Araştırma Makalesi
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SOFRA SIRLARI (2017) FİLMİNİN KARA FİLME ÖZGÜ NİTELİKLERİNİN ANALİZİ EKSENİNDE KARA FİLM FENOMENİ ÜZERİNE YENİDEN BİR İNCELEME

Yıl 2023, Cilt: 13 Sayı: 4, 1166 - 1177, 01.10.2023
https://doi.org/10.7456/tojdac.1321391

Öz

ÖZ
Bu makale kara filmin tarihi, özü ve özellikleri üzerine değerli araştırmalardaki önemli argümanları ele almakta, kara filmi yeniden değerlendirmenin daha doğrudan bir yolunu sağlamak için kara filme bir fenomen olarak yaklaşmaktadır. Bu sebeple bu çalışma, teorik arka planını temellendirmek için sinemada kara film üzerine kapsamlı bir tartışma derlemesini içermeyi önermektedir. Sofra Sırları (2017) filmi, filmin anlatı yapısının ve karakterlerinin kara film ekseninde analiz edilmesi için özel bir vaka olarak ele alınmaktadır. Böylelikle, bu çalışmada Sofra Sırları filmi hikaye akışı, temaları, çatışmaları ve belirli standartlara göre yaratılmış karakterleri ele alınarak kara film ekseninde analiz edilmektedir. Çalışmanın ana amaçlarından birisi; bir Türk filminin anlatı yapısı kara film formülü temel alınarak incelenebilir mi fikrini sorgulamaktır. Bu nedenle bu çalışma, kara filme özgü bir ton ve hali belirlemekten öte, bir Türk filminde kara filme ait bir yapıyı araştırmaktadır. Buna binaen, bu makale Türk Sineması’nda kara filmin durumuna dair yeni bir anlayış geliştirmeyi ve küresel kara film olgusunun çağdaş kullanımına yeniden bir değerlendirme sunmayı hedeflemektedir.
Anahtar Kelimeler: Kara film, Fenomen, Ölümcül kadın, Sofra sırları, Türk sineması.

