{"id":802,"date":"2021-01-19T19:55:13","date_gmt":"2021-01-19T16:55:13","guid":{"rendered":"https:\/\/eskicagblog.istanbul.edu.tr\/?p=802"},"modified":"2021-09-01T00:58:23","modified_gmt":"2021-08-31T21:58:23","slug":"technicolor-roma","status":"publish","type":"post","link":"https:\/\/eskicagblog.istanbul.edu.tr\/?p=802","title":{"rendered":"Technicolor Roma"},"content":{"rendered":"\n

Ger\u00e7ek\u00e7i okula mensup Siegfried Kracauer’\u0131n Film Teorisi. Fiziksel Ger\u00e7ekli\u011fin Kurtulu\u015fu<\/em> (\u00e7ev. \u00d6. \u00c7elik, Metis Yay\u0131nlar\u0131, \u0130stanbul, 2015) kitab\u0131 film kuram\u0131na dair kitaplar i\u00e7inde a\u00e7\u0131k bir d\u00fczen i\u00e7inde yaz\u0131lm\u0131\u015f sistematik ve net bir \u00e7al\u0131\u015fma olmas\u0131yla \u00f6ne \u00e7\u0131kar. Kracauer i\u00e7in tarihin kabul edilebilir sinemasal temsilini kurmak i\u00e7in y\u00f6ntemlerden biri, filmin konu edindi\u011fi d\u00f6neme ait g\u00f6rsel malzemeden yararlanarak \u00f6zg\u00fcn varolu\u015f tarzlar\u0131n\u0131 tasvir etmesidir. B\u00f6ylece bir \u00f6l\u00e7\u00fcde tarihsel film sinemasal \u00f6zellikler g\u00f6sterebilir. Yazar buna \u00f6rnek olarak Dreyer\u2019in Day of Wrath<\/em> filmini al\u0131r. Danimarka\u2019da 16. y\u00fczy\u0131lda cad\u0131l\u0131kla su\u00e7lanan bir kad\u0131n\u0131n hik\u00e2yesini anlatan film, Kracauer\u2019e g\u00f6re Orta\u00e7a\u011f zihniyetini t\u00fcm boyutlar\u0131yla aktarmay\u0131 hedeflemektedir. Dreyer imgelerini d\u00f6nemin tablolar\u0131na \u00f6yk\u00fcnerek \u015fekillendirir ve \u201cham, fiili varolu\u015fu d\u0131\u015far\u0131da b\u0131rakmay\u0131 ger\u00e7ekten de ba\u015far\u0131r.\u201d Day of Wrath <\/em>hayat\u0131 filme entegre etmeye \u00e7al\u0131\u015fmaz: \u0130nsanlar, \u201cg\u00f6r\u00fcn\u00fc\u015fleriyle uyumlu olarak tek ba\u015flar\u0131na bireyler gibidir; yava\u015f hareket ederler. Aralar\u0131nda uzamsal bir mesafe vard\u0131r ki bu da geli\u015fig\u00fczel bir bi\u00e7imde birbirlerine kar\u0131\u015fmaya direndiklerini g\u00f6sterir.\u201d Kracauer i\u00e7in filmin belgesele yak\u0131n bir g\u00f6rselli\u011fi ve sahicili\u011fi vard\u0131r; d\u00f6nem tablolar\u0131na hayat verir; neredeyse \u201cdramatize edilmi\u015f g\u00f6rsel bir kay\u0131tt\u0131r\u201d (Kracauer 2015: 171-7). <\/p>\n\n\n\n

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Day of Wrath<\/em>, C. Theodor Dreyer, 1943<\/figcaption><\/figure>\n\n\n\n

Bu anlamda Kracauer \u015f\u00fcphesiz Barry Lyndon<\/em>‘\u0131 takdir edebilirdi. Film d\u00f6nemin tablolar\u0131n\u0131 ya da onlar\u0131 and\u0131ran sahneleri neredeyse bire bir canland\u0131rmas\u0131yla, yapay \u0131\u015f\u0131k yerine gece sahnelerinde bile do\u011fal \u0131\u015f\u0131k kullanmadaki \u0131srar\u0131yla, m\u00fczikler i\u00e7in modern bir besteci yerine d\u00f6nemin klasiklerini kullanmas\u0131yla benzer bir etkiyi yaratmay\u0131 ama\u00e7lar. Ancak Kracauer bu tablolar\u0131n ait olduklar\u0131 d\u00f6nemin ger\u00e7ekten sad\u0131k bir yans\u0131mas\u0131 olup olmad\u0131\u011f\u0131n\u0131 sorgulamam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

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Quo Vadis<\/em>, Mervyn Leroy, 1951<\/figcaption><\/figure><\/div>\n\n\n\n

