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Modemizmi Seyretmek Avrupa Sanat Sineması, 1950 -1980

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Modemizmi Seyretmek Avrupa Sanat Sineması, 1950 -1980 ANDRÁS BÁL1NT KOVÁCS Modemizmi Seyretmek Avrupa Sanat Sineması, 1950 -1980 Çeviren: Ertan Yılmaz Screening Modernism European Art Cinema, 1950-1980 Andrâs Bâlint Kovâcs, Budapeşte Eotvos Üniversitesinde film çalışmaları profesörü ve Paris'teki Macaristan Enstitüsü'nün yöneticisidir. ANDRAS BALI NT KOVACS MODERN İZMİ SEYRETMEK Avrupa Sanat Sineması, 1950 -1980 Çeviren: Ertan Yılmaz De Ki / 47 MODERNIZMI SEYRETMEK Avrupa Sanat Sineması 1950-1980 Andrâs Bâlint Kovâcs ® De Ki Basım Yayım Ltd. Şti., 2010. 0 The University of Chicago Press, 2007 5846 Sayılı Fikir ve Sanat Eserleri Kanunu uyarınca her hakkı saklıdır. De Ki Basım Yayım Ltd. Şti.'nin yazılı izni olmaksızın kısmen veya tamamen çoğaltılamaz. Dizi Editörü: Ali Karadogan İngilizceden Çeviren: Ertan Yılmaz Yayına Hazırlayan: Ali Karadogan Teknik Hazırlık: Binali Mansur Kapak Tasarımı: İLEF Reklâm Atölyesi Baskı: Cantekin Matbaası (0 312 384 3435) Birinci Baskı: Ekim 2010 (1100 Adet) ISBN: 978-9944-492-47-8 Bandrol Seri No Aralığı: SKB-VZR 48604'ten SKB-VZR 49703'e kadar. De Ki Basım Yayım Ltd. Şti. İlkyerleşim Mahallesi, 1938 Sokak, Güzel Sıla Sitesi, B Blok No: 8 OSTİM-BATIKENT/ANKARA Tel-Fax: + 90 312 386 27 58 [email protected] • www.deki.com.tr Babama İÇİNDEKİLER Anmak istediklerim Çiriş 1 KISIM BİR: Modern Nedir? 5 1 MODERNİZMİ KURAMLAŞTIRMAK 7 Modern 8 Modernizm 11 Avangard 14 Sinema ve Modernizm: İlk Karşılaşma 16 Sanat Filminin Kurumlaşması 20 Modernist Sanat Sineması ve Avangard 27 2 SİNEMADA KLASİK/MODERN AYRIMI KURAMLARI 35 Stil Analizcileri 36 Evrimciler 40 Modern Sinema ve Deleuze 42 Bitmemiş Bir Proje Olarak Modernizm 46 KISIM İKİ: Modernizmin Biçimleri 51 3 MODERN SANAT SİNEMASI: STİL Mİ, HAREKET Mİ? 53 4 MODERN SİNEMADA ANLATIM 59 Klasiğe Karşı Modernist Sanat Filmleri 64 Soyut Bireyin Yabancılaşması 69 Modern Sinemada 'Birey' Kimdir? 71 Tesadüfün Rolü 74 Açık-Uçlu Anlatı 81 Anlatı Yörüngesi Modelleri: Doğrusal, Dairesel, Spiral 82 5 MODERN SİNEMADA TÜR 87 Melodram ve Modernizm 89 Arasöz: Sartre ve Hiçlik Felsefesi 95 Modern Bir Melodram: Antonioni'nin Batan Güneş Filmi 102 Diğer Türler ve Yinelenen Olay Örgüsü Unsurları 104 Araştırma/Soruşturma 105 Gezinme/Yolculuk 7 07 Zihinsel Yolculuk 108 Çeçen Yıl Marienbad'da: Anlatımın Belirsizliği 17 7 Kapalı-Durum Dramı 7 7 8 Satir/Tiir Parodisi 12 7 Deneme Filmi 123 6 MODERN BİÇİMLERİN MODELLERİ 127 Temel Biçim: Devamlılık ve Devamsızlık 129 Radikal Devamlılık 135 Geçen Yıl Marienbad'da Filminde Hayali Zaman 137 Radikal Devamsızlık 139 Godard'a Göre Parçalı Biçim , 139 Dizisel Biçim 143 7 M O D E R N İZM İN STİLLERİ 149 Minimalist Stiller 149 Bresson Stili 150 Soyut Öznellik ve 'Model' 155 Bresson ve Takipçileri 156 Analitik Minimalizm: Antonioni Stili 157 Ruhsal Manzara mı? 158 Devamlılık 162 Antonioni ve Takipçileri 165 Dokunaklı Minimalizm 171 8 DO Ğ ALCI STİLLER 179 Yeni-Gerçekçilik Sonrası 180 Sinema-Gerçek 181 'Yeni Dalga'Stili 183 9 DEKORATİF STİLLER 185 10 TEATRAL STİLLER 203 11 MODERN SİNEMADA EĞİLİMLER 215 Modem Sinemanın Soyağacı 221 K IS IM Ü Ç : Modernizmm Ortaya Çıkışı ve Yayılması (1949 -1958) 