[vc_row][vc_column][vc_column_text]<\/p>\n
1940\u2019l\u0131 y\u0131llarda Amerikan filmlerinin h\u00e2kim de\u011ferlerine bir ba\u015fkald\u0131r\u0131 olarak ortaya \u00e7\u0131kan \u201cKara Film Ekol\u00fc\u201d, II. D\u00fcnya Sava\u015f\u0131\u2019ndan sonra t\u00fcm d\u00fcnyay\u0131 saran hayal k\u0131r\u0131kl\u0131\u011f\u0131 ve kasvetin bir sonucu olarak Amerika\u2019da ortaya \u00e7\u0131km\u0131\u015f, daha sonra t\u00fcm d\u00fcnyaya yay\u0131lm\u0131\u015f bir sinema ekol\u00fcd\u00fcr. Bu ekol\u00fcn ortaya \u00e7\u0131k\u0131\u015f nedenlerini ve ba\u015far\u0131ya ula\u015fm\u0131\u015f filmlerini yaz\u0131m\u0131zda okuyabilirsiniz.<\/p>\n
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Alman d\u0131\u015favurumculu\u011fundan olduk\u00e7a etkilenen bu t\u00fcr\u00fcn ilk \u00f6rnekleri, \u00e7\u0131kt\u0131\u011f\u0131 y\u0131llarda kara film olarak tan\u0131mlanmasa da ilerleyen y\u0131llarda ba\u015fl\u0131 ba\u015f\u0131na bir sinema ekol\u00fc haline gelmi\u015ftir. Kara filmler, \u201cB\u00fcy\u00fck Buhran\u201d\u0131n ard\u0131ndan toplumdaki sosyolojik ve psikolojik de\u011fi\u015fimleri ele almas\u0131 ve ortaya koymas\u0131 a\u00e7\u0131s\u0131ndan olduk\u00e7a \u00f6nemlidir. Bu buhran d\u00f6neminde ortaya \u00e7\u0131kan filmler ya g\u00fcld\u00fcr\u00fcc\u00fc ve insanlar\u0131 sorunlar\u0131ndan uzakla\u015ft\u0131ran senaryolara sahip ya da toplumsal sorunlara dikkat \u00e7eken, karamsar ve ger\u00e7ek\u00e7i filmler olmu\u015ftur.<\/p>\n
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\u0130lk kez 1946\u2019da Frans\u0131z ele\u015ftirmen Nino Frank taraf\u0131ndan Hollywood filmleri i\u00e7in kullan\u0131lan kara film terimi asl\u0131nda bir sinema ekol\u00fc olarak ortaya \u00e7\u0131kmam\u0131\u015f, fark\u0131nda olmadan bu tarz filmler \u00e7eken y\u00f6netmen, oyuncu ya da yap\u0131mc\u0131lar ilerleyen y\u0131llarda yapt\u0131klar\u0131 r\u00f6portajlarda \u00e7ektikleri bu filmlerin kara film oldu\u011funun fark\u0131nda bile olmad\u0131klar\u0131n\u0131 a\u00e7\u0131klam\u0131\u015flard\u0131r. Kara film ak\u0131m\u0131n\u0131n kriterleri ilerleyen y\u0131llarda tan\u0131mlanm\u0131\u015ft\u0131r. Kara film ekol\u00fcn\u00fcn ba\u015flang\u0131\u00e7 filmleri 1940 yap\u0131m\u0131 \u201c3. Kattaki Yabanc\u0131\u201d ve 1941 yap\u0131m\u0131 \u201cMalta \u015eahini\u201d olurken bu filmler daha sonra \u00e7ekilecek sinema filmlerine de esin kayna\u011f\u0131 olmu\u015ftur.<\/p>\n
[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”3#” title_font_size=”13″][vc_single_image image=”27086″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n
Frans\u0131z ele\u015ftirmenler Raymond Borde ve Etienne Chaumeton\u2019nun 1955\u2019te kaleme ald\u0131\u011f\u0131 “Panorama du film noir Americain 1941-1953” (Amerikan Kara Filminin Panoramas\u0131<\/em>) kitab\u0131nda kara film ak\u0131m\u0131n\u0131 ilk kez tan\u0131mlamaya \u00e7al\u0131\u015fm\u0131\u015f ve bu metin kara film ekol\u00fcne temel olu\u015fturmu\u015ftur. Frans\u0131z ele\u015ftirmenlere g\u00f6re kara filmler i\u00e7in yap\u0131lan “…d\u00fc\u015fsel, tuhaf, s\u0131ra d\u0131\u015f\u0131, kar\u0131\u015f\u0131k ve zalim\u201d <\/em>\u015feklindeki tan\u0131mlama bu t\u00fcr\u00fc tan\u0131mlamak i\u00e7in yetersiz kalmaktad\u0131r.