SavedAdd your journal

Journals / Türkiye Film Araştırmaları Dergisi / 2024 / Cilt: 4 Sayı: 2

Emerging Realist Tendencies in New Turkish Cinema through Magical, Spiritual, and Anthropocene Lenses

Yeni Türk Sinemasında Büyülü, Manevi ve Antroposen Yaklaşımlarıyla Ortaya Çıkan Gerçekçilik Eğilimleri

İclal Can Gürbüz(Başkent Üniversitesi)0000-0002-8970-9651
Pages
154–170
Publication Date
2024-12-31
🏛️Bibliographic metadata and full text access for this article are provided via DergiPark.
DergiPark Record ↗
✨

AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

Using the close reading method, the study reveals how Ünlü integrates fantastical elements into ordinary settings, how Kaplanoğlu addresses spiritual and metaphysical themes, and how Erdem reflects ethical dilemmas regarding human-environment relations.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:This study examines the emerging forms of reality through the lenses of Magical Realism, Spiritual Realism, and Anthropocene Realism in contemporary Turkish cinema.
📊
Key Findings & Data:Through the films of Onur Ünlü, Semih Kaplanoğlu, and Reha Erdem, it analyzes how these directors construct their cinematic worlds and reinterpret reality.
💡
Conclusion & Impact:Using the close reading method, the study reveals how Ünlü integrates fantastical elements into ordinary settings, how Kaplanoğlu addresses spiritual and metaphysical themes, and how Erdem reflects ethical dilemmas regarding human-environment relations.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:Büyülü Gerçekçilik · Manevi Gerçekçilik · Antroposen Gerçekçilik

Abstract

This study examines the emerging forms of reality through the lenses of Magical Realism, Spiritual Realism, and Anthropocene Realism in contemporary Turkish cinema. Through the films of Onur Ünlü, Semih Kaplanoğlu, and Reha Erdem, it analyzes how these directors construct their cinematic worlds and reinterpret reality. Using the close reading method, the study reveals how Ünlü integrates fantastical elements into ordinary settings, how Kaplanoğlu addresses spiritual and metaphysical themes, and how Erdem reflects ethical dilemmas regarding human-environment relations.

Özet

Bu çalışma, çağdaş Türk sinemasında Büyülü Gerçekçilik, Manevi Gerçekçilik ve Antroposen Gerçekçilik perspektiflerinden gelişen gerçeklik türlerini incelemektedir. Onur Ünlü, Semih Kaplanoğlu ve Reha Erdem’in filmleri üzerinden, bu yönetmenlerin filmsel dünyalarını nasıl tasarlayıp oluşturdukları ve gerçekliği nasıl yeniden yorumladıkları analiz edilmektedir. Yakın okuma yöntemiyle yapılan bu çalışma, Ünlü’nün fantastik unsurları sıradan mekânlarda entegrasyonu, Kaplanoğlu’nun spiritüel ve metafizik temaları ve Erdem’in insan-çevre ilişkilerine dair etik ikilemleri nasıl yansıttığı ortaya koymaktadır.

🔖

Cite This Article

Gürbüz, İ. C. (2024). Emerging Realist Tendencies in New Turkish Cinema through Magical, Spiritual, and Anthropocene Lenses. Türkiye Film Araştırmaları Dergisi, Cilt: 4 Sayı: 2, 154–170. https://doi.org/10.59280/film.1562568

📄 Full Text PDF Viewer

📄

PDF görüntüleyici hazırlanıyor...