E\u011fer Kracauer\u2019in \u00f6l\u00e7\u00fctleriyle de\u011ferlendireceksek \u00f6zellikle Hollywood\u2019un klasik Antik \u00c7a\u011f filmleri Technicolor sahneleriyle Kracauer’\u0131n \u00f6vg\u00fcs\u00fcn\u00fc kazanmal\u0131d\u0131r. Kracauer’in Day of Wrath<\/em> sahnelerini filmin konu edindi\u011fi d\u00f6neme ait tablolarla kar\u015f\u0131la\u015ft\u0131rmas\u0131 gibi, mesela Quo Vadis<\/em> filmini de Roma d\u00f6nemi \u00e7ok renkli heykelt\u0131ra\u015fi eserleri ve antik kaynaklarla birlikte de\u011ferlendirebiliriz. Burada sanat\u0131 bir kenara b\u0131rak\u0131p Roma kaynaklar\u0131nda klasik filmlerde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz t\u00fcrden sahnelerin tasvirlerine de\u011finece\u011fim. <\/p>\n\n\n\n

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Titus Tak\u0131’n\u0131n arkeolojik verilere ve kar\u015f\u0131la\u015ft\u0131rmalara dayanan renkli rekonstr\u00fcksiyonu<\/figcaption><\/figure><\/div>\n\n\n\n

Roma sanat\u0131na ve antik edebiyata a\u015fina olmayan biri ve belki Kracauer i\u00e7in (yazar\u0131n burada ele alamayaca\u011f\u0131m ba\u015fka ele\u015ftirilerinden dolay\u0131) Quo Vadis<\/em> yapayl\u0131\u011f\u0131n\u0131 fazlas\u0131yla belli etmektedir, ancak bu yapayl\u0131k en az\u0131ndan renklerden kaynaklanmaz. Roma, Quo Vadis <\/em>gibi filmlerde izledi\u011fimiz renk c\u00fcmb\u00fc\u015f\u00fc sahneleri \u2013 \u015f\u00f6lenler, zafer alaylar\u0131 vb. \u2013 hakl\u0131 \u00e7\u0131karacak \u00f6l\u00e7\u00fcde g\u00f6rsel bir k\u00fclt\u00fcrd\u00fcr. Bundan kas\u0131t, g\u00f6rselli\u011fin Roma gelenekleri, rit\u00fcelleri, kamu hayat\u0131 ve \u00f6zel hayat \u00fczerindeki egemenli\u011fi ya da bunlar\u0131n g\u00f6rsel ifadelere \u00e7ok uygun olmas\u0131d\u0131r. \u00d6rne\u011fin Cicero Roma\u2019daki siyasi karma\u015fa ve belirsizlik ortam\u0131nda cumhuriyeti \u201crenkleri solmakta olan” bir resime benzetmi\u015fti; \u015fimdiki nesiller bu resmi kal\u0131c\u0131la\u015ft\u0131rmak, korumak ve yenilemekte ba\u015far\u0131s\u0131z olmu\u015flard\u0131.  Bu, devletin hem resim gibi \u00e7abuk bozulmas\u0131na hem de onun g\u00fczelli\u011fini g\u00f6r\u00fcp koruyacak insanlara duyulan ihtiyaca bir vurguydu. Bir resim gibi cumhuriyet de insanlar\u0131n g\u00f6zleri \u00f6n\u00fcndeydi ve ilgiye muhta\u00e7t\u0131. Ba\u015fka bir eserindeyse insanlar\u0131n kat\u0131 bir cisimden oyulmu\u015f heykele benzer bir erdem suretine ilgi duymad\u0131klar\u0131n\u0131, onun yerine hatlar\u0131 bulan\u0131k bir tasla\u011f\u0131n pe\u015finde ko\u015ftuklar\u0131n\u0131 s\u00f6yler (Cic. Rep<\/em>. 1.1.1-2, 5.1.2; Tusc<\/em>. 3.2.3).<\/p>\n\n\n\n

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Gladiator<\/em>, Ridley Scott, 2000<\/figcaption><\/figure><\/div>\n\n\n\n