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”4#” title_font_size=”13″][vc_single_image image=”27087″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n Kara filmleri di\u011fer filmlerden ay\u0131ran en \u00f6nemli kriter filmin \u0131\u015f\u0131kland\u0131rmas\u0131d\u0131r. Geleneksel sinemada bir\u00e7ok farkl\u0131 \u0131\u015f\u0131k bir arada kullan\u0131l\u0131rken, kara filmlerde lo\u015f \u0131\u015f\u0131kland\u0131rma \u00f6n plandad\u0131r. Lo\u015f \u0131\u015f\u0131kland\u0131rmay\u0131 sa\u011flamak ve bunun da do\u011fal oldu\u011funu izleyiciye hissettirmek i\u00e7in ana \u0131\u015f\u0131k, dolgu \u0131\u015f\u0131\u011fa g\u00f6re \u00e7ok daha fazla kullan\u0131l\u0131r ve bu sayede kara filmlerde s\u0131k\u00e7a rastlad\u0131\u011f\u0131m\u0131z kontrast, koyu g\u00f6lgeler ve ayd\u0131nl\u0131k-karanl\u0131k kar\u015f\u0131tl\u0131\u011f\u0131 ortaya \u00e7\u0131kar. Bu ayd\u0131nl\u0131k ve karanl\u0131k alanlar\u0131n olu\u015fturdu\u011fu z\u0131tl\u0131k kara filmlerin vazge\u00e7ilmez unsurlar\u0131n\u0131n ba\u015f\u0131nda gelir.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”5#” title_font_size=”13″][vc_single_image image=”27088″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n Frans\u0131zlar\u0131n \u201cfilm noir\u201d olarak adland\u0131rd\u0131\u011f\u0131 kara film ekol\u00fc, klasik Amerikan anlat\u0131 tarz\u0131n\u0131n kal\u0131plar\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131karak sinema filmlerinde g\u00f6rmeye al\u0131\u015ft\u0131\u011f\u0131m\u0131z g\u00fczel, iyi ve masum insanlar\u0131n genellikle mutlu sonla biten hik\u00e2yelerinin \u00f6tesine ge\u00e7meyi ba\u015farm\u0131\u015ft\u0131r. Kara filmde mutlu son yoktur, sevenler kavu\u015fmaz, mek\u00e2nlar karanl\u0131k ve kirli oldu\u011fu kadar kasvetlidir. Bir Hollywood filmi izlerken sonunu tahmin etmek ne kadar kolaysa kara filmlerin sonu hi\u00e7 de tahmin edildi\u011fi gibi bitmez. Kara film ekol\u00fcn\u00fcn ilk \u00f6rneklerinden olan ve 1944\u2019te izleyicisi ile bulu\u015fan Double Indemnity (\u00c7ifte Tazminat) filmi de iyiden \u00e7ok, k\u00f6t\u00fc kalpli insanlar\u0131n hik\u00e2yesine odaklanmaktad\u0131r.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”6#” title_font_size=”13″][vc_single_image image=”27089″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n Kara filmlerde iyi diye izledi\u011fimiz bir karakter k\u00f6t\u00fc, k\u00f6t\u00fc olarak adland\u0131rd\u0131\u011f\u0131m\u0131z karakter ise filmin sonunda en masum ve en temiz karakter olabilir. Ayr\u0131ca al\u0131\u015fageldi\u011fimiz Hollywood filmlerinde ba\u015froller hi\u00e7bir \u015fekilde \u00f6lmezken herhangi bir kara filmde ba\u015frol oyuncusu bile filmin bir yerinde t\u0131pk\u0131 ger\u00e7ek hayatta oldu\u011fu gibi bu d\u00fcnyadan aniden g\u00f6\u00e7ebilir. Ayr\u0131ca kara film ekol\u00fcnde kad\u0131n karakterler erkek egemenli\u011fi alt\u0131nda ezilmi\u015f, metala\u015fm\u0131\u015f ve ilk kez bu filmlerde iyi ve masum kad\u0131n\u0131n d\u0131\u015f\u0131nda \u201cFemme Fatale\u201d olarak tabir edilen, yuva y\u0131kan ve erkekleri ba\u015ftan \u00e7\u0131karan kad\u0131n karakterler izleyiciyle bulu\u015fmu\u015ftur. 1946 yap\u0131m\u0131 \u201cGilda\u201d filmi bu tarz\u0131n \u00f6nc\u00fcs\u00fc olmu\u015ftur. Hik\u00e2ye \u201ccazibeli ama tehlikeli\u201d olarak nitelendirilen kad\u0131n karakterin hayat\u0131na odaklan\u0131r.