İran sinemasında bir auteur: Cafer Panahi
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Dosyalar
Tarih
2024
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Necmettin Erbakan Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu çalışma, film çekmesi yasaklanan İranlı yönetmen Cafer Panahi’nin sinemasını, auteur kuram çerçevesinde incelemiştir. Çalışma yönetmenin senaryosunu yazdığı ve yönetmeniliğini üstlendiği Beyaz Balon (Badkonake Sefid, 1995), Ayna (Ayneh, 1997), Daire (Dayereh, 2000), Ofsayt (Offside, 2006), Bu Bir Film Değil (2011), Kapalı Perde (Pardé, 2013) Taksi Tahran (Taxi Tehran, 2015), Üç Hayat (Se Rokh, 2018) ve Ayı Yok (Khers Nist, 2022) olmak üzere dokuz film ile sınırlandırılmıştır. İnceleme aşamasında filmler kronolojik sırayla izlenmiş, filmlerin konuları, filmlerin tematik ve biçimsel özelliklerine ulaşılmıştır. Panahi’nin sinemasında engel, baskı, direniş, arayış, özgürlük, intihar, suç, ceza, sınırlar, hapsedilme, evlilik, çatışma ve dayanışma gibi temaların sıklıkla tekrar ettiği tespit edilmiştir. Ayrıca yönetmenin filmlerinde kültürel miras ve batıl inançlara yer verdiği görülmüştür. Panahi’nin sinemasında şiddet unsurlarının yer aldığı, ancak bu şiddetin kapalı kapılar ardında işlendiği ve seyircilere sadece şiddetin izlerinin gösterildiği belirlenmiştir. Yönetmen, filmlerinde hem kendi eserlerine hem de dünya sinemasına çeşitli göndermeler yaparak zengin bir anlatı dünyası kurmuştur. Anlatı yapısında ise kurmaca ile belgesel arasındaki geçişken bir yapı dikkat çekmektedir. Panahi’nin filmlerinde süreklilik arz eden biçimsel özellikler arasında, açılış ve kapanış sahnelerindeki dairesel döngü yapısı, karanlık ekranla başlayan ve sesle ilerleyen anlatım biçimi, uzun plan kullanımı, gerçek zaman akışı, diegetik ses ve müzik tercihleri ile yasaklanma sürecinden önce ve sonra değişen tek mekan kullanımı yer almıştır. Çalışmada elde edilen bulgular doğrultusunda Cafer Panahi’nin, film çekmesinin yasaklanmasına rağmen filmlerinde sanatına ödün vermediği, biçimsel ve içeriksel açıdan estetik bir duruş sergilediği sonucuna ulaşılmıştır. Bu doğrultuda Panahi’nin, bir auteur yönetmen olarak kabul edilebileceği tespit edilmiştir.
This study analyzes the cinema of Iranian director Jafar Panahi, who was banned from making films, within the framework of auteur theory. The study is limited to nine films written and directed by the director, including White Balloon (Badkonake Sefid, 1995), Mirror (Ayneh, 1997), The Circle (Dayereh 2000), Offside (2006), This is Not a Film (2011), Closed Curtain (Pardé, 2013), Taxi Tahran (Taksi Tehran, 2015), Three Lives (Se Rokh, 2018) and No Bears (Khers Nist, 2022). In the analysis phase, the films were watched in chronological order and the subjects, thematic and stylistic features of the films were obtained. It was found that themes such as obstacle, oppression, resistance, search, freedom, suicide, crime, punishment, borders, imprisonment, marriage, conflict and solidarity recur frequently in Panahi’s cinema. It was also observed that the director includes cultural heritage and superstitions in his films. It has been determined that Panahi’s cinema contains elements of violence, but this violence is committed behind closed doors and only the traces of violence are shown to the audience. The director has built a rich narrative world by making various references to both his own works and world cinema in his films. The narrative structure is characterized by a transitional structure between fiction and documentary. Among the stylistic features that are continuous in Panahi’s films are the circular loop structure in the opening and closing scenes, the narrative style that starts with a dark screen and progresses with sound, the use of long shots, real time flow, diegetic sound and music preferences, and the use of a single location that changed before and after the banning process. In line with the findings of the study, it was concluded that despite being banned from making films, Jafar Panahi did not compromise on his art in his films and displayed an aesthetic stance in terms of form and content. Accordingly, it has been determined that Panahi can be accepted as an auteur director.
This study analyzes the cinema of Iranian director Jafar Panahi, who was banned from making films, within the framework of auteur theory. The study is limited to nine films written and directed by the director, including White Balloon (Badkonake Sefid, 1995), Mirror (Ayneh, 1997), The Circle (Dayereh 2000), Offside (2006), This is Not a Film (2011), Closed Curtain (Pardé, 2013), Taxi Tahran (Taksi Tehran, 2015), Three Lives (Se Rokh, 2018) and No Bears (Khers Nist, 2022). In the analysis phase, the films were watched in chronological order and the subjects, thematic and stylistic features of the films were obtained. It was found that themes such as obstacle, oppression, resistance, search, freedom, suicide, crime, punishment, borders, imprisonment, marriage, conflict and solidarity recur frequently in Panahi’s cinema. It was also observed that the director includes cultural heritage and superstitions in his films. It has been determined that Panahi’s cinema contains elements of violence, but this violence is committed behind closed doors and only the traces of violence are shown to the audience. The director has built a rich narrative world by making various references to both his own works and world cinema in his films. The narrative structure is characterized by a transitional structure between fiction and documentary. Among the stylistic features that are continuous in Panahi’s films are the circular loop structure in the opening and closing scenes, the narrative style that starts with a dark screen and progresses with sound, the use of long shots, real time flow, diegetic sound and music preferences, and the use of a single location that changed before and after the banning process. In line with the findings of the study, it was concluded that despite being banned from making films, Jafar Panahi did not compromise on his art in his films and displayed an aesthetic stance in terms of form and content. Accordingly, it has been determined that Panahi can be accepted as an auteur director.
Açıklama
Yüksek Lisans Tezi
Anahtar Kelimeler
Auteur Kuram, Cafer Panahi, İran Sineması, Yasaklı Yönetmen, Auteur Theory, Jafar Panahi, Iranian Cinema, Banned Director
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Arslan, E. (2024). İran sinemasında bir auteur: Cafer Panahi. (Yayımlanmamış yüksek lisans tezi). Necmettin Erbakan Üniversitesi, Sosyal Bilimler Enstitüsü Sinema ve Televizyon Anabilim Dalı, Konya.