Kaynakça

  • Akbal Sualp, T. Z. (2001). Türkiye’de sinema ‘film noir’ ya da dışavurumcu iklimin içinden geçerken [While cinema in Turkey passes through the ‘film Noir’ or expressionist climate]. In D. Derman (Ed.), Türk film araştırmalarında yeni yönelimler II [New directions in Turkish film studies II] (pp. 88-98). Bağlam Publishing.
  • Berra, J. (2013). Film noir and post-studio practices. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 229-244). Wiley Blackwell.
  • Ceylan, B. N. (Director). (2008). Üç maymun [Three monkeys] [Film]. NBC Film.
  • Chi-ngai, L. (Director). (1998). Sleepless town [Film]. Asmik Ace Entertainment.
  • Coen, J. (Director). (1996). Fargo [Film]. PolyGram Filmed Entertainment.
  • Conard, T. M. (2006). Nietzsche and the meaning and definition of noir. In M. T. Conard (Ed.), The philosophy of film noir (pp. 7-22). The University Press of Kentucky.
  • Curtiz, M. (Director). (1942). Casablanca [Film]. Warner Bros. Pictures.
  • Damico, J. (1975). Film noir: A modest proposal. In A. Silver and J. Ursini (Eds.), (1996). Film noir reader (pp. 95-105). Limelight Editions.
  • Demirkubuz, Z. (Director). (1999). Üçüncü sayfa [Third page] [Film]. Mavi Film.
  • Desser, D. (2003). Global noir: Genre film in the age of transnationalism. In B. K. Grant (Ed.), Film genre reader III (pp. 516-536). University of Texas Press.
  • Dixon, W. W. (2013). Precursors to film noir. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 79-93). Wiley Blackwell.
  • Dmytryk, E. (Director). (1944). Murder, my sweet [Film]. RKO Radio Pictures.
  • Dönmez-Colin, G. (2014). The Routledge dictionary of Turkish cinema. Routledge.
  • Durgnat, R. (1970). Paint it black: The family tree of the film noir. In A. Silver and J. Ursini (Eds.), (1996). Film noir reader (pp. 37-51). Limelight Editions.
  • Foley, J. (Director). (1990). After dark, my sweet [Film]. Avenue Pictures.
  • Garnett, T. (Director). (1946). The postman always rings twice [Film]. Metro-Goldwyn- Mayer.
  • Grossman, J. (2009). Rethinking the femme fatale in film noir: Ready for her close-up. Palgrave McMillan.
  • — (2014). Women and film noir: Pulp fiction and the woman’s picture. In R. Miklitsch (Ed.), Kiss the blood of my hands: On classic film noir (pp. 37-61). University of Illinois Press.
  • Gustafsson, H. (2013). A wet emptiness: The phenomenology of film noir. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 50-66). Wiley Blackwell.
  • Hackford, T. (Director). (1984). Against all odds [Film]. New Visions Columbia-Delphi Productions.
  • Hathaway, H. (Director). (1945). The house on 92nd street [Film]. 20th Century Fox.
  • Holt, J. (2006). A darker shade: Realism in neo-noir. In M. T. Conard (Ed.), The philosophy of film noir (pp. 23-40). The University Press of Kentucky.
  • Huston, J. (Director). (1941). The Maltese falcon [Film]. Warner Bros. Pictures.
  • IMDb. (n.d.). Serial cook. Retrieved April 17, 2020, from https://www.imdb.com/title/tt5845758/
  • Iñárritu, G. A. (Director). (2001). Amores perros [Film]. Zeta Entertainment.
  • Kaplan, A. E. (1980). Introduction. In E. A. Kaplan (Ed.), Women in film noir (pp. 1-19). Palgrave McMillan.
  • Lewis, H. J. (Director). (1950). Gun crazy [Film]. King Brothers Productions.
  • Mak, F. S. (Director). (2002). Wu jian dao [Internal affairs] [Film]. Media Asia Films.
  • Mayer, G. (2013). Film noir and studio production practices. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 211-228). Wiley Blackwell.
  • Morton, R., & Jankel, A. (Directors). D.O.A [Film]. Touchstone Pictures.
  • MUBI. (n.d.). Serial cook. Retrieved April 17, 2020, from https://mubi.com/films/serial-cook
  • Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 3 (16), 6-18.
  • Netflix. (n.d.). Serial cook. Retrieved April 17, 2020, from https://www.netflix.com/title/81517383
  • Nolan, C. (Director). (2002). Insomnia [Film]. Alcon Entertainment.
  • O’Fallon, P. (Director). (1997). Suicide kings [Film]. Eyes ’n Rice Productions.
  • Özdemir, E. (2012) Ümit Ünal sinemasında ulusal alegori [National allegory in Ümit Ünal’s cinema] sinecine, 3 (2), 35-50.
  • Place, J. (1980). Women in film noir. In E. A. Kaplan (Ed.), Women in film noir (pp. 47-68). Palgrave McMillan.
  • Preminger, O. (Director). (1944). Laura [Film]. 20th Century Fox.
  • Proyas, A. (Director). (1998). Dark city [Film]. Mystery Clock Cinema.
  • Rafelson, B. (Director). (1981). The postman always rings twice [Film]. Metro-Goldwyn-Mayer.
  • Ray, N. (Director). (1948). They live by night [Film]. RKO Radio Pictures.
  • Refig, H. (Director). (19869. Teyzem [My aunt] [Film]. Burç Film.
  • Ritchie, G. (Director). (2000). Snatch [Film]. SKA Films.
  • Rochant, E. (Director). (2000). Total western [Film]. Lazennec Films.
  • Schrader, P. (1972). Notes on film noir. Film Comment, 8 (1), 8-13.
  • Scorsese, M. (Director). (2006). The departed [Film]. Plan B Entertainment.
  • Singer, B. (Director). (1995). The usual suspects [Film]. PolyGram Filmed Entertainment.
  • Siodmak, R. (Director). (1946). The killers [Film]. Mark Hellinger Productions.
  • Skjoldbjærg, E. (Director). (1997). Insomnia [Film]. Norsk Film.
  • Skoble, J. A. (2006). Moral clarity and practical reason in film noir. In M. T. Conard (Ed.), The philosophy of film noir (pp. 41-48). The University Press of Kentucky.
  • Sobchack, V. (1998). Lounge time: Post-war crises and the chronotope of film noir. In N. Browne (Ed.), Refiguring American film genres: History and theory (pp. 129-170). University of California Press.
  • Spicer, A. (2010). Historical dictionary of film noir. The Scarecrow Press.
  • Tarantino, Q. (Director). (1992). Reservoir dogs [Film]. Live America Inc.
  • Tarantino, Q. (Director). (1994). Pulp fiction [Film]. A Band Apart.
  • Todorov, T. (1969). Structural analysis of narrative. Novel: A Forum on Fiction, 1(3), 70-79.
  • Ünal, Ü. (Director). (2001). 9 [Film]. A Haluk Bener Production.
  • — (Director). (2008). Ara [Film]. Digital Works.
  • — (Director). (2010). Ses [The voice]. Bir Film.
  • — (Director). (2011). Nar [The pomegranate]. Film Artı.
  • — (Director). (2017). Sofra sırları [Serial cook] [Film]. Rtntfilm.
  • — (Director). (2019). Aşk, büyü vs. [Love, spells and all that]. MTA Film.
  • Verhoeven, P. (Director). (1992). Basic instinct [Film]. Carolco Pictures.
  • Wager, B. J. (2005). Dames in the driver’s seat: Rereading film noir. University of Texas Press.
  • Wilder, B. (Director). (1944). Double indemnity [Film]. Paramount Pictures.
  • Woo, J. (Director). (1997). Face/off [Film]. Touchstone Pictures.
  • Yaguchi, S. (Director). (1999). Adrenaline drive [Film]. Adrenaline Drive Committee.
  • Zaim, D. (Director). (1996). Tabutta rövaşata [Somersault in a coffin] [Film]. IFR Films.

