BASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR

Classic cinema theorists engorge with two traditions: formalist and realist. We see the reality at the starting point of both forms. Formalist tradition says that cinema must reconstruct the reality by intervening into the reality and commenting it because according to formalist tradition, it’s impo...

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Autor principal: Zehra YİĞİT
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Publicado: Fırat University 2019
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Acceso en línea:https://doaj.org/article/7880e6b6237844e5b5060027b3f3d0a5
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spelling oai:doaj.org-article:7880e6b6237844e5b5060027b3f3d0a52021-11-24T09:21:08ZBASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR2148-416310.9761/jasss_435https://doaj.org/article/7880e6b6237844e5b5060027b3f3d0a52019-08-01T00:00:00Zhttps://jasstudies.com/index.jsp?mod=tammetin&makaleadi=2141213522_yi%C4%9Fitzehra_T.pdf&key=26395https://doaj.org/toc/2148-4163Classic cinema theorists engorge with two traditions: formalist and realist. We see the reality at the starting point of both forms. Formalist tradition says that cinema must reconstruct the reality by intervening into the reality and commenting it because according to formalist tradition, it’s impossible to reflect the reality. Realist tradition says that cinema can reflect the substantial objectively without intervening into the reality. The important representatives of this tradition are Kracauer and Bazin. Cinema in Turkey mostly engorges with oral literature such as tale, saga, folk dances and this circumstance hinders cinema in Turkey from proceeding in the way of reality. It is known that cinema in Turkey has losen notably time to find its own reality. It is determined that some directors have tried to reflect the reality in the society with all faults in their films and they have engorged with realist tradition in terms of form and meaning since the middle of 1990s. Most directors such as Nuri Bilge Ceylan, SemihKaplanoğlu, DervişZaim who make their names with particularly minimal cinema can be analyzed with this theoretical point view. ÖzcanAlper is one of the young directors and his film named Sonbahar (2008) is worthy of consideration as one of the films in this tradition. The theory providing a film to be understood in the rights way offer a common language and background to reviewers, directors and onlookers. This study engorges with realist approach at the point of this common language. It is also aimed to trace the realist cinema in Turkey with Sonbahar through the theoretical pointview of Kracauer specifically. In this context, after the reality in cinema is defined, the relation between cinema and reality in Turkey is going to be assessed. Semiotic method is going to be used in the analysis of the film. As a result, the basic narration Kracauer states, the found story, photographic image, the perception of objective reality take part in the filmic narration of Sonbahar.Zehra YİĞİTFırat Universityarticlekracauersonbaharözcan alperrealist traditionturkish cinemaSocial SciencesHSocial sciences (General)H1-99DEENFRTRJournal of Academic Social Science Studies , Vol 5, Iss 15, Pp 1371-1384 (2019)
institution DOAJ
collection DOAJ
language DE
EN
FR
TR
topic kracauer
sonbahar
özcan alper
realist tradition
turkish cinema
Social Sciences
H
Social sciences (General)
H1-99
spellingShingle kracauer
sonbahar
özcan alper
realist tradition
turkish cinema
Social Sciences
H
Social sciences (General)
H1-99
Zehra YİĞİT
BASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR
description Classic cinema theorists engorge with two traditions: formalist and realist. We see the reality at the starting point of both forms. Formalist tradition says that cinema must reconstruct the reality by intervening into the reality and commenting it because according to formalist tradition, it’s impossible to reflect the reality. Realist tradition says that cinema can reflect the substantial objectively without intervening into the reality. The important representatives of this tradition are Kracauer and Bazin. Cinema in Turkey mostly engorges with oral literature such as tale, saga, folk dances and this circumstance hinders cinema in Turkey from proceeding in the way of reality. It is known that cinema in Turkey has losen notably time to find its own reality. It is determined that some directors have tried to reflect the reality in the society with all faults in their films and they have engorged with realist tradition in terms of form and meaning since the middle of 1990s. Most directors such as Nuri Bilge Ceylan, SemihKaplanoğlu, DervişZaim who make their names with particularly minimal cinema can be analyzed with this theoretical point view. ÖzcanAlper is one of the young directors and his film named Sonbahar (2008) is worthy of consideration as one of the films in this tradition. The theory providing a film to be understood in the rights way offer a common language and background to reviewers, directors and onlookers. This study engorges with realist approach at the point of this common language. It is also aimed to trace the realist cinema in Turkey with Sonbahar through the theoretical pointview of Kracauer specifically. In this context, after the reality in cinema is defined, the relation between cinema and reality in Turkey is going to be assessed. Semiotic method is going to be used in the analysis of the film. As a result, the basic narration Kracauer states, the found story, photographic image, the perception of objective reality take part in the filmic narration of Sonbahar.
format article
author Zehra YİĞİT
author_facet Zehra YİĞİT
author_sort Zehra YİĞİT
title BASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR
title_short BASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR
title_full BASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR
title_fullStr BASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR
title_full_unstemmed BASIC NARRATION CINEMA OF KRACAUER AND SONBAHAR
title_sort basic narration cinema of kracauer and sonbahar
publisher Fırat University
publishDate 2019
url https://doaj.org/article/7880e6b6237844e5b5060027b3f3d0a5
work_keys_str_mv AT zehrayigit basicnarrationcinemaofkracauerandsonbahar
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