Araştırma Makalesi
Yıl 2017,
Sayı: 27, 181 - 195, 29.12.2017
Öz
İkinci Dünya Savaşı sonrası Amerika'da yapılan kara filmler; tarz, içerik ve biçim bakımından farklı ülkelerden etkilenmiştir. Bu etkilenme sonucu kara filmler; suç, karanlık ve çaresizliğin hükmettiği sinemasal evrenler yaratmışlardır. Hikayelerin gerçekleştiği mekanlar, karakterlerin iç dünyasını yansıtmakta ve başlarına gelecek olan korkunç olaylara işaret etmektedirler. Karanlık geçitler, bu bağlamda, kara filmler için anahtar mekan işlevini görmekte ve bu türe ait filmlerin karamsar doruk noktalarına sembolik ev sahipliği yapmaktadırlar. Bu çalışmada kara filmlerde karanlık geçitlerin kullanımı, örnek filmler üzerinden, içerik analizi yöntemi ile incelenmiştir. Bu inceleme sonucunda karanlık geçitlerin, film öyküsünde anlatılan karanlık işlerin simgesel temsili olduğu gözlemlenmiştir. İnsanların gözlerinden uzak, zavallı ruhları yutan şehirlerdeki ıssız hayatların sonlandırıldığı bu karanlık geçitler, kara filmlerde yansıtılmak istenen hissiyat bağlamında oldukça önemli bir yerde durmakta ve bu mekanlarda geçen sahneler filmin aktarmak istediği duygunun özünü barındırmaktadırlar.
Anahtar Kelimeler
Kaynakça
- Bordwell, D., Staiger, J., Thomson, K. (1985). The Classical Hollywood Cinema: Film style & Mode of Production to 1960. New York: Columbia University Press.
- Christopher, N. (1997). Somewhere In the Night: Film Noir and the American City. New York, NY: The Free Press.
- Decker, K. S. (2007). Knockout! Killer’s Kiss, the Somatic and Kubrick. In J. Abrams (Ed.), The Philosophy of Stanley Kubrick (pp. 85-109). Lexington, KY: The University Press of Kentucky.
- Dickos, A. (2002). Streets with No Name: A History of the Classic American Film Noir. Lexington, KY: The University Press of Kentucky.
- Dimendberg, E. (2004). Film Noir and the Spaces of Modernity. Cambridge, Massachusetts: Harvard University Press.
- Duncan, P. (2006). Film Noir: Films of Trust and Betrayal. Herts: Pocket Essentials.
- Ford, L. (1994). Sunshine and Shadow: Lighting and Color in the Depiction of Cities on Film. In S.C. Aitken, L.E. Zonn (Ed.), Places, Power, Situation and Spectacle: A Geography of Film (pp. 119-137). Lanham, MD: Rowman & Littlefield Publishers, Inc.
- Gurko, L. (1953). Heroes, Highbrows and the Popular Mind. Indianapolis: Bobbs-Merrill.
- Hirsch, F. (1981). The Dark Side of the Screen: Film Noir. Cambridge, MA: A.S. Barnes and Company.
- Manon, H. S. (2008). One Watches Cells: Kubrick’s Films Noirs in Context. In G.D. Rhodes (Ed.), Stanley Kubrick: Essays on his Films and Legacy (pp. 47-65). Jefferson, NC and London: McFarland & Company Inc. Publishers.
- Krutnik, F. (1997). In a Lonely Street: Film Noir, Genre, Masculinity. London and New York: Routledge.
- Luhr, W. (1996). The Maltese Falcon. New Brunswich, NJ: Rutgers University Press.
- Naremore, J. (2008). More Than Night: Film Noir in its Context. Berkeley and Los Angeles: University of California Press.
- Park, W. (2011). What is Film Noir?. Lewisburg: Bucknell University Press.
- Schrader, P. (1972) Notes on Film Noir. Film Comment, 8 (1). Retrieved from http://filmgenre.files.wordpress.com/2010/08/notes-of-film-Noir.pdf
- Place, J., Peterson, L. (1996). Some Visual Motifs of Film Noir. In A. Silver and J. Ursini (Eds.), Film Noir Reader (pp. 65-77). New York: Limelight Editions.
Yıl 2017,
Sayı: 27, 181 - 195, 29.12.2017
Öz
Les styles, contenus et formes des films noirs produits aux Etats Unis après la Deuxième Guerre Mondiale ont été influencés par des vagues de cinémas venant de plusieurs pays du monde, y puisant pour créer des mondes cinématiques remplis de crimes, d’obscurités et désespoirs, installant leurs narrations dans des espaces constituants une réflexion du monde intérieur des caractères qui préfigurent des horreurs latentes; faisant ainsi des ruelles sombres des locations clefs, théâtres des scènes climaciques. L’analyse de l’utilisation de ces ruelles sombres, par le prisme de films noirs exemplaires, montre qu’elles y existent pour être le lieu d’actes sombres, où loin des regards, dans ces villes qui les happent, les pauvres âmes, perdues dans leurs vies de désolation seront à jamais exterminées.
Anahtar Kelimeler
Kaynakça
- Bordwell, D., Staiger, J., Thomson, K. (1985). The Classical Hollywood Cinema: Film style & Mode of Production to 1960. New York: Columbia University Press.
- Christopher, N. (1997). Somewhere In the Night: Film Noir and the American City. New York, NY: The Free Press.
- Decker, K. S. (2007). Knockout! Killer’s Kiss, the Somatic and Kubrick. In J. Abrams (Ed.), The Philosophy of Stanley Kubrick (pp. 85-109). Lexington, KY: The University Press of Kentucky.
- Dickos, A. (2002). Streets with No Name: A History of the Classic American Film Noir. Lexington, KY: The University Press of Kentucky.
