Publication: Ingmar Bergman sinemasında varoluşçuluk
Abstract
“Ingmar Bergman Sinemasında Varoluşçuluk” adlı bu Yüksek Lisans tezinde, sinema sanatının dünyaca kabul gören en önemli yönetmenlerinden biri olan Ingmar Bergman’a ait seçili filmler, varoluşçuluk felsefesinden yararlanılarak, içerik analizi yöntemiyle çözümlemeye tabi tutulmuştur. Böylece Bergman filmlerinde işlenen varoluşçu felsefi konular ve sorunlar ortaya konulmaktadır. 19. yüzyılın sonlarına doğru başlayan, 20. yüzyılın ise en etkili felsefi akımlarından biri olarak gösterilen varoluşçuluk, başta analitik felsefe ve mantıksal pozitivizmin felsefeyi yalnızca bir dil sorununa indirgemesine tepki olarak doğmuştur. Endüstri Devrimi ve iki dünya savaşına müteakip yaşanan gelişmelerle birlikte; modernist toplumlarda insan ve ona ait olan değerlerin giderek kayboluşuna tanıklık edilmiştir. Varoluşçuluk, başta insanı merkeze alan bir yaşam felsefesidir. Hayatın anlamına, insanın özgürlüğüne dair kaybolan soruları yeniden dile getiren, her insandan bütün eylemlerinin sorumluluğunu taşımasını ve kendine özgü varoluşunu inşa etmesini bekleyen bu felsefenin yankıları ise çok yönlü olmuştur: Edebiyat, heykel, tiyatro, resim ve hatta psikoloji gibi bilim dalları üzerinde dahi etkisi görülmektedir. Özellikle sanat ile varoluşçuluk ilişkisi, daha önce hiçbir felsefi akımda şahitlik edilmeyen bir boyuta ulaşmıştır. Bu akımın sinemadaki yansımalarına bakıldığında ise, akla gelen ilk isim, auteur olarak kabul edilen yönetmenlerden biri olan Ingmar Bergman’dır. Bergman düşüncelerini, yaşamı boyunca, filmlerinde tartışan bir yönetmen olmuştur. İnsanın iç dünyasına dair oldukça derin bir merak duygusu besleyen yönetmen, genellikle kamerasını karakterlerinin doğrudan yüzlerine çevirmiş; insana ait bütün gizli kalmış düşünce ve duyguları beyaz perdeye yansıtmaya çalışmıştır. Çalışmada, auteur kuramı tartışıldıktan sonra, Bergman’ın bir auteur yönetmen olarak kabul edilmesine ve hatta öncüsü olarak gösterilmesine sebep olan özellikleri; beyaz perdeye yansıyan yaşamı, sanat anlayışı, filmlerinde yer alan çatışkılar gibi çeşitli başlıklar altında irdelenmektedir. Tezin son bölümünü oluşturan film analizlerinde; varoluşçuluk felsefesiyle okunmak üzere, Bergman’ın filmografisinden dokuz eser seçilmiştir: Zindan (Fängelse, 1949), Neşeye Doğru (Till glädje, 1950), Yedinci Mühür (Det sjunde inseglet, 1957), Yaban Çilekleri (Smultronstället, 1957), Aynanın İçinden (Såsom i en spegel, 1961), Kış Işığı (Nattvardsgästerna, 1963), Sessizlik (Tystnaden, 1963), Persona (1966), Çığlıklar ve Fısıltılar (Viskningar och rop, 1972).Varoluşçuluk felsefesinin sorgulamalarında karşılaşılan; hayatın anlamı, yabancılaşma, kaygı, hiçlik, ölüm, özgürlük gibi konular ve “çıkış yok”, “sınır durumlar”, “başkaldıran sanatçı”, “otantik varoluş” gibi temalar, Bergman’a ait yukarıda sayılan filmlerde, içerik analizi yöntemiyle incelenmiştir.
