The Turin Horse: A Cinematographic Expression of Nietzsche’s Philosophy

Mert Belek

Makale detayları

The Turin Horse: A Cinematographic Expression of Nietzsche’s Philosophy

Yazarlar:

Mert Belek

Yayıncı:

Istanbul University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Filmvisio Issue 5, pp.115-133

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001355432

pISSN:

2980-3101

Anahtar kelimeler:

Özet:

 This study examines how the cinematographic choices made by director Béla Tarr in The Turin Horse A torinói ló, 2011 contribute to philosophical thought production, drawing on Daniel Framptons Filmosophy approach. The primary aim of the study is to determine how the cinematic elements employed in the film are transformed by the film-mind into film-thought and how this transformation contributes to the films philosophical dimension. In line with this objective, selected scenes from the film have been analyzed. As a result of these analyses, it has been observed that director employs long takes and recurring images in order to reflect the temporal structure inherent in Nietzsches concept of eternal recurrence. Through these stylistic choices, Tarr achieves what Deleuze describes as the crystal-image, wherein the past, present, and future converge in a temporal structure that departs from linear chronological time, rendered visible within the film-world. In addition to these choices, Tarr uses moving camera techniques to add rhythm and miseen-scène to the scenes; furthermore, through expressionist lighting and the use of black-and-white negative film, he introduces a dark and unsettling dimension to the overall atmosphere of the film-world. These cinematic strategies demonstrate that the film is not merely an audio-visual construction, but rather, is transformed by the film-mind into a philosophical space of thought. Consequently, The Turin Horse stands as a compelling example of Framptons claim that films are capable of engaging in philosophy in their own unique ways. Through his minimalist and avant-garde cinematic approach, Tarr successfully translates Nietzsches philosophical concepts into a cinematic form, and through the agency of the film-mind, both evokes and prompts reflection on these concepts.

 This study examines how the cinematographic choices made by director Béla Tarr in The Turin Horse A torinói ló, 2011 contribute to philosophical thought production, drawing on Daniel Framptons Filmosophy approach. The primary aim of the study is to determine how the cinematic elements employed in the film are transformed by the film-mind into film-thought and how this transformation contributes to the films philosophical dimension. In line with this objective, selected scenes from the film have been analyzed. As a result of these analyses, it has been observed that director employs long takes and recurring images in order to reflect the temporal structure inherent in Nietzsches concept of eternal recurrence. Through these stylistic choices, Tarr achieves what Deleuze describes as the crystal-image, wherein the past, present, and future converge in a temporal structure that departs from linear chronological time, rendered visible within the film-world. In addition to these choices, Tarr uses moving camera techniques to add rhythm and miseen-scène to the scenes; furthermore, through expressionist lighting and the use of black-and-white negative film, he introduces a dark and unsettling dimension to the overall atmosphere of the film-world. These cinematic strategies demonstrate that the film is not merely an audio-visual construction, but rather, is transformed by the film-mind into a philosophical space of thought. Consequently, The Turin Horse stands as a compelling example of Framptons claim that films are capable of engaging in philosophy in their own unique ways. Through his minimalist and avant-garde cinematic approach, Tarr successfully translates Nietzsches philosophical concepts into a cinematic form, and through the agency of the film-mind, both evokes and prompts reflection on these concepts.

