Antonio Sant’Elia, Citta Nuova, 1912-1914. http://www.nyu.edu/classes/reichert/sem/city/futurism. html
  • Fotoğraf 7. Metropolis filminde M-Makine ve işçiler (Filmden kesit).
  • Fotoğraf 8. Rotwang, laboratuarı ve robot Maria (Filmden kesit).
  • Fotoğraf 9. Sol ve Orta: Robot Maria, Yushiwara gece klübü, erkeklerin Maria’nın dansına tepkileri (Filmden kesit). Sağ: Giacomo Balla, Velocita D’Automobile + Luci, http://www.thecityreview.com/s07simp1.html
Toplam 33 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Araştırma Makaleler
Yazarlar

Berrin Akgün Yüksekli Bu kişi benim

Yayımlanma Tarihi 1 Temmuz 2013
Gönderilme Tarihi 16 Ocak 2015
Yayımlandığı Sayı Yıl 2013 Sayı: 10

Kaynak Göster

APA Akgün Yüksekli, B. (2013). Metropolis Filmi: Aydınlanmanın Diyalektiği, Modernite, Mit ve Modern Mimari. Yedi(10), 59-70.

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