Roma k\u00fclt\u00fcr\u00fcn\u00fcn bask\u0131n g\u00f6rselli\u011fini herhalde resmi t\u00f6renlerden \u2013 zafer alaylar\u0131, cenaze t\u00f6renleri, tahta \u00e7\u0131k\u0131\u015f, imparatorun Roma\u2019ya giri\u015fi vb. \u2013 daha iyi yans\u0131tan faaliyet yoktur. Bug\u00fcn o ihti\u015fam ve seyir deneyimini ancak canl\u0131 Technicolor renkleriyle bize sunan Quo Vadis<\/em>, The Robe, Ben-Hur, Cleopatra<\/em> gibi eski usul Hollywood tarihsel filmlerinde tadabiliyoruz. Renkleri ve b\u00fct\u00fcn detaylar\u0131 korunmu\u015f h\u00e2lde bir Roma kamu kabartmas\u0131na \u2013 Titus Tak\u0131 ya da Traianus S\u00fctunu \u2013 baksayd\u0131k, bu filmlerde g\u00f6rd\u00fcklerimizden \u00e7ok farkl\u0131 bir manzarayla kar\u015f\u0131la\u015fmayacakt\u0131k. Antik kaynaklar da b\u00f6yle t\u00f6renlerin neye benzedi\u011fi hakk\u0131nda kabartmalar\u0131 ve s\u00f6z konusu filmleri hakl\u0131 \u00e7\u0131karacak detaylar\u0131 bizlerle payla\u015f\u0131rlar. \u0130lk olarak MS 193\u2019te Pertinax\u2019\u0131n cenaze t\u00f6renine senat\u00f6r olarak kat\u0131lm\u0131\u015f Cassius Dio\u2019nun tan\u0131kl\u0131\u011f\u0131na bakal\u0131m (Cass. Dio 75.4-5):<\/p>\n\n\n\n

Septimius Severus tahta \u00e7\u0131k\u0131nca\u2026 Pertinax\u2019\u0131n alt\u0131n bir heykelinin filler taraf\u0131ndan \u00e7ekilen bir araba \u00fczerinde Circus Maximus etraf\u0131nda dola\u015ft\u0131r\u0131lmas\u0131n\u0131 emretti\u2026Cenaze t\u00f6reni \u015fu \u015fekilde yap\u0131ld\u0131: Forum Romanum\u2019da mermer rostran\u0131n yan\u0131nda bir ah\u015fap platform kuruldu ve bunun \u00fczerine fildi\u015fi ve alt\u0131ndan i\u015flenmi\u015f s\u00fctunlarla \u00e7evrili bir sunak yerle\u015ftirildi. Bunun i\u00e7ine \u00e7evresi kara ve deniz hayvanlar\u0131n\u0131n ba\u015flar\u0131yla s\u00fcsl\u00fc yine ayn\u0131 malzemelerden bir teskere koyularak \u00fczerine alt\u0131n ve erguvan bir \u00f6rt\u00fc \u00f6rt\u00fcld\u00fc. Bunun \u00fcst\u00fcnde zafer alay\u0131 kost\u00fcm\u00fcyle Pertinax\u2019\u0131n balumumu kapl\u0131 bedeni duruyordu ve g\u00fczel bir o\u011flan elinde tavusku\u015fu t\u00fcylerinden bir yelpazeyle sanki ger\u00e7ek bir insan uyuyormu\u015f gibi sinekleri uzak tutuyordu. Beden o h\u00e2lde beklerken Severus, senat\u00f6rler ve e\u015flerimiz matem k\u0131yafetleri i\u00e7inde yakla\u015ft\u0131. Kad\u0131nlar portikolara oturdu ve biz erkekler de a\u00e7\u0131k havada durduk. Bundan sonra \u00f6nce eski zamanlar\u0131n \u00fcnl\u00fc Romal\u0131lar\u0131na ait suretler, ard\u0131ndan a\u011f\u0131t yakan o\u011flan ve erkek korolar\u0131 ge\u00e7ti. Onlar\u0131 yerel k\u0131yafetleri i\u00e7inde t\u00fcm milletleri temsil eden tun\u00e7 suretler, ba\u015fkentin loncalar\u0131 -lictorlar, k\u00e2tipler, ulaklar ve di\u011ferleri-geldi. \u0130\u015flerinden, bulu\u015flar\u0131ndan ya da hayat tarzlar\u0131ndan dolay\u0131 \u015f\u00f6hret kazanm\u0131\u015f ba\u015fka adamlar\u0131n suretleri g\u00f6r\u00fcnd\u00fc. Arkalar\u0131ndan z\u0131rhlar\u0131 i\u00e7inde atl\u0131lar ve piyadeler, yar\u0131\u015f atlar\u0131 ve imparator, bize senat\u00f6rler, e\u015flerimiz, atl\u0131 s\u0131n\u0131f\u0131n\u0131n ileri gelenleri, topluluklar ve \u015fehirdeki loncalar\u0131n g\u00f6nderdi\u011fi cenaze adaklar\u0131 geldi\u2026 Campus Martius\u2019ta cenaze i\u00e7in fildi\u015fi, alt\u0131n ve heykellerle s\u00fcsl\u00fc \u00fc\u00e7 katl\u0131 bir kule \u015feklinde bir odun y\u0131\u011f\u0131n\u0131 yap\u0131ld\u0131; tepesine de Pertinax\u2019\u0131n s\u00fcrd\u00fc\u011f\u00fc yald\u0131zl\u0131 sava\u015f arabas\u0131 yerle\u015ftirildi\u2026 \u0130mparator bir k\u00fcrs\u00fcye ve magistratuslar hari\u00e7 biz senat\u00f6rler de t\u00f6reni g\u00fcvenli ve uygun bir \u015fekilde izleyebilmek i\u00e7in ah\u015fap ayakl\u0131klara \u00e7\u0131kt\u0131k. Konunlara uygun \u015fekilde dizilmi\u015f magistratuslar ve atl\u0131 s\u0131n\u0131f\u0131yla piyadeler ve atl\u0131lar odun y\u0131\u011f\u0131n\u0131n etraf\u0131nda sava\u015f ve bar\u0131\u015f zaman\u0131na uygun karma\u015f\u0131k yer ve d\u00fczen de\u011fi\u015fiklikleri yapt\u0131lar. Nihayet kons\u00fcller y\u0131\u011f\u0131n\u0131 ate\u015fe verdiler ve bu i\u015f bittikten sonra \u00fczerinde bir kartal serbest b\u0131rak\u0131ld\u0131. B\u00f6ylece Pertinax \u00f6l\u00fcms\u00fcz oldu.<\/em><\/p>\n\n\n\n

