Michael Haneke'nin film teorisi ve dramatik düşünce tarihi ile olan ilişkisi

Abstract

Bu calisma Michael Haneke sinemasinda var oldugu dusunulen sorumluluk duygusunun hangi yapilarla olusturuldugunu belirlemek icin basladi fakat filmler arasinda gorulen dramaturjik ve bicimsel paralellikler nedeniyle Michael Haneke’nin genel bir film teorisi olarak son buldu. calismanin dusunce tarihi bolumundeki basliklari Aristoteles Bertolt Brecht Nicolai Hartman ve Marksist Estetik olarak belirlendi. Ardindan teatral acidan aciklanan bu yapilarla sinematografinin iliskisi kuruldu. Son bolumde ise Michael Haneke’nin uc filminin derinlemesine analizi yapilarak Michael Haneke sinemasinin teorik altyapisi aciklanmaya calisildi. Secilen filmler performans ile gerceklik arasinda kurduklari iliski bakimindan incelemeye daha cok imkan verdigi icin secilmistir. Bu filmler Yedinci Kita (1989) Funny Games (1997) ve Sakli (2005)’dir.

This study began as an effort to define the underlying structures which generate the sense of responsibility of the audience? that is considered to be in Michael Haneke's cinema, yet, due to the dramaturgical and formal parallelisms between the films, it resulted as a general theory on Michael Haneke's cinema. The titles for the history of thought section were designated as Aristoteles, Bertolt Brecht, Nicolai Hartmann and Marxist Aesthetics, followed by their explanations based on a theatrical perspective and their relations with cinematography. In the last section, three of his films have been thoroughly analyzed for explaining the theoretical basis of Michael Haneke's cinema. Due to the fact that those were the films that are more accommodating for their relations between performance and reality, they were specifically chosen for this study. The films are Seventhy Continent (1989), Funny Games(1997) and Hidden (2005).