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Masumiyet Ve Pek Yakinda

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Masumiyet Ve Pek Yakinda KADİR HAS ÜNİVERSİTESİ LİSANSÜSTÜ EĞİTİM ENSTİTÜSÜ SİNEMA VE TELEVİZYON PROGRAMI YENİ TÜRKİYE SİNEMASINDA ÖZDÜŞÜNÜM: MASUMİYET VE PEK YAKINDA AHMET KIZIL DANIŞMAN: DR. ÖĞR. ÜYESİ ESİN PAÇA CENGİZ YÜKSEK LİSANS TEZİ İSTANBUL, AĞUSTOS, 2019 YENİ TÜRKİYE SİNEMASINDA ÖZDÜŞÜNÜM: MASUMİYET VE PEK YAKINDA AHMET KIZIL DANIŞMAN: DR. ÖĞR. ÜYESİ ESİN PAÇA CENGİZ YÜKSEK LİSANS TEZİ İletişim Bilimleri Anabilim Dalı, Sinema ve Televizyon Programı’nda Yüksek Lisans derecesiiçin gerekli kısmi şartların yerine getirilmesi amacıyla Kadir Has Üniversitesi Lisansüstü Eğitim Enstitüsü’ne teslim edilmiştir. İSTANBUL, AĞUSTOS, 2019 İÇİNDEKİLER ÖZET .......................................................................................................................... V ABSTRACT ................................................................................................................. Vİ GİRİŞ ........................................................................................................................... 1 BÖLÜM 1: ANLATI YAPILARI VE SİNEMADA ÖZDÜŞÜNÜM .......................................... 4 1.1. Anlatı Yapıları............................................................................................................ 5 1.1.1. Klasik anlatı yapısı ............................................................................................ 5 1.1.2. Brecht estetiği ve anlatı yapısı ......................................................................... 8 1.1.3. Sinemada anlatı yapısı ................................................................................... 10 1.2. Sinemada Özdüşünüm.............................................................................................13 1.2.1. Özdüşünüm nedir? ......................................................................................... 13 1.2.2. Türkiye sinemasında özdüşünüm ve film sektörü .......................................... 15 1.2.3. Yeni Türkiye sinemasında özdüşünüm ve film sektörü .................................. 20 BÖLÜM 2: MASUMİYET VE PEK YAKINDA FİLMLERİNDE ÖZDÜŞÜNÜM KULLANIMININ İNCELENMESİ ............................................................................................................ 24 2.1. Masumiyet : ‘‘Film Bu Mehmet Abi Film! Milleti Ağlatmak İçin Yalandan Yapıyorlar.’’.................. ................................................... ............................................. 25 2.1.1. Filmin biçimsel yapısı ..................................................................................... 26 2.2.2. Masumiyet filminde özdüşünüm kullanımının anlatıya etkileri ..................... 28 2.2. Pek Yakında: ‘’Bakalım Arzular Zafere Dönecek mi?’’............................................. 51 2.2.1. Filmin biçimsel yapısı ..................................................................................... 53 2.2.2. Pek Yakında filminde özdüşünüm kullanımının anlatıya etkileri ................... 54 SONUÇ ...................................................................................................................... 72 KAYNAKLAR .............................................................................................................. 75 ÖZGEÇMİŞ ................................................................................................................ 80 iii GÖRSELLER DİZİNİ Görsel 2.1 ................................................................................................................................... 29 Görsel 2.2 ................................................................................................................................... 30 Görsel 2.3 ................................................................................................................................... 32 Görsel 2.4 ................................................................................................................................... 34 Görsel 2.5 ................................................................................................................................... 37 Görsel 2.6 ................................................................................................................................... 38 Görsel 2.7 ................................................................................................................................... 38 Görsel 2.8 ................................................................................................................................... 39 Görsel 2.9 ................................................................................................................................... 41 Görsel 2.10 ................................................................................................................................. 42 Görsel 2.11 ................................................................................................................................. 43 Görsel 2.12 ................................................................................................................................. 45 Görsel 2.13 ................................................................................................................................. 46 Görsel 2.14 ................................................................................................................................. 46 Görsel 2.15 ................................................................................................................................. 47 Görsel 2.16 ................................................................................................................................. 48 Görsel 2.17 ................................................................................................................................. 49 Görsel 2.18 ................................................................................................................................. 50 Görsel 2.19 ................................................................................................................................. 50 Görsel 2.20 ................................................................................................................................. 51 Görsel 2.21 ................................................................................................................................. 55 Görsel 2.22 ................................................................................................................................. 59 Görsel 2.23 ................................................................................................................................. 60 Görsel 2.24 ................................................................................................................................. 63 Görsel 2.25 ................................................................................................................................. 64 Görsel 2.26 ................................................................................................................................. 67 Görsel 2.27 ................................................................................................................................. 68 Görsel 2.28 ................................................................................................................................. 69 Görsel 2.29 ................................................................................................................................. 70 Görsel 2.30 ................................................................................................................................. 71 iv ÖZET KIZIL, AHMET. YENİ TÜRKİYE SİNEMASINDA ÖZDÜŞÜNÜM: MASUMİYET VE PEK YAKINDA, YÜKSEK LİSANS TEZİ, İstanbul, 2019. Bu tezde; yeni Türkiye sinemasında sıklıkla uygulanan özdüşünüm kullanımının anlatıya etkileri incelenmiştir. Tezde, yeni Türkiye sinemasında özdüşünüm kullanımının, film sektöründeki koşul ve krizler ile ilintili olduğu iddia edilmektedir. Tezin çıkış noktası, yeni Türkiye sinemasında özdüşünüm hangi amaçla kullanılmıştır sorusudur. Çalışmanın amacı, yeni Türkiye sinemasındaki özdüşünüm kullanımının, sektörel krizlerle ortaya çıkıp, anlatılarını Yeşilçam ve Türkiye sineması dönemlerine bakarak yeniden kurduklarını tartışmaktır. Bu amaç dahilinde, yeni Türkiye sinemasında yer alan iki örnek, Masumiyet (Zeki Demirkubuz, 1996) ve Pek Yakında (Cem Yılmaz, 2014) filmlerindeki özdüşünüm kullanımı, biçimsel analiz yöntemiyle incelenmiştir. Yapılan analizler sonucunda, Masumiyet’te anlatıya etki eden özdüşünüm kullanımı; filmin özdeşleşme kurulacak sahnelerinde televizyon aracılığıyla öncüllenerek yapılmaktadır. Pek Yakında filminde özdüşünüm kullanımı ise Yeşilçam sinemasıyla nostaljik bir bağ kurarak üretim-dağıtım zinciri koşullarının değişmediğini göstermek için kullanıldığı görülmektedir. Anahtar Sözcükler: yeni Türkiye sineması, yeşilçam, özdüşünüm v ABSTRACT KIZIL, AHMET. SELF-REFLEXİVE IN NEW TURKEY CINEMA: MASUMİYET AND PEK YAKINDA.MASTER THESIS, Istanbul, 2019. This study investigates that the impacts of the self reflexive methods constantly applied at the New Turkish Film on the narration. In this thesis, the use of self-reflexive Turkey in the new movie, is alleged to be associated with the condition and the crisis in the film industry. The question of this study is to find the intended purpose of self reflexivity at the new Turkish film. This analysis interrogates that the self reflexive aspects arising from the sectorial crisis in
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