In this Master's thesis titled Existentialism in the Films of Ingmar Bergman , selected films of Ingmar Bergman, one of the most important directors in world cinema, were analyzed with the content analysis method based on the philosophy of existentialism. Thus, existentialist philosophical issues and problems covered in Bergman's films were presented. Existentialism, which started towards the end of the 19th century considered to be one of the most influential philosophical movements of the 20th century, emerged as a reaction against the idea that analytic philosophy and logical positivism reduced philosophy to a mere language problem. Following the developments after the Industrial Revolution and two world wars, modernist societies have witnessed the gradual disappearance of human and their values. Existentialism is a life philosophy that puts people at the center. The echoes of this philosophy, which re-emphasize the long-forgotten concerns about the meaning of life and human freedom, and which expected every individual to bear the responsibility of all their actions and to build their authentic existence, have been multifaceted: It has had an impact on disciplines such as literature, sculpture, theater, painting, and even psychology.Especially the relationship between art and existentialism has reached a dimension that has not been witnessed in any philosophical movement before. Considering the reflections of this movement in the cinema, the first name that comes to mind is Ingmar Bergman, one of the directors considered as auteur. Bergman has always been a director who discussed his thoughts in his films throughout his life. Being profoundly curious about the inner world of people, he usually turned his camera to directly the faces of his characters and tried to reflect all the hidden thoughts and feelings of humans on the movie screen.In this study, following the discussion of the auteur theory, the characteristics that brought Bergman on to be accepted as an auteur director and even to be shown as a pioneer of it, his life as reflected on the movie screen, his view of art and the conflicts in his films were examined under various sections. In the film analysis that constitutes the last part of the thesis, nine works have been selected from Bergman's filmography to be analyzed with the philosophy of existentialism: Prison (Fängelse, 1949), To Joy (Till glädje, 1950), The Seventh Seal (Det sjunde inseglet, 1957), Wild Strawberries (Smultronstället, 1957), Through a Glass Darkly (Såsom i en spegel, 1961), Winter Light (Nattvardsgästerna, 1963), The Silence (Tystnaden, 1963), Persona (1966), Cries & Whispers (Viskningar och rop, 1972).In the above-mentioned films by Bergman, subjects such as the meaning of life, alienation, anxiety, nothingness, death, freedom, and themes such as no exit, boundary situations, rebellious artist, authentic existence, all of which are encountered in the questions of existentialist philosophy, were examined by content analysis method.
In this Master's thesis titled Existentialism in the Films of Ingmar Bergman , selected films of Ingmar Bergman, one of the most important directors in world cinema, were analyzed with the content analysis method based on the philosophy of existentialism. Thus, existentialist philosophical issues and problems covered in Bergman's films were presented. Existentialism, which started towards the end of the 19th century considered to be one of the most influential philosophical movements of the 20th century, emerged as a reaction against the idea that analytic philosophy and logical positivism reduced philosophy to a mere language problem. Following the developments after the Industrial Revolution and two world wars, modernist societies have witnessed the gradual disappearance of human and their values. Existentialism is a life philosophy that puts people at the center. The echoes of this philosophy, which re-emphasize the long-forgotten concerns about the meaning of life and human freedom, and which expected every individual to bear the responsibility of all their actions and to build their authentic existence, have been multifaceted: It has had an impact on disciplines such as literature, sculpture, theater, painting, and even psychology.Especially the relationship between art and existentialism has reached a dimension that has not been witnessed in any philosophical movement before. Considering the reflections of this movement in the cinema, the first name that comes to mind is Ingmar Bergman, one of the directors considered as auteur. Bergman has always been a director who discussed his thoughts in his films throughout his life. Being profoundly curious about the inner world of people, he usually turned his camera to directly the faces of his characters and tried to reflect all the hidden thoughts and feelings of humans on the movie screen.In this study, following the discussion of the auteur theory, the characteristics that brought Bergman on to be accepted as an auteur director and even to be shown as a pioneer of it, his life as reflected on the movie screen, his view of art and the conflicts in his films were examined under various sections. In the film analysis that constitutes the last part of the thesis, nine works have been selected from Bergman's filmography to be analyzed with the philosophy of existentialism: Prison (Fängelse, 1949), To Joy (Till glädje, 1950), The Seventh Seal (Det sjunde inseglet, 1957), Wild Strawberries (Smultronstället, 1957), Through a Glass Darkly (Såsom i en spegel, 1961), Winter Light (Nattvardsgästerna, 1963), The Silence (Tystnaden, 1963), Persona (1966), Cries & Whispers (Viskningar och rop, 1972).In the above-mentioned films by Bergman, subjects such as the meaning of life, alienation, anxiety, nothingness, death, freedom, and themes such as no exit, boundary situations, rebellious artist, authentic existence, all of which are encountered in the questions of existentialist philosophy, were examined by content analysis method.