References (63)

  1. Arau, A. (Director). (1991). Like Water for Chocolate [Film]. Miramax Films.
  2. Ak, M. (2012). Semih Kaplanoğlu sinemasında metafor kullanımı [Unpublished master’s thesis, Erciyes University]. YÖK Tez Merkezi.
  3. Balcı, K. & Demirkıran, E. (2005). Sinema dine sarılıyor. Aksiyon, 545, 40-49.
  4. Bazin, A. (1967). What is cinema? (Vol. 1). University of California Press.
  5. Bazin, A. (1997). William Wyler, or the Jansenist of directing. In B. Cardullo (Ed.), Bazin at work: Major essays and reviews from the forties and fifties (1-22). Routledge.
  6. Bell-Villada, G. H. (1990). García Márquez: The man and his work. University of North Carolina Press.
  7. Bergman, I. (Director). (1957). The seventh seal [Film]. Svensk Filmindustri.
  8. Bertozzi, E. (2012). A still life of the wildest things: Magic(al) realism in contemporary Chinese cinema and the reconfiguration of the jishizhuyi style. Journal of Chinese Cinemas, 6(2), 153-172.
  9. Bowers, M. A. (2004). Magic(al) realism. Routledge.
  10. Bresson, R. (Director). (1951). Diary of a country priest [Film]. Gaumont.
  11. Bresson, R. (Director). (1966). Au hasard Balthazar [Film]. Argos Films.
  12. Büyükdüvenci, S. & Öztürk, S. R. (2007). Yeni Türk sinemasında estetik arayışı, Felsefe Dünyası, (46), 45-49.
  13. Celli, C. & Cottino-Jones, M. (2007). A new guide to Italian cinema. Palgrave Macmillan.
  14. Cox, D. (2016). Lensing what’s left: Scenes from the anthropocenema. Otherzine. http://www.othercinema.com/otherzine/lensing-whats-left-scenes-from-the-anthropocene/
  15. Crutzen, P. J. & Stoermer, E. F. (2000). The “Anthropocene”. Global Change Newsletter, 41, 17-18.
  16. Cuarón, A. (Director). (2013). Gravity [Film]. Warner Bros. Pictures.
  17. Çiçekoğlu, F. (2003). A pedagogy of two ways of seeing: A confrontation of “word and image” in My name is red. Journal of Aesthetic Education, 37(3), 1–20.
  18. Daldal, A. (2013). Yılmaz Güney: The road to hope and Umut. Turkish Film Studies, 8(1), 180-196.
  19. De Luca T. M. (2011). Realism of the senses: A tendency in contemporary world cinema (Unpublished doctoral dissertation) University of Leeds.
  20. De Sica, V. (Director). (1948). Ladri di biciclette [Film]. Produzioni De Sica.
  21. Del Toro, G. (Director). (2006). Pan’s Labyrinth [Film]. Warner Bros. Pictures.
  22. Deleuze, G. (1989). Cinema 2: The time image. University of Minnesota Press.
  23. Devarrieux, C. (2009). Ayna: Sanatçı bir asalak gibi çocuğuyla beslenir. In J. Gianvito (Ed.), Şiirsel sinema: Andrey Tarkovski (E. Kılıç, Trans.). Agora.
  24. Emmerich, R. (Director). (2004). The day after tomorrow [Film]. 20th Century Fox.
  25. Erdem, R. (Director). (2008). Hayat var [Film]. Atlantik Film.
  26. Erdem, R. (Director). (2009). Kosmos [Film]. Atlantik Film.
  27. Erdem, R. (Director). (2013). Jin [Film]. Atlantik Film.
  28. Erdem, R. (Director). (2013). Şarkı Söyleyen Kadınlar [Film]. Atlantik Film.
  29. Fay, J. (2018). Inhospitable world: Cinema in the time of the Anthropocene. Oxford University Press.
  30. García Márquez, G. (1970). One hundred years of solitude (G. Rabassa, Trans.). Harper & Row.
  31. Gergerlioğlu, H. S. (2013). Semih Kaplanoğlu Sineması Üzerine Sosyolojik Bir Deneme [Unpublished master’s thesis, Selçuk University]. YÖK Tez Merkezi.