RECONSIDERING THE FILM NOIR PHENOMENON THROUGH THE ANALYSIS OF SERIAL COOK’S (2017) NOIRISH QUALITIES

Yıl 2023, Cilt: 13 Sayı: 4, 1166 - 1177, 01.10.2023
https://doi.org/10.7456/tojdac.1321391

Öz

ABSTRACT
This article addresses significant arguments in seminal studies on film noir’s history, essence, and conventions. It approaches film noir as a phenomenon to provide a more direct way of reconsidering noir in cinema. Therefore, the study proposes to cover a comprehensive collection of debates on noir in cinema to ground the theoretical background. Serial Cook (2017) is approached as a particular case to analyze the narrative structure and characters in the scope of film noir conventions. Therefore, the article analyzes the noirish qualities of Serial Cook based on the story plot, themes, conflicts, and prototypical characters. One of the purposes of the study is to question Can a Turkish movie’s structure be examined based on the film noir formula. Thus, the study searches for a film noir structure in a Turkish movie more than scoping a noirish tone and mood. For this reason, the article aims to broaden a new understanding of film noir’s condition in Turkish cinema and present a reconsideration of the contemporary usage of the global film noir phenomenon.
Keywords: Film noir, Phenomenon, Femme fatale, Serial cook, Turkish cinema.

