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Postmodernizm, sanat›n pek çok alan›nda oldu¤u gibi sinemada da tart›fl›lm›fl ve sinemay› nas›l etkiledi¤i üzerinde durulmufltur. Postmodernizm tart›flmalar›n›n hepsinde oldu¤u gibi sinema söz konusu oldu¤unda da postmodern sineman›n ne oldu¤u, hangi tarihsel dönemde hangi tarihsel ve sanatsal koflullar›n ürünü oldu¤u postmodernizmin karakterine uygun olarak hala belirsizli¤ini korumaktad›r. Bu yaz›n›n amac› postmodern sineman›n temel karakteristiklerinin neler oldu¤u üzerinde durarak postmodern bir “sinemadan” m› yoksa “filmler” kümesinden mi söz etmemiz gerekti¤idir. Bunun için postmodern olarak nitelenen baz› filmler karakterleri, anlat›lar›, mekân ve zaman kullan›mlar› aç›s›ndan incelenmifl ve ortakl›klar›n neler oldu¤u saptanmaya çal›fl›lm›flt›r. Debates on postmodernism have been going on in cinema as well as in the other fields of art, and one of the important aspects at these debates is the influence of postmodernism upon cinema. However there is no consensus on these discussions, thus the discussion points related with what postmodern cinema means, which historical period has produced postmodern cinema and which historical and artistic conditions has shaped postmodern cinema remains ambitious like the ambiguity that is immanent to the concept of postmodernism itself. This paper is an attempt to settle an assumption whether it is suitable to prefer the concept of “postmodern cinema” or the concept of “a set of postmodern films”, following essential characteristics of postmodern cinema. Therefore, this study elaborates films attributed as postmodern considering their main components such as characters, narrative, usage of time and space, and it attempts to specify widespread properties among these films. |