227 12 ELEŞTİREL KENDİNİ YANSITMA ya da AUTEURÜN DOĞUŞU 229 Auteurün Doğuşu 230 Kendini Yansıtmanın Tarihsel Biçimleri 237 Eleştirel Kendini Yansıtmanın Ortaya Çıkışı: Bergman'ın Zindan Filmi 240 Kendini Yansıtma ve Soyutlama: Modem Sinema ve Yeni Roman 244 13 TEATRALİN GERİ DÖNÜŞÜ 251 Soyut Drama 254 14 ÖYKÜNÜN İSTİKRARSIZLAŞMASI 257 Dış-Ses Anlatım 258 Klasik Anlatının Sona Ermesi: Kara Film ve Modernizm 259 Öykü Alternatifleri: Hitchcock 261 Alternatif Öznel Anlatı: Rashomon 264 15 KLASİK BİÇİME BİR ALTERNATİF: YENİ-GERÇEKÇİLİK VE MODERNİZM 267 Yeni-Gerçekçiliğin Sonu 268 Bir Aşkın Öyküsü'nde Modernizm: Yeni-Gerçekçilik Kara Film İle Buluşuyor 270 Rossellini: 'Yeni-Gerçekçi Mucize' 274 KISIM DÖRT: Modern Sinemanın Kısa Tarihi (1959 - 1979) 287 16 ROM ANTİK DÖNEM, 1959-1961 289 Yeni-Gerçekçilik: Referans Noktası 290 Doğu Avrupa: Sosyalist Gerçekçilikten Yeni-Gerçekçiliğe Doğru 296 Kahramanlığa Karşı Modernizm 298 Jerry Kavvalerovvicz: İlk Modern PolonyalI Auteur 301 1959 Yılı 305 Romantik Modernizmin Biçimleri 308 ilk Yıllarda Tür ve Anlatım 310 Ses ve Görüntü 313 Arka Plan ve Ön Plan 316 Hiroşima Sevgilim'den Çeçen Yıl Marienbad'da'ya: Modernizm ve Seçkinlerin Sineması 319 'Yeni Sinema'nın Yapım Sistemi 322 17 YERLEŞMİŞ MODERNİZM, 1962 -1966 327 1962 Civarında Batı Avrupa 327 1962'nin Anahtar Filmi: Fellini'nin 8 ’A Filmi 333 Orta Avrupa 340 Çekoslovak Grotesk Gerçekçiliği 342 'Orta Avrupa Deneyimi' 345 lancsö ve Dekoratif Biçim 348 Özet 355 18 1966 YILI 357 Auteur'ün Yalnızlığı 361 19 POLİTİK M O DERN İZM , 1967 -1975 369 1968 Yılı 370 Kavramsal Modernizm: Auteurün Yeni Dünyası 375 Gerçekliği Yeniden Oluşturmak 377 Karşı-Sinema: Doğrudan Auteur Söylevi Olarak Anlatım 384 Doğrudan Politik Eylemin Bir Aracı Olarak Film 389 Alegorik Söylev 392 Teorema 394 Auteurün Özel Mitolojisi 398 Politik Modernizmin Öz-eleştirisi: Tatlı Sinema 401 Özet 404 20 "AUTEURÜN Ö LÜ M Ü " 405 Modernizmin Sonu: Ayna 408 Ayna ve Dizisel Yapı 410 Hiçliğin Yok Oluşu 416 Seçilmiş Kaynakça 423 Ek: Modern Sinemanın Bir Zamandizini 429 Film Adları İçin Not: Yazar kitabında adını verdiği onlarca filmin birkaç istisna dışında yalnızca İngilizcesini vermiş. Biz bu kurala uymadık. Filmin ilk geçtiği yerde, varsa ülkemizde gösterildiği Türkçe adını, parantez içinde hangi ülkede yapıldıysa o dildeki adını, köşeli parantez içinde İngilizce adını ve yazarın verdiği gösterime giriş tarihini verdik. Ancak eğer Türkiye’de gösterilmemişse ve Türkçe adı yoksa, örneğin bir Macar, İsveç ya da Polonya filminin adının okuyucuya bir şey ifade etmeyeceğini düşünerek ilk geçtikleri yerde parantez içinde İngilizcesini verdik ve daha sonra geçtiklerinde ise orijinal adını kullandık. Özellikle Fransız Yeni Dalga ve kimi durumlarda İtalyan filmleri söz konusu olduğunda ise bu kuralı uygulamadık. Çünkü örneğin GodardTn, Truffaut’nun, Resnais’in ya da Yeni- Gerçekçi filmlerin, Antonioni’nin ve Fellini’nin filmlerinin zaten sinema tarihine mal olduğunu ve bilindiğini varsaydığımız için, yazarın yaptığının tersine ilk geçtikleri yerde sadece Türkçe adlarını ve orijinal adlarını kullanmayı ve metin boyunca da Türkçe adlarını vermeyi tercih ettik. Filmlerin orijinal adlarının ve varsa Türkçe karşılıklarının bulunması DEÜ, GSF, Film Tasarımı Bölümü’nde görev yapan Araştırma Görevlisi Zehra Zıraman tarafından özenle yapılmıştır. Bu nedenle kendisine teşekkür ederiz. Ertan Yılmaz Anmak İstediklerim Buna benzer bir kitap düşüncesi neredeyse genç bir araştırmacı olduğum günlerden bu yana benimle birlikte olmuştur. Yirmi yıl önce Paris’te Michel Marie’ye bundan bahsettiğimde, sadece “Hm, trèz ambitieux” (Hm, çok hırslı) dedi. Bu düşünceye yeniden dönmeye cesaret etmeden önce yirmi yıl geçti. 