FROM THE PERSPECTIVE OF ART PHILOSOPHY FROM THE PERSPECTIVE OF ART PHILOSOPHY, THE CRYSTAL FLOW OF TIME AND THE POLITICS OF SILENCE IN INGMAR BERGMAN'S FILM THE SILENCE (1963)

Evrim Nacar

Makale detayları

FROM THE PERSPECTIVE OF ART PHILOSOPHY FROM THE PERSPECTIVE OF ART PHILOSOPHY, THE CRYSTAL FLOW OF TIME AND THE POLITICS OF SILENCE IN INGMAR BERGMAN'S FILM THE SILENCE (1963)

Yazarlar:

Evrim Nacar

Yayıncı:

Hacettepe University

Ana Başlıklar:

Ekran ve Dijital Medya (Diğer)

Dergi:

Sanat Yazıları Issue 51, pp.625-636

Belge Tipi:

Makale

Yayın Tarihi:

11/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001332135

pISSN:

2458-8903

Anahtar kelimeler:

Özet:

 In this study, the phenomenon of silence in Ingmar Bergmans Faith Trilogy is aimed to be interpreted not only as a form of personal introspection but also as a political allegory. In this context, the final film of the trilogy, The Silence 1963, is regarded as part of an experience that emerges with new interpretations and meanings in its historical transmission and encounter with the audience. In the evaluation of the film, the construction of a single theory is not pursued; instead, the focus is placed on the process of interpreting the film by referencing the hermeneutic method. From the perspective of the philosophy of art, the films cultural, historical, and artistic background has been evaluated alongside its visual symbols and narrative structure. As a result of this evaluation, it has been identified how the norms, values and beliefs of the culture and time in which the film was made are reflected in the film. In this context, the symbolic elements and narrative structure of the film have been analyzed in relation to the socio-cultural and historical context of the period.

 In this study, the phenomenon of silence in Ingmar Bergmans Faith Trilogy is aimed to be interpreted not only as a form of personal introspection but also as a political allegory. In this context, the final film of the trilogy, The Silence 1963, is regarded as part of an experience that emerges with new interpretations and meanings in its historical transmission and encounter with the audience. In the evaluation of the film, the construction of a single theory is not pursued; instead, the focus is placed on the process of interpreting the film by referencing the hermeneutic method. From the perspective of the philosophy of art, the films cultural, historical, and artistic background has been evaluated alongside its visual symbols and narrative structure. As a result of this evaluation, it has been identified how the norms, values and beliefs of the culture and time in which the film was made are reflected in the film. In this context, the symbolic elements and narrative structure of the film have been analyzed in relation to the socio-cultural and historical context of the period.

 In this study, the phenomenon of silence in Ingmar Bergmans Faith Trilogy is aimed to be interpreted not only as a form of personal introspection but also as a political allegory. In this context, the final film of the trilogy, The Silence 1963, is regarded as part of an experience that emerges with new interpretations and meanings in its historical transmission and encounter with the audience. In the evaluation of the film, the construction of a single theory is not pursued; instead, the focus is placed on the process of interpreting the film by referencing the hermeneutic method. From the perspective of the philosophy of art, the films cultural, historical, and artistic background has been evaluated alongside its visual symbols and narrative structure. As a result of this evaluation, it has been identified how the norms, values and beliefs of the culture and time in which the film was made are reflected in the film. In this context, the symbolic elements and narrative structure of the film have been analyzed in relation to the socio-cultural and historical context of the period.

 Bu çalışmada Ingmar Bergmanın İnanç Üçlemesindeki sessizlik olgusunu, sadece bir kişisel içe dönüş aracı olarak değil, aynı zamanda politik bir alegori olarak yorumlamak amaçlanmaktadır. Bu doğrultuda üçlemenin son filmi olan Sessizlik 1963, tarihsel iletiminde ve seyirciyle karşılaşmasında, yeni yorumlar ve anlamlarla ortaya çıkan bir deneyimin parçası ola-rak görülmekte, filmin değerlendirmesinde tek bir teorinin inşası takip edilmemekte, hermeneutik yöntem referans alınarak film yorumlama sürecine odaklanılmaktadır. Film sanat felsefesi perspektifinden, kültürel, tarihsel ve sanatsal arka planıyla, görsel sembolleri ve kurgusal yapısıyla değerlendirilmiştir. Bu değerlendirme neticesinde, filmin içine doğduğu kültürün ve zamanın; toplumun değerlerinin ve inançlarının filme yansımalarının izleri sürülmüştür. Bu bağlamda, filmdeki sembolik un-surlar ve anlatı yapısı, dönemin sosyo-kültürel ve tarihsel bağlamıyla ilişkilendirilerek analiz edilmiştir.

Makale detayları

FROM THE PERSPECTIVE OF ART PHILOSOPHY FROM THE PERSPECTIVE OF ART PHILOSOPHY, THE CRYSTAL FLOW OF TIME AND THE POLITICS OF SILENCE IN INGMAR BERGMAN'S FILM THE SILENCE (1963)

Yazarlar:

Evrim Nacar

Yayıncı:

Hacettepe University

Ana Başlıklar:

Ekran ve Dijital Medya (Diğer)

Dergi:

Sanat Yazıları Issue 51, pp.625-636

Belge Tipi:

Makale

Yayın Tarihi:

11/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001332135

pISSN:

2458-8903

Ingmar Bergman

Faith Trilogy

Hermeneutic

Silence

Politics of SilenceIngmar Bergman

Oda Üçlemesi

Hermeneutik Fenomenoloji

Sessizlik

Sessizliğin Politikası.

Sayı

Makale detayları

Yazarlar: Evrim Nacar

Yayıncı: Hacettepe University

Ana Başlıklar: Ekran ve Dijital Medya (Diğer)

Dergi: Sanat Yazıları Issue 51, pp.625-636

Belge Tipi: Makale

Yayın Tarihi: 11/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001332135

pISSN: 2458-8903

Sayı

Yazarlar:

Evrim Nacar

Yayıncı:

Hacettepe University

Ana Başlıklar:

Ekran ve Dijital Medya (Diğer)

Dergi:

Sanat Yazıları Issue 51, pp.625-636

Belge Tipi:

Makale

Yayın Tarihi:

11/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001332135

pISSN:

2458-8903