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”7#” title_font_size=”13″][vc_single_image image=”27090″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]<\/p>\n 1970\u2019lerde gen\u00e7 y\u00f6netmenler bir d\u00f6neme damga vuran kara film ekol\u00fcnde filmler \u00fcretmeyi tercih etmi\u015f; Francis Ford Coppola, Martin Scorsese, Robert Altman, Paul Schrader ve Roman Polanski gibi y\u00f6netmenlerden olu\u015fan yeni bir ku\u015fak ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Bu ku\u015fak \u201cKonu\u015fma\u201d, \u201cTaksi \u015eof\u00f6r\u00fc\u201d, \u201c\u00c7in Mahallesi\u201d, \u201cUzun Veda\u201d, \u201cBizim Gibi H\u0131rs\u0131zlar\u201d gibi yeni kara filmleri \u00fcretmi\u015flerdir. Bu filmlerin her biri su\u00e7 t\u00fcr\u00fc i\u00e7in de \u00f6rnek g\u00f6sterilir \u00e7\u00fcnk\u00fc bu filmler konusu bak\u0131m\u0131ndan su\u00e7 ve su\u00e7lular d\u00fcnyas\u0131na y\u00f6nelmi\u015ftir. \u0130ki t\u00fcr de dedektifler, su\u00e7lular, adaleti sa\u011flamaya \u00e7al\u0131\u015fan kahramanlar, g\u00f6z\u00fc doymayanlar ve toplumdaki adaletsizli\u011fi sorgulayan temalardan olu\u015fur. G\u00fcn\u00fcm\u00fczde halen kara filmler \u00fcretilmektedir \u00e7\u00fcnk\u00fc bu kavramlar ve karakterler hayat\u0131n ac\u0131 ger\u00e7e\u011fidir. Bu da bizlerin bir s\u00fcre daha bu ekol\u00fc temsil eden filmleri izleyece\u011fimiz anlam\u0131na gelir. Toplumda sorunlar ve su\u00e7lar devam etti\u011fi s\u00fcrece bu filmler de \u00fcretilmeye ve topluma ayna tutmaya devam edecektir.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row][vc_column][vc_column_text] 1940\u2019l\u0131 y\u0131llarda Amerikan filmlerinin h\u00e2kim de\u011ferlerine bir ba\u015fkald\u0131r\u0131 olarak ortaya \u00e7\u0131kan \u201cKara Film Ekol\u00fc\u201d, II. D\u00fcnya Sava\u015f\u0131\u2019ndan sonra t\u00fcm d\u00fcnyay\u0131 saran hayal k\u0131r\u0131kl\u0131\u011f\u0131 ve kasvetin bir sonucu olarak Amerika\u2019da ortaya \u00e7\u0131km\u0131\u015f, daha sonra t\u00fcm d\u00fcnyaya yay\u0131lm\u0131\u015f bir sinema ekol\u00fcd\u00fcr. Bu ekol\u00fcn ortaya \u00e7\u0131k\u0131\u015f nedenlerini ve ba\u015far\u0131ya ula\u015fm\u0131\u015f filmlerini yaz\u0131m\u0131zda okuyabilirsiniz. [\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”1#” […]<\/p>\n","protected":false},"author":1,"featured_media":27083,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[117,2164,2165,57],"class_list":["post-27082","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-film","tag-kara-film","tag-kara-film-ekolu","tag-sinema"],"_links":{"self":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/27082","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=27082"}],"version-history":[{"count":0,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/27082\/revisions"}],"wp:attachment":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=27082"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=27082"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=27082"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}