Kaynakça

  • Akbal Sualp, T. Z. (2001). Türkiye’de sinema ‘film noir’ ya da dışavurumcu iklimin içinden geçerken [While cinema in Turkey passes through the ‘film Noir’ or expressionist climate]. In D. Derman (Ed.), Türk film araştırmalarında yeni yönelimler II [New directions in Turkish film studies II] (pp. 88-98). Bağlam Publishing.
  • Berra, J. (2013). Film noir and post-studio practices. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 229-244). Wiley Blackwell.
  • Ceylan, B. N. (Director). (2008). Üç maymun [Three monkeys] [Film]. NBC Film.
  • Chi-ngai, L. (Director). (1998). Sleepless town [Film]. Asmik Ace Entertainment.
  • Coen, J. (Director). (1996). Fargo [Film]. PolyGram Filmed Entertainment.
  • Conard, T. M. (2006). Nietzsche and the meaning and definition of noir. In M. T. Conard (Ed.), The philosophy of film noir (pp. 7-22). The University Press of Kentucky.
  • Curtiz, M. (Director). (1942). Casablanca [Film]. Warner Bros. Pictures.
  • Damico, J. (1975). Film noir: A modest proposal. In A. Silver and J. Ursini (Eds.), (1996). Film noir reader (pp. 95-105). Limelight Editions.
  • Demirkubuz, Z. (Director). (1999). Üçüncü sayfa [Third page] [Film]. Mavi Film.
  • Desser, D. (2003). Global noir: Genre film in the age of transnationalism. In B. K. Grant (Ed.), Film genre reader III (pp. 516-536). University of Texas Press.
  • Dixon, W. W. (2013). Precursors to film noir. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 79-93). Wiley Blackwell.
  • Dmytryk, E. (Director). (1944). Murder, my sweet [Film]. RKO Radio Pictures.
  • Dönmez-Colin, G. (2014). The Routledge dictionary of Turkish cinema. Routledge.
  • Durgnat, R. (1970). Paint it black: The family tree of the film noir. In A. Silver and J. Ursini (Eds.), (1996). Film noir reader (pp. 37-51). Limelight Editions.
  • Foley, J. (Director). (1990). After dark, my sweet [Film]. Avenue Pictures.
  • Garnett, T. (Director). (1946). The postman always rings twice [Film]. Metro-Goldwyn- Mayer.
  • Grossman, J. (2009). Rethinking the femme fatale in film noir: Ready for her close-up. Palgrave McMillan.
  • — (2014). Women and film noir: Pulp fiction and the woman’s picture. In R. Miklitsch (Ed.), Kiss the blood of my hands: On classic film noir (pp. 37-61). University of Illinois Press.
  • Gustafsson, H. (2013). A wet emptiness: The phenomenology of film noir. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 50-66). Wiley Blackwell.
  • Hackford, T. (Director). (1984). Against all odds [Film]. New Visions Columbia-Delphi Productions.
  • Hathaway, H. (Director). (1945). The house on 92nd street [Film]. 20th Century Fox.
  • Holt, J. (2006). A darker shade: Realism in neo-noir. In M. T. Conard (Ed.), The philosophy of film noir (pp. 23-40). The University Press of Kentucky.
  • Huston, J. (Director). (1941). The Maltese falcon [Film]. Warner Bros. Pictures.
  • IMDb. (n.d.). Serial cook. Retrieved April 17, 2020, from https://www.imdb.com/title/tt5845758/
  • Iñárritu, G. A. (Director). (2001). Amores perros [Film]. Zeta Entertainment.
  • Kaplan, A. E. (1980). Introduction. In E. A. Kaplan (Ed.), Women in film noir (pp. 1-19). Palgrave McMillan.
  • Lewis, H. J. (Director). (1950). Gun crazy [Film]. King Brothers Productions.
  • Mak, F. S. (Director). (2002). Wu jian dao [Internal affairs] [Film]. Media Asia Films.
  • Mayer, G. (2013). Film noir and studio production practices. In A. Spicer and H. Hanson (Eds.), A companion to film noir (pp. 211-228). Wiley Blackwell.
  • Morton, R., & Jankel, A. (Directors). D.O.A [Film]. Touchstone Pictures.
  • MUBI. (n.d.). Serial cook. Retrieved April 17, 2020, from https://mubi.com/films/serial-cook
  • Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 3 (16), 6-18.
