Post- Teori: Film Çalışmalarında Paradigma Değişimi

Year 2023, , 78 - 94, 31.12.2023

Zuhre Guven

https://doi.org/10.53281/kritik.1331951

Abstract

Post-teori film çalışmalarında paradigma değişimine işaret eder. İlk/klasik dönem film çalışmalarındaki metodolojik yaklaşımların tekrar benimsenmesi olarak da adlandırılabilecek bu kavram uzun yıllar boyunca alanda hâkim olan Bordwell (1996) tarafından “büyük teoriler” olarak adlandırılan kuramsal ve metodolojik sorgulamaların bir eleştirisidir. Bu eleştiride farklı disiplinlerden beslenerek yapılan bir film analizindeki olası metodolojik çıkmazlar ve kuramsal tutarsızlıklar yer alır. Film analizinde daha büyük bir düzlemde tartışılması edilmesi beklenilen sosyolojik ve kültürel meselelerin dışarıda tutulması gerektiği vurgulanmaktadır. Post-teori iki ana damar üzerinden şekillenir. Bunlardan bir tanesi tıpkı ilk dönem çalışmalarda olduğu gibi filmin bir biçim olarak ele alınmasıdır. İkinci damarda ise izleyici aktif anlam yapıcı olarak yer alır. Her ne kadar 1990’lı yılların başında post-teori olarak literatürde yer alsa da esasen post-teorinin izleri neo-formalist film analizine kadar dayanmaktadır. Bu çalışmada film araştırmaları içerisinde bir paradigma değişimi olarak post-teorinin doğuşuna üç düzlem üzerinden değinilecektir (a) ilk/klasik dönem çalışmalardaki form ve sanat sorgulaması ve post teori ile kesişim noktaları (b) post-teoride analitik düzlem ve aktif izleyici nosyonu ve (c) post-teorinin doğuşunu imleyen neo-formalist film analizi.

Keywords

post-teori, aktif izleyici, film formu, film çalışmaları

Post-theory: Paradigm Shift in Film Studies

Abstract

Post theory is a term to define the paradigm shift in film studies. It can also be defined as re-evaluation of methodological approaches in early/classical film theory. Bordwell (1996) postulates post-theory as a critique of dominant theoretical and methodological inquiries which he calls “grand theories". He suggests that film studies based on other methodological and theoretical exploration poses fallacy. In post-theory economic, institutional, and historical domains should be excluded from a film analysis because such sociological and cultural issues are expected to be analysed within the broader senses. Therefore, post-theory presents an agenda of “mid-level” research on two areas. One of them opens the way to regard film as a form as it was argued in in early/classical film theory. In the second vein, the audience is conceptualized as an active meaning maker. Although it was coined in the literature as a post-theory in the early 1990s, the traces of post-theory actually date back to the neo-formalist film analysis. In this study, the emergence of post-theory as a paradigm shift in film studies will be discussed on three levels (a) film as an art form in the early/classical period studies and its intersections with post theory (b) analytical premises of the active audience notion in post-theory, (c) neo-formalist film analysis as a precedent of post-theory.

Keywords

post-theory, active audience, film as a form, film studies

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