Nuri Bilge Ceylan filmlerinde Dekadans
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Dosyalar
Tarih
2020
Yazarlar
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Yayıncı
Ege Üniversitesi, Sosyal Bilimleri Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Genel anlamıyla yozlaşma, çürüme, çözülme, düşüş ve çöküşe ilişkin bir fenomen olan dekadansın kökleri, düşünsel zeminde antik toplumların mitoslarına ve inanç sistemlerine kadar gitmektedir. Dekadans fenomeni, kavramsal düzeyde ilk olarak Roma İmparatorluğu'nun gerileme döneminde tarihsel gerileme, sosyal çürüme ve estetik bayağılık ekseninde; kültür, sanat ve politika gibi farklı alanlarda baş gösteren çok boyutlu çözülme, yozlaşma ve çöküşü açıklamak için kullanılmıştır. Modernite ile birlikte dekadans fenomeni, dekadan sanat akımlarına çıkış zemini sunmuş ve modernizm içinde yeni estetik tarzların oluşumuna olanak tanımıştır. Söz konusu süreçte Alman düşünür Friedrich Nietzsche, dekadans fenomenini felsefi projesinin merkezi sorunu olarak ele alarak, dekadans kavramının felsefede geniş kapsamlı biçimde irdelenmesine olanak sunmuştur. Felsefe alanında insan realitesine dair varoluşsal bir sorun olarak tartışılan dekadans fenomeni, sinema için de önemli bir tema oluşturmaktadır. Bu bağlamda II. Dünya Savaşı'ndan sonra gelişen düşünce ağırlıklı sanat sinemasında insan realitesinin açıklanması ve yaşamın anlamı gibi sorunların tasvirinde dekadans fenomeninin temel alındığı görülmektedir. Bu eksende tezin birinci bölümünde, dekadans kavramının anlamı, düşünsel zemini ve tarihsel süreç içindeki gelişimi açıklanmaktadır. Tezin ikinci bölümünde, Nietzsche'nin felsefesinde dekadansın anlam ve önemi; filozofun felsefesindeki güç istenci, nihilizm, değerlerin yeniden değerlendirilmesi, bengi dönüş, ahlâkın kökeni gibi kavramlar ekseninde açıklanmaktadır. Tezin üçüncü bölümünde, araştırmanın yöntemi açıklanmakta ve düşünce ağırlıklı sanat filmleri kategorisi içinde ulusötesi düzeyde kabul gören Nuri Bilge Ceylan'ın Koza (1995), Kasaba (1997), Mayıs Sıkıntısı (1999), Uzak (2002), İklimler (2006), Üç Maymun (2008), Bir Zamanlar Anadolu'da (2011), Kış Uykusu (2014) ve Ahlat Ağacı (2018) filmleri, dekadans kavramı bağlamında irdelenmektedir.
The roots of decadence, which is a phenomenon related to corruption, decay, disintegration, fall and decline in the general sense, may be traced back to the mythos and belief systems of ancient societies on intellectual background. The decadence phenomenon has been firstly used on a conceptual basis to explain the multidimensional disintegration, corruption and decline arising in various fields such as culture, art and politics in the direction of historical regression, social corruption and aesthetical banality during the regression period of Roman Empire. With modernity, the phenomenon of decadence has made the emergence of decadent art movements and formation of new aesthetical styles possible within the scope of modernism. Within this process, German philosopher Friedrich Nietzsche has been paved the way for the concept of decadence to be analyzed comprehensively in philosophy by taking it as the central question of his philosophical project. Discussed as an existential problem with regards to the reality of humanity within the field of philosophy, the decadence phenomenon is also a substantial theme for cinema. In this context, it can be seen that the decadence phenomenon has been used as the basis in the portrayal of the meaning of life, as well as describing the reality of humankind on philosophy-oriented art movies emerging after World War II. Within this direction, the meaning of decadence concept, its intellectual basis and its development in the historical process are explained in the first chapter of the thesis. In the second chapter of the thesis, the meaning and significance of decadence in Nietzsche's philosophy are explained in the context of concepts such as the will to power, nihilism, re-examination of values, eternal recurrence, roots of morality in his philosophy. In the third chapter of the thesis, the methodology of the research is explained and the films of Nuri Bilge Ceylan, recognized director on an international level within the scope of philosophy-oriented art films category, "Cocoon (1995), The Small Town (1997), Clouds of May (1999), Distant (2002), Climates (2006), Three Monkeys (2008), Once Upon a Time in Anatolia (2011), Winter Sleep (2014) and The Wild Pear Tree (2018)" are analyzed within the scope of the decadence concept.
The roots of decadence, which is a phenomenon related to corruption, decay, disintegration, fall and decline in the general sense, may be traced back to the mythos and belief systems of ancient societies on intellectual background. The decadence phenomenon has been firstly used on a conceptual basis to explain the multidimensional disintegration, corruption and decline arising in various fields such as culture, art and politics in the direction of historical regression, social corruption and aesthetical banality during the regression period of Roman Empire. With modernity, the phenomenon of decadence has made the emergence of decadent art movements and formation of new aesthetical styles possible within the scope of modernism. Within this process, German philosopher Friedrich Nietzsche has been paved the way for the concept of decadence to be analyzed comprehensively in philosophy by taking it as the central question of his philosophical project. Discussed as an existential problem with regards to the reality of humanity within the field of philosophy, the decadence phenomenon is also a substantial theme for cinema. In this context, it can be seen that the decadence phenomenon has been used as the basis in the portrayal of the meaning of life, as well as describing the reality of humankind on philosophy-oriented art movies emerging after World War II. Within this direction, the meaning of decadence concept, its intellectual basis and its development in the historical process are explained in the first chapter of the thesis. In the second chapter of the thesis, the meaning and significance of decadence in Nietzsche's philosophy are explained in the context of concepts such as the will to power, nihilism, re-examination of values, eternal recurrence, roots of morality in his philosophy. In the third chapter of the thesis, the methodology of the research is explained and the films of Nuri Bilge Ceylan, recognized director on an international level within the scope of philosophy-oriented art films category, "Cocoon (1995), The Small Town (1997), Clouds of May (1999), Distant (2002), Climates (2006), Three Monkeys (2008), Once Upon a Time in Anatolia (2011), Winter Sleep (2014) and The Wild Pear Tree (2018)" are analyzed within the scope of the decadence concept.
Açıklama
Anahtar Kelimeler
Dekadans, İnsan Realitesi, Felsefe, Sinema, Nuri Bilge Ceylan Filmleri, Decadence, Reality of Humankind, Philosophy, Cinema, Nuri Bilge Ceylan Films