21. YÜZYIL FİLM KURAMI TARTIŞMALARINDA FİLM FELSEFE İLİŞKİSİNE DAİR İKİ TEZ: SİNEMATİK FELSEFE Mİ FELSEFİ SİNEMA MI?

Bu makalede felsefe olarak film ve felsefi bir araç olarak film olmak üzere iki tez irdele- necektir. Burada amaç, film kuramlarının temel sorusunu oluşturan aygıtın özü, sinematik imge, gerçeklik, sanallık, sinematik temsil ve ifade meselelerinin 21. yüzyıl film kuramı tartışmalarında hangi bağlamlarda ele alındığının bu iki tez aracılığıyla araştırılmasıdır. Makalede ilk olarak, sinematik imgenin, düşünsel durumlarla ve farklı algısal süreçlerle girdiği ilişki, felsefe olarak film savunucularından Daniel Frampton’un sinemayı anlamada radikal bir yol olarak ortaya koyduğu Filmosophy (2006) adlı kitabıyla tartışılacaktır. Frampton’un yanı sıra Stephen Mulhall’un On Film’de (2002) ortaya koyduğu eylem halinde felsefe kavramının, otonom imgelerin varlığına dair işaret ettiği noktalar irdelenirken bu kavramın, sinemada saf imgenin mümkünlüğünü sorgulamada eksik bıraktığı noktalar gözden geçirilecektir. Öte yandan Paisley Livingston, Thomas E. Wartenberg, David Davies ve Tom McClelland gibi felsefe olarak film fikrine şüpheyle yaklaşan analitik film kuramcılarının yaklaşımlarında biçim kazanan felsefi bir araç olarak film tezi ele alınacak ve bu yaklaşımların sinema-felsefe ilişkisine dair yapılagelmiş tartışmaların üstünü naif bir bakış açısıyla örtmesi eleştirilecektir.

Anahtar Kelimeler:

Felsefe olarak film, film felsefesi, film-varlık, film-dünya

Two Theses on the Relationship between Film and Philosophy in Discussions of 21st Century Film Theory: Cinematic Philosophy or Philosophical Cinema?

In this article, two theses, film as philosophy and philosophy of film, are discussed. The article questions the essence of the cinematic medium, cinematic image, reality, virtuality, cinematic representation, and expression, the main issues of many film theories -with regard to the two theses. First, through Daniel Frampton’s Filmosophy (2006), considered a radical way to comprehend cinema, the cinematic image and its relation to contemplative situations and different perceptual processes will be examined. Then the article argues that the concept of philosophy in action, employed in Stephen Mulhall’s On Film (2002) to point out autonomous images, is inadequate for an investigation of the possibility of pure images in cinema. Lastly, the argument against the thesis of film as philosophy is examined in the context of theories developed by Paisley Livingston, Thomas E. Wartenberg, David Davies, and Tom McClelland, and these theories are criticized as being inherently naive.

Keywords:

Film as philosophy, philosophy of film, film-being, film-world,

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