  32. Godard, J.-L., & Miéville, A.-M. (Directors). (2000). The Old Place [Film]. Museum of Modern Art. Güney, Y. (Director). (1970). Umut [Film]. Güney Filmcilik.
  33. Haraway, D. (2016). Staying with the trouble: Making kin in the Chthulucene. Duke University Press.
  34. Joon-ho, B. (Director). (2013). Snowpiercer [Film]. CJ Entertainment.
  35. Kara, S. (2014). Beasts of the digital wild: Primordigital cinema and the question of origins. Sequence: Serial Studies in Media, Film and Music, 1(4).
  36. Kara, S. (2016). Anthropocenema: Cinema in the age of mass extinctions. Journal of Ecocriticism, 6(1), 22-24.
  37. Karabağ, Ç. (2013). Jin, yaşam, tutsaklık. Amargi, 31.
  38. Kaplanoğlu, S. (Director). (2007). Yumurta [Film]. Kaplan Film.
  39. Kaplanoğlu, S. (Director). (2008). Süt [Film]. Kaplan Film.
  40. Kaplanoğlu, S. (Director). (2010). Bal [Film]. Kaplan Film.
  41. Kaplanoğlu, S. (Director). (2017). Buğday [Film]. Kaplan Film.
  42. Kibar, Y. (2013). Kosmos: İnsan-üstünün izinde. Bakınız.
  43. Kona, P. (2010). The spiritual cinema of Andrei Tarkovsky. Off Screen, 14(12).
  44. Kracauer, S. (1974). Theory of film: The redemption of physical reality. Oxford University Press.
  45. Lefévre, R. (1986). Ingmar Bergman. (C. Akalın Trans.), Afa.
  46. Malick, T. (Director). (2011). The tree of life [Film]. Fox Searchlight Pictures.
  47. Neilson, T. (2020). Imagining the Anthropocene. Routledge.
  48. Osmanoğlu, Ö. (2018). Tarkovsky sinemasında sanat ve maneviyat ilişkisi: Andrei Rublev üzerine bir inceleme, TRT Akademi, 3(5).
  49. Rousseau, D. (2012). Could spiritual realism map a scientifically plausible ontology? SMN/SSE Conference, Drogheda, Ireland.
  50. Süner, A. (2014). The new aesthetic of Muslim spirituality in Turkey: Yusuf’s trilogy by Semih Kaplanoğlu. In C. Ungureanu, C. Brădăţan (Eds.), Religion in contemporary European cinema: The postsecular constellation. Routledge.
  51. Tarkovsky, A. (Director). (1966). Andrei Rublev [Film]. Mosfilm.
  52. Tarkovsky, A. (1983). Nostalghia. Italy/Russia: Mosfilm.
  53. Tarkovsky, A. (1986). Sculpting in Time: Reflections on the Cinema. University of Texas Press.
  54. Tarkovsky, A. (Director). (1979). Stalker [Film]. Mosfilm.
  55. Tarkovsky, A. (1975). Zerkalo (The Mirror). Russia: Mosfilm.
  56. Tokul, A. (2016). Kosmos, Film eleştirisi. http://www.filmelestirisi.com/elestiri/kosmos
  57. Turan, H. (2011). Onur Ünlü: İnsanın kendini ciddiye alması en büyük felaket. Hayal Perdesi, 11-12, 24-33. http://www.hayalperdesi.net/soylesi/48-insanin-kendisini-ciddiye-almasi-en-buyuk-felaket.aspx Ünlü, O. (Director). (2007). Polis [Film]. Eflatun Film.
  58. Ünlü, O. (Director). (2008). Güneşin oğlu [Film]. Eflatun Film.
  59. Ünlü, O. (Director). (2013). Sen aydınlatırsın geceyi [Film]. Eflatun Film.
  60. Wollen, P. (1972). Signs and meaning in the cinema. Secker & Warburg.
  61. Yengin, A. S. (2012, November 2). Toplumsal değil insani değerlere ihtiyacımız var. Akşam Gazetesi. http://www.aksam.com.tr/cumartesi/toplumsal-degil-insani-degerlere-ihtiyacimiz-var--147537h/haber-147537
  62. Yılmaz, A. (Director). (1986). Ah Belinda [Film]. Erman Film.
  63. Zamora, L. P. & Faris, W. B. (1995). Magical realism: Theory, history, community. Duke University Press.