Publication: Anlatıbilimi açısından roman ve sinema etkileşimine bir örnek: Fikrimin ince gülü ve sarı mercedes
Program
Authors
Sümer, Ülkü
Advisor
Date
Language
Type
Journal Title
Journal ISSN
Volume Title
Abstract
Sinema dilinin oluşumunda edebiyatın özellikle de roman türünün etkisi büyüktür. Edebiyat da sinemanın olanaklarından yararlanmayı bilen bir sanat dalı olmuştur. Tarih içerisinde sinema ve edebiyat ilişkisi ayrıcalıklı bir yer tutmaktadır. Birçok öykü, oyun özellikle de roman sinemaya uyarlanmıştır. Bu uyarlamalardan genellikle esere sadık kalınması beklenilmiştir. Türk edebiyatında önemli bir yere sahip olan Adalet Ağaoğlu (1929-2020), roman, öykü ve oyun türlerinde eserler vermiş bir yazardır. Aydın kimliğini ön planda tutarak Türkiye'nin değişik dönemlerini ve bu dönemlerin insan hayatına etkisini yansıtan yapıtlar ortaya koymuştur. "Fikrimin İnce Gülü," yazarın sinemaya uyarlanmış tek eseridir ve bu roman modern anlatım teknikleri ile örüldüğünden filme dönüştürülmeye oldukça uygundur. Bu tezde, roman-sinema etkileşimi ve romanın filme nasıl dönüştürüldüğü ortaya konmaya çalışılmıştır. "Fikrimin İnce Gülü" romanı ve "Sarı Mercedes" filmindeki anlatı teknikleri, anlatı zamanının düzeni, anlatı hızı, anlatıdaki tekrarlar, odaklanma, anlatıcı değişimleri incelenerek anlatıbiliminin kuramsal yaklaşımından yararlanılmıştır. Gérard Genette'in "Anlatının Söylemi" adlı kitabı, bu tezdeki önemli kaynaklardan biri olmuştur. Zaman ve Anlatıcı kategorisinin alt başlıkları da bu kitaptan alınmıştır. Mekân incelemesi için de Bahar Dervişcemaloğlu'nun "Anlatıbilime Giriş" adlı kitabından yararlanılmıştır. Bu tezde, Adalet Ağaoğlu'nun "Fikrimin İnce Gülü" (1976) romanı ve Tunç Okan'ın "Sarı Mercedes" adıyla 1993 yılında sinemaya uyarladığı filmden hareket edilmiştir. Ağaoğlu'nun romanının sinemasal açıdan tam bir "tuzak" olduğunun; perdeye yansıdığında bağlamının değiştiğinin sonucuna ulaşılmıştır. Anahtar Sözcükler: Anlatıbilim, Adalet Ağaoğlu, Fikrimin İnce Gülü, Sarı Mercedes, Anlatıbiliminin Kuramsal Yaklaşımı
Literature, especially the novel genre, has a great influence on the formation of the language of cinema. Literature has also become a branch of art that knows how to take advantage of the possibilities of cinema. The relationship between cinema and literature has a privileged place in history. Many stories, plays, especially novels, have been adapted to the cinema. These adaptations were generally expected to be faithful to the work. Adalet Agaoglu (1929-2020), who has an important place in Turkish literature, is an author who has written works in the genres of novels, stories and plays. By keeping the intellectual identity in the foreground, he produced works that reflect different periods of Turkey and the effects of these periods on human life. My Fikrimin Ince Gulu is the author's only work that has been adapted for cinema, and since this novel is woven with modern narrative techniques, it is quite suitable for making a movie. In this thesis, it has been tried to reveal the novel-cinema interaction and how the novel is transformed into a movie. The theoretical approach of narratology was used by examining the narrative techniques, the order of the narrative time, the speed of the narrative, the repetitions in the narrative, the focus, the narrator changes in the novel "Fikrimin Ince Gulu" and the movie Sarı Mercedes. Gérard Genette's book "The Discourse of Narrative" has been one of the important sources in this thesis. The subtitles of the Time and Narrator category are also taken from this book. For the space analysis, Bahar Dervişcemaloğlu's book, Anlatıbilime Giris, was used. In this thesis, the novel Fikrimin Ince Gulu (1976) by Adalet Agaoglu and the movie adapted to the cinema by Tunc Okan under the name of 'Sarı Mercedes'in 1993 are based on. Agaoglu's novel is a complete 'trap' in terms of cinema; It has been concluded that when it is reflected on the screen, its context changes. Key Words: Narratology, Adalet Ağaoğlu, Fikrimin İnce Gülü, Sarı Mercedes, The Theoretical Approach of Narratology
Literature, especially the novel genre, has a great influence on the formation of the language of cinema. Literature has also become a branch of art that knows how to take advantage of the possibilities of cinema. The relationship between cinema and literature has a privileged place in history. Many stories, plays, especially novels, have been adapted to the cinema. These adaptations were generally expected to be faithful to the work. Adalet Agaoglu (1929-2020), who has an important place in Turkish literature, is an author who has written works in the genres of novels, stories and plays. By keeping the intellectual identity in the foreground, he produced works that reflect different periods of Turkey and the effects of these periods on human life. My Fikrimin Ince Gulu is the author's only work that has been adapted for cinema, and since this novel is woven with modern narrative techniques, it is quite suitable for making a movie. In this thesis, it has been tried to reveal the novel-cinema interaction and how the novel is transformed into a movie. The theoretical approach of narratology was used by examining the narrative techniques, the order of the narrative time, the speed of the narrative, the repetitions in the narrative, the focus, the narrator changes in the novel "Fikrimin Ince Gulu" and the movie Sarı Mercedes. Gérard Genette's book "The Discourse of Narrative" has been one of the important sources in this thesis. The subtitles of the Time and Narrator category are also taken from this book. For the space analysis, Bahar Dervişcemaloğlu's book, Anlatıbilime Giris, was used. In this thesis, the novel Fikrimin Ince Gulu (1976) by Adalet Agaoglu and the movie adapted to the cinema by Tunc Okan under the name of 'Sarı Mercedes'in 1993 are based on. Agaoglu's novel is a complete 'trap' in terms of cinema; It has been concluded that when it is reflected on the screen, its context changes. Key Words: Narratology, Adalet Ağaoğlu, Fikrimin İnce Gülü, Sarı Mercedes, The Theoretical Approach of Narratology