- Dimendberg, E. (2004). Film Noir and the Spaces of Modernity. Cambridge, Massachusetts: Harvard University Press.
- Duncan, P. (2006). Film Noir: Films of Trust and Betrayal. Herts: Pocket Essentials.
- Ford, L. (1994). Sunshine and Shadow: Lighting and Color in the Depiction of Cities on Film. In S.C. Aitken, L.E. Zonn (Ed.), Places, Power, Situation and Spectacle: A Geography of Film (pp. 119-137). Lanham, MD: Rowman & Littlefield Publishers, Inc.
- Gurko, L. (1953). Heroes, Highbrows and the Popular Mind. Indianapolis: Bobbs-Merrill.
- Hirsch, F. (1981). The Dark Side of the Screen: Film Noir. Cambridge, MA: A.S. Barnes and Company.
- Manon, H. S. (2008). One Watches Cells: Kubrick’s Films Noirs in Context. In G.D. Rhodes (Ed.), Stanley Kubrick: Essays on his Films and Legacy (pp. 47-65). Jefferson, NC and London: McFarland & Company Inc. Publishers.
- Krutnik, F. (1997). In a Lonely Street: Film Noir, Genre, Masculinity. London and New York: Routledge.
- Luhr, W. (1996). The Maltese Falcon. New Brunswich, NJ: Rutgers University Press.
- Naremore, J. (2008). More Than Night: Film Noir in its Context. Berkeley and Los Angeles: University of California Press.
- Park, W. (2011). What is Film Noir?. Lewisburg: Bucknell University Press.
- Schrader, P. (1972) Notes on Film Noir. Film Comment, 8 (1). Retrieved from http://filmgenre.files.wordpress.com/2010/08/notes-of-film-Noir.pdf
- Place, J., Peterson, L. (1996). Some Visual Motifs of Film Noir. In A. Silver and J. Ursini (Eds.), Film Noir Reader (pp. 65-77). New York: Limelight Editions.
Yıl 2017,
Sayı: 27, 181 - 195, 29.12.2017
Öz
The post-war American noir films were influenced by a variety of filmmaking styles, contents and forms, generating from different countries. The films used all these influences to create a cinematic world filled with crime, darkness and despair. The spaces in which the stories unfolded reflected the inner world of characters and foreshadowed the horrible things that were to happen. The alleyway in this sense is a key location for noir films because it is the symbolic space in which the somber climax of the films unfolds. The use of the alleyway has been examined in exemplary noir films through a formal textual analysis. The analysis has demonstrated that the alleyways are spaces that are used to realize dark deeds; far from the eyes of the public, poor souls are wiped out, their desolate existences ending in the dark cities where they lived alienated lives.
Anahtar Kelimeler
Kaynakça
- Bordwell, D., Staiger, J., Thomson, K. (1985). The Classical Hollywood Cinema: Film style & Mode of Production to 1960. New York: Columbia University Press.
- Christopher, N. (1997). Somewhere In the Night: Film Noir and the American City. New York, NY: The Free Press.
- Decker, K. S. (2007). Knockout! Killer’s Kiss, the Somatic and Kubrick. In J. Abrams (Ed.), The Philosophy of Stanley Kubrick (pp. 85-109). Lexington, KY: The University Press of Kentucky.
- Dickos, A. (2002). Streets with No Name: A History of the Classic American Film Noir. Lexington, KY: The University Press of Kentucky.
- Dimendberg, E. (2004). Film Noir and the Spaces of Modernity. Cambridge, Massachusetts: Harvard University Press.
- Duncan, P. (2006). Film Noir: Films of Trust and Betrayal. Herts: Pocket Essentials.
- Ford, L. (1994). Sunshine and Shadow: Lighting and Color in the Depiction of Cities on Film. In S.C. Aitken, L.E. Zonn (Ed.), Places, Power, Situation and Spectacle: A Geography of Film (pp. 119-137). Lanham, MD: Rowman & Littlefield Publishers, Inc.
- Gurko, L. (1953). Heroes, Highbrows and the Popular Mind. Indianapolis: Bobbs-Merrill.
- Hirsch, F. (1981). The Dark Side of the Screen: Film Noir. Cambridge, MA: A.S. Barnes and Company.
- Manon, H. S. (2008). One Watches Cells: Kubrick’s Films Noirs in Context. In G.D. Rhodes (Ed.), Stanley Kubrick: Essays on his Films and Legacy (pp. 47-65). Jefferson, NC and London: McFarland & Company Inc. Publishers.
- Krutnik, F. (1997). In a Lonely Street: Film Noir, Genre, Masculinity. London and New York: Routledge.
- Luhr, W. (1996). The Maltese Falcon. New Brunswich, NJ: Rutgers University Press.
- Naremore, J. (2008). More Than Night: Film Noir in its Context. Berkeley and Los Angeles: University of California Press.
- Park, W. (2011). What is Film Noir?. Lewisburg: Bucknell University Press.
- Schrader, P. (1972) Notes on Film Noir. Film Comment, 8 (1). Retrieved from http://filmgenre.files.wordpress.com/2010/08/notes-of-film-Noir.pdf
- Place, J., Peterson, L. (1996). Some Visual Motifs of Film Noir. In A. Silver and J. Ursini (Eds.), Film Noir Reader (pp. 65-77). New York: Limelight Editions.
Toplam 16 adet kaynakça vardır.
Ayrıntılar
| Bölüm | Makaleler |
|---|---|
| Yazarlar | |
| Yayımlanma Tarihi | 29 Aralık 2017 |
| Yayımlandığı Sayı | Yıl 2017Sayı: 27 |
Cited By
- Makale Dosyaları