1996’da Michal Friedman’ın nazik davetiyle Tel Aviv’deki Blurred Boundaries konferansında sinemadaki modemizm ile ilgili düşüncelerimin ilk taslağı olan bir bildiri sundum. Daniel Dayan’ın ve özellikle Dana Polan’ın bu bildiri üzerine cesaret verici yorumları beni bu projenin bazı yanlarını geliştirmek için galiba doğru yolda olduğuma ikna etti. Yoğun ve sistematik araştırmaya başlamayı ciddi biçimde düşünmeye başladım. 1998’de bölümlerin ilk taslaklarını yazdım, ancak hâlâ bu projeyle nereye varacağımdan emin değildim ve doğma büyüme İngilizce konuşan biri olmadığım için, bu kitabı İngilizce yazamayacağım kaygısını yaşadım. İlk taslaklarımı okuyan ve sabırla düzelten iki sevgili dostum Nancy Wood ve David Rodowick beni çalışmaya devam etmeye teşvik ve ikna etti. Çalışmamın sonraki evrelerinde de onların değerli yorumlarına güvenebildim. Araştırmamda bana yardım eden birkaç insana ve kuruma teşekkür borçluyum. İlk olarak bir Fulbright bursu ABD’de beş ay boyunca rahatça araştırma yapmamı sağladı. University of Wisconsin, Madison ve University of Southern California beni ağırladı ve cömert bir şekilde zengin kaynak malzemelerine erişmemi sağladılar, bu nedenle özellikle David Bordwell’e ve Dana Polan’a müteşekkirim. Paris’teki ilk araştırmamı bu kentte geçirdiğim dört yıl boyunca çalışmanın her aşamasında gitmeyi sürdürdüğüm Bibliothèque de l’Arsénale ve Bibliothèque du Film’de yaptım. UCLA’nın (University of California, Los Angeles) film ve video koleksiyonuna erişmemde bana yardım eden Gyula Gazdag’a teşekkür ederim. Budapeşte’de Magyar Nemzeti Filmarchivum ve özellikle Kata Szlauko araştırmama önemli ölçüde yardımcı oldu. Zürih’teki ve Budapeşte’deki Pro Helvetia Foundation cömert bir biçimde ender bulunan İsviçre filmlerini sağladı. ABD’deki iki ticari video mağazasına da minnettarım: Madison, Wisconsin’deki Four Star Video Heaven ve Santa Monica, California’daki Vidiots. Onların muhteşem ve kapsamlı Avrupa sanat filmleri video koleksiyonları bu kitabı yazarken sürekli olarak belleğimi tazelemeye ve bilgimi derinleştirmeye yardım etti. Farklı bölümler birçok meslektaşım ve arkadaşım tarafından okundu ve baştan sona yorumlandı. Özellikle Miklôs Almâsi, Bêla Bascö, Péter Balassa, Péter Galicza, Gâbor Gelencsér, Torben Grodal, Péter György, Jenö Kirâly, Sândor Radnôti, Jôzsef Tamâs Reményi, Andrâs Rényi, Johannnes Riis, Bill Rothman, Ben Singer, Melinda Szalôky, Tom Gunning, Balâzs Varga, Ginette Vincendeau ve Anna Wessely’ye teşekkür ediyorum. Filmografi araştırmasına yardımı nedeniyle Dora Börscsök’e, İtalyancadan İngilizceye bazı çevirilerime yardımı nedeniyle Deborah Lyons’a ve özellikle de bazı acemice İngilizce cümleleri ve tutarsızlıkları düzeltmede olağanüstü titiz çalışması nedeniyle University of Chicago Press’de editör olan Maia Rigas’a minnettarım. Özellikle üç kişiye
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