Çölün Gücü: Denis Villeneuve’nin Dune: Çöl Gezegeni Filminde Ürkütücü ve Büyüsü Bozulmuş Manzaranın Felsefesi

Bu çalışmanın amacı, Denis Villeneuve’nin Dune: Çöl Gezegeni adlı filmi hakkında yürütülen tartışmalara katkıda bulunmaktır. Bu amaç doğrultusunda, anlatı dünyasının belirli yönlerinin, üslupsal kalıpların ve belirli kronotopların ünlü destanın uyarlanmasında nasıl etki bıraktığını hesaba katacak bir film felsefesi yaklaşımı benimsenmiştir. Makale, özellikle çöl ekolojilerinin önemini ve rolünü vurgulayarak filmin estetiğine ve temalarına büyük önem vermektedir. Gerçekten de, filmin büyünün bozulması ve yanlış tanımanın operatik bir estetiğini ortaya koyduğu, buna ek olarak kahramanlık ve kader fikirlerini yapıbozuma uğratmak için muğlaklık ve belirsizliği varoluşçu motifler olarak stratejik bir şekilde kullandığı tezi, çalışmanın ana tezlerinden birini oluşturmaktadır. Bu duygusal dinamikler, anlatı dünyasına eksiklik, kayıp, yas ve güçsüzlüğü vurgulayan ürkütücü bir gerilim katar. Aynı zamanda, Dune Çölü, David Lean’in Arabistanlı Lawrence’ı gibi klasik epik filmlerin aksine, varoluşsal belirsizliği vurgulayan canlı ve içkin bir organizma ve olası etik deneylerin yoğun bir alanı olarak var olur.

Desert Power: Disenchantment, Misrecognition, and Geo-Philosophy in Denis Villeneuve’s Dune: Part One

The aim of the paper is to contribute to the discussion and debate on Denis Villeneuve’s Dune: Part One by using a film-philosophical approach, which will take into account how particular aspects of the storyworld, stylistic patterns, and specific chronotopes inform the film’s singular take on the famous story/saga. The article gives major attention to the film’s aesthetics and themes by highlighting, in particular, the importance and role of desertic ecologies. Indeed, one of the main theses of this paper is that the film puts forth an operatic aesthetic of disenchantment and misrecognition and strategically uses ambiguity and uncertainty as existentialist motifs to deconstruct ideas of heroism and predestination. These affective dynamics provide the storyworld with an eerie tension stressing lack, loss, mourning, and powerlessness. Concurrently, the desert of Dune, in contrast with that of classic epic films such as Lawrence of Arabia (1962) by David Lean, exists as a living and immanent organism highlighting existential uncertainty and, at the same time, existing as a dense field of possible ethical experimentations.

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