  • Netflix. (n.d.). Serial cook. Retrieved April 17, 2020, from https://www.netflix.com/title/81517383
  • Nolan, C. (Director). (2002). Insomnia [Film]. Alcon Entertainment.
  • O’Fallon, P. (Director). (1997). Suicide kings [Film]. Eyes ’n Rice Productions.
  • Özdemir, E. (2012) Ümit Ünal sinemasında ulusal alegori [National allegory in Ümit Ünal’s cinema] sinecine, 3 (2), 35-50.
  • Place, J. (1980). Women in film noir. In E. A. Kaplan (Ed.), Women in film noir (pp. 47-68). Palgrave McMillan.
  • Preminger, O. (Director). (1944). Laura [Film]. 20th Century Fox.
  • Proyas, A. (Director). (1998). Dark city [Film]. Mystery Clock Cinema.
  • Rafelson, B. (Director). (1981). The postman always rings twice [Film]. Metro-Goldwyn-Mayer.
  • Ray, N. (Director). (1948). They live by night [Film]. RKO Radio Pictures.
  • Refig, H. (Director). (19869. Teyzem [My aunt] [Film]. Burç Film.
  • Ritchie, G. (Director). (2000). Snatch [Film]. SKA Films.
  • Rochant, E. (Director). (2000). Total western [Film]. Lazennec Films.
  • Schrader, P. (1972). Notes on film noir. Film Comment, 8 (1), 8-13.
  • Scorsese, M. (Director). (2006). The departed [Film]. Plan B Entertainment.
  • Singer, B. (Director). (1995). The usual suspects [Film]. PolyGram Filmed Entertainment.
  • Siodmak, R. (Director). (1946). The killers [Film]. Mark Hellinger Productions.
  • Skjoldbjærg, E. (Director). (1997). Insomnia [Film]. Norsk Film.
  • Skoble, J. A. (2006). Moral clarity and practical reason in film noir. In M. T. Conard (Ed.), The philosophy of film noir (pp. 41-48). The University Press of Kentucky.
  • Sobchack, V. (1998). Lounge time: Post-war crises and the chronotope of film noir. In N. Browne (Ed.), Refiguring American film genres: History and theory (pp. 129-170). University of California Press.
  • Spicer, A. (2010). Historical dictionary of film noir. The Scarecrow Press.
  • Tarantino, Q. (Director). (1992). Reservoir dogs [Film]. Live America Inc.
  • Tarantino, Q. (Director). (1994). Pulp fiction [Film]. A Band Apart.
  • Todorov, T. (1969). Structural analysis of narrative. Novel: A Forum on Fiction, 1(3), 70-79.
  • Ünal, Ü. (Director). (2001). 9 [Film]. A Haluk Bener Production.
  • — (Director). (2008). Ara [Film]. Digital Works.
  • — (Director). (2010). Ses [The voice]. Bir Film.
  • — (Director). (2011). Nar [The pomegranate]. Film Artı.
  • — (Director). (2017). Sofra sırları [Serial cook] [Film]. Rtntfilm.
  • — (Director). (2019). Aşk, büyü vs. [Love, spells and all that]. MTA Film.
  • Verhoeven, P. (Director). (1992). Basic instinct [Film]. Carolco Pictures.
  • Wager, B. J. (2005). Dames in the driver’s seat: Rereading film noir. University of Texas Press.
  • Wilder, B. (Director). (1944). Double indemnity [Film]. Paramount Pictures.
  • Woo, J. (Director). (1997). Face/off [Film]. Touchstone Pictures.
  • Yaguchi, S. (Director). (1999). Adrenaline drive [Film]. Adrenaline Drive Committee.
  • Zaim, D. (Director). (1996). Tabutta rövaşata [Somersault in a coffin] [Film]. IFR Films.
Toplam 67 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Radyo-Televizyon, Film Yapım ve Yönetimi, Sinema Kuramları, Sinema ve Estetik
Bölüm Makaleler
Yazarlar

Tuna Tetik 0000-0002-5135-957X

Erken Görünüm Tarihi 30 Ağustos 2023
Yayımlanma Tarihi 1 Ekim 2023
Gönderilme Tarihi 1 Temmuz 2023
Kabul Tarihi 5 Ağustos 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 13 Sayı: 4

Kaynak Göster

APA Tetik, T. (2023). RECONSIDERING THE FILM NOIR PHENOMENON THROUGH THE ANALYSIS OF SERIAL COOK’S (2017) NOIRISH QUALITIES. Turkish Online Journal of Design Art and Communication, 13(4), 1166-1177. https://doi.org/10.7456/tojdac.1321391


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