BATMAN BAŞLIYOR’DA ROMANTİK SUÇLULUK, RADİKAL KÖTÜLÜK VE MODERN KAHRAMANLIĞIN REFLEKSİF İNŞASI

Year 2017, , 29 - 61, 15.03.2019

Göral E. Yılmaz Ercan

https://doi.org/10.32001/sinecine.536467

Abstract

Ortaya çıkışları itibariyle modernitenin ürünleri ve örnekleri olan süper kahramanlar, popüler sinema aracılığıyla postmodern dünyaya taşınmışlar, fakat bu esnada sahip oldukları modern değerleri de beraberlerinde getirmişlerdir. Bu süper kahramanlar, postmodern bir dünyada, kendilerini bir kez daha “modern kahramanlar” olarak inşa etmekte ve sahip oldukları bu modern değerlerin postmoderniteyle çarpışması aracılığıyla gündeme gelmektedirler. Bu makalede, yönetmenliği Christopher Nolan tarafından yapılmış olan Batman Begins (Batman Başlıyor, 2005) filminin, modern ve postmodern kavramsallaştırmalar bağlamında, Lévi-Strauss’un ikili karşıtlıklar yöntemiyle çözümlenmesi amaçlanmıştır. Yapılan çözümleme sonucunda, Bruce Wayne’in kendi içindeki çelişkilerin üste-sinden gelme ve bu esnada Batman’e dönüşme sürecini anlatan BatmanBaşlıyor filminin, modern bir kahramanlık inşası hikâyesi aracılığıyla, belli başlı postmodern değerlerle bir çarpışmanın yanı sıra, özellikle moderni-tenin kendi içindeki çelişkilere ve karşıtlıklara dair belirgin bir çerçeve çizmekte olduğu saptanmıştır.

Keywords

Modernite, postmodernite, Batman, ikili karşıtlıklar, Lévi-Strauss

Romantic Guilt, Radical Evil and The Reflexive Construction of The Modern Hero in Batman Begins

Abstract

Superheroes, both products and examples of modernity given the circumstances of their emergence, have been transferred in our postmodern world through popular cinema, and they have brought all their modern values with them. These superheroes have been reconstructing themselves as “modern heroes” and have become a current issue through the clash of their modern values with postmodernity. This article analyzingBatman Begins (2005), directed by Christopher Nolan, employs the Lévi-Strauss method of binary oppositions within the context of modern and postmodern conceptualizations. As a result of this analysis, it is observed that Batman Begins, which is about Bruce Wayne’s overcoming his own internal conflicts and becoming Batman, draws a distinct frame around modernity’s very own conflicts.

Keywords

Modernity, postmodernity, Batman, binary oppositions, Lévi- Strauss

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