 This study examines how the cinematographic choices made by director Béla Tarr in The Turin Horse A torinói ló, 2011 contribute to philosophical thought production, drawing on Daniel Framptons Filmosophy approach. The primary aim of the study is to determine how the cinematic elements employed in the film are transformed by the film-mind into film-thought and how this transformation contributes to the films philosophical dimension. In line with this objective, selected scenes from the film have been analyzed. As a result of these analyses, it has been observed that director employs long takes and recurring images in order to reflect the temporal structure inherent in Nietzsches concept of eternal recurrence. Through these stylistic choices, Tarr achieves what Deleuze describes as the crystal-image, wherein the past, present, and future converge in a temporal structure that departs from linear chronological time, rendered visible within the film-world. In addition to these choices, Tarr uses moving camera techniques to add rhythm and miseen-scène to the scenes; furthermore, through expressionist lighting and the use of black-and-white negative film, he introduces a dark and unsettling dimension to the overall atmosphere of the film-world. These cinematic strategies demonstrate that the film is not merely an audio-visual construction, but rather, is transformed by the film-mind into a philosophical space of thought. Consequently, The Turin Horse stands as a compelling example of Framptons claim that films are capable of engaging in philosophy in their own unique ways. Through his minimalist and avant-garde cinematic approach, Tarr successfully translates Nietzsches philosophical concepts into a cinematic form, and through the agency of the film-mind, both evokes and prompts reflection on these concepts.

 Bu makalede, Daniel Framptonun Filmozofi yaklaşımından hareketle, yönetmen Béla Tarrın Torino Atı A torinói ló, 2011 filminde yaptığı sinematografik tercihlerin, filmin felsefi düşünce üretimine nasıl katkıda bulunduğu incelenmiştir. Çalışmanın temel amacı, kullanılan sinematografik unsurların, film-zihin tarafından film-düşünceye nasıl dönüştürüldüğünü ve filmin felsefi boyutuna nasıl katkıda bulunduğunu belirlemektir. Bu amaç doğrultusunda, filmdeki belirli sahneler üzerine çözümlemeler yapılmıştır. Bu çözümlemeler sonucunda, Tarrın, Nietzschenin bengi dönüş kavramındaki zamansal yapıyı filmde yansıtabilmek için uzun plan-sekanslar ve tekrar eden imgeler kullandığı görülmüştür. Yönetmenin, bu tercihleriyle Deleuzeün kristal imge olarak tanımladığı, kronolojik zamandan farklı olarak, geçmiş, gelecek ve şimdinin iç içe geçtiği bir zamansallığı, film-dünya içerisinde görünür kılmıştır. Tarr, bu sinematografik tercihlere ek olarak, hareketli kamera kullanımıyla sahnelere ritim ve mizansen kazandırmakta; dışavurumcu ışık kullanımı ve siyah-beyaz negatif film tercihiyle ise film-dünyanın genel atmosferine karanlık ve tekinsiz bir boyut eklemektedir. Bunun gibi sinematografik tercihler, filmin yalnızca görsel-işitsel bir yapıdan ibaret olmadığını, aksine film-zihin tarafından felsefi bir düşünme alanına dönüştürüldüğünü açıkça göstermektedir. Sonuç olarak, Torino Atı filmi, Framptonun filmlerin kendilerine özgü biçimde felsefe yapabileceği yönündeki savının güçlü bir örneğini sunmaktadır. Tarr, minimalist ve avangart film anlayışıyla, Nietzschenin felsefi kavramlarını sinemasal düzleme başarıyla aktarmış; bu kavramları film-zihin aracılığıyla hem duyumsatmış hem de düşündürmüştür.

Makale detayları

The Turin Horse: A Cinematographic Expression of Nietzsche’s Philosophy

Yazarlar:

Mert Belek

Yayıncı:

Istanbul University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Filmvisio Issue 5, pp.115-133

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001355432

pISSN:

2980-3101

Béla Tarr

The Turin Horse

Filmosophy

Nietzsche

cinematographyBéla Tarr

Torino Atı

Filmozof

Nietzsche

sinematograf

Sayı

Makale detayları

Yazarlar: Mert Belek

Yayıncı: Istanbul University

Ana Başlıklar: İletişim ve Medya Çalışmaları (Diğer)

Dergi: Filmvisio Issue 5, pp.115-133

Belge Tipi: Makale

Yayın Tarihi: 7/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001355432

pISSN: 2980-3101

Sayı

Yazarlar:

Mert Belek

Yayıncı:

Istanbul University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Filmvisio Issue 5, pp.115-133

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001355432

pISSN:

2980-3101