Deuksippos, 270\u2019te Tuna\u2019n\u0131n \u00f6tesine s\u00fcr\u00fclm\u00fc\u015f Iuthungi el\u00e7ilerinin Aurelianus\u2019un huzuruna \u00e7\u0131k\u0131\u015f\u0131n\u0131 \u015f\u00f6yle aktar\u0131r (FGrH <\/em>IIA 6.456-60):<\/p>\n\n\n\n

Aurelianus d\u00fc\u015fmana korku salacak \u015fekilde sava\u015ftaym\u0131\u015f gibi d\u00fczenledi. Askerler gere\u011fince s\u0131raland\u0131ktan sonra \u00fczerinde g\u00f6z kama\u015ft\u0131r\u0131c\u0131 erguvan k\u0131yafetiyle y\u00fcksek bir platforma \u00e7\u0131kt\u0131. Ordu imparatorun iki yan\u0131nda hilal \u015feklinde konu\u015flanm\u0131\u015ft\u0131. Yan\u0131nda hepsi atlar\u0131n\u0131n s\u0131rt\u0131nda bulunan subaylar\u0131, arkas\u0131nda alt\u0131n kartallar, imparator b\u00fcstleri, \u00fczerlerine lejyonlar\u0131n isimleri alt\u0131n harflerle i\u015flenmi\u015f kuma\u015flarla g\u00fcm\u00fc\u015f karg\u0131lara as\u0131lm\u0131\u015f ordu sancaklar\u0131 yer al\u0131yordu. Ancak her \u015fey b\u00f6yle ayarland\u0131ktan sonra Aurelianus Iuthungi el\u00e7ilerinin huzura \u00e7\u0131kmas\u0131na izin verdi. Manzara kar\u015f\u0131s\u0131nda afallayan el\u00e7iler uzun bir s\u00fcre sessiz kald\u0131lar.<\/em><\/p>\n\n\n\n

Ammianus Marcellinus kaleminden II. Constantius\u2019un 28 Nisan 357\u2019de Roma\u2019ya giri\u015fi (Amm. Marc. 16.10.6-8):<\/p>\n\n\n\n

Kendisi, i\u00e7 i\u00e7e ge\u00e7mi\u015f \u0131\u015f\u0131lt\u0131lar\u0131 sanki g\u00fcn \u0131\u015f\u0131\u011f\u0131 gibi g\u00f6r\u00fcnen \u00e7e\u015fitli de\u011ferli ta\u015flar\u0131n g\u00f6z kama\u015ft\u0131r\u0131c\u0131 parlakl\u0131\u011f\u0131 alt\u0131nda bir alt\u0131n arabaya yerle\u015fti. Onu takip eden y\u0131\u011f\u0131nlar\u0131n arkas\u0131nda erguvan sicimlerden dikilmi\u015f ve ta\u015flarla s\u00fcsl\u00fc alt\u0131n m\u0131zrak ba\u015flar\u0131na tutturulmu\u015f ejderhalarla \u00e7evrelenmi\u015fti. Bunlar\u0131n r\u00fczg\u00e2ra a\u00e7\u0131k a\u011f\u0131zlar\u0131 sanki \u00f6fke y\u00fcz\u00fcnden t\u0131slarm\u0131\u015f gibiydi ve kuyruklar\u0131 da k\u0131vr\u0131la k\u0131vr\u0131la d\u00f6n\u00fcyordu. \u0130ki yandaysa parlak kalkanlar\u0131, mi\u011fferleri ve zincir z\u0131rhlar\u0131yla iki