Crime and justice in film: A poststructuralistreading

Bu makale, Richard Brooksun In Cold Blood ( So ğukkanlılıkla , 1967), Stanley Kubrickin A Clockwork Orange ( Otomatik Portakal, 1971) ve Orson Wellesin The Trial ( Dava , 1962) filmlerine yoğunlaş arak, işledikleri yada iş ledikleri düşünülen bir suç yüzünden kanun tarafındancezalandırılan karakterlere odaklanan bu üç film üzerinden suç, ceza ve adalet kavramlarınıpostyapısalcı açıdan incelemeyi hedeflemektedir. Bu incelemede, ceza yöntemlerinin zamaniçinde değiş engüç ilişkilerine bağlı olarak deği şikliğe uğradığını savunan Michel Foucault vealı ş ılageldik, özcü yasa ve adalet anlayı ş larını yapısöküme u ğ ratan Jacques Derridanın teorileriba ş ta olmak üzere güç ve adalet hakkındaki postyapısalcı söylemler temel alınmı ş tır. Bu makalenin amacı, ele alınan filmlerin üçünün de, ba ş karakterlerin çarptırıldı ğ ı cezaların haklılı ğını sorgulamak suretiyle, toplumda baskın olan ceza yöntemlerini ve adalet tanımlarını ele ş tirerek, ceza yasalarının haklı bir zemine dayandırılmasının olanaksızlı ğını savunan postyapısalcıgörü ş ü peki ş tirdi ğini göstermektir.

Filmde suç ve adalet: Postyapısalcı bir okuma

This article explores the concepts of crime, punishment and justice from a poststructuralistperspective in three films, namely In Cold Blood (Richard Brooks, 1967), A Clockwork Orange(Stanley Kubrick, 1971), and The Trial (Orson Welles, 1962), all of which feature protagonistswho are punished by law for a crime they haveor, in the case of the last film, are thoughtto havecommitted. The films will be analysed through the lens of poststructuralistdiscourses on power and justice, in particular the theories of Michel Foucault, who arguesthat punitive practices vary depending on the changing power relations in society, and ofJacques Derrida, who sets out to deconstruct the conventional, essentialist understandingof law and justice. This article will attempt to demonstrate that these three films, whichquestion the legitimacy of the punishment inflicted on the protagonists, present a critique ofdominant punitive practices and established definitions of justice in such a way as to reinforcethe poststructuralist stance that precludes the possibility that punitive laws can be groundedupon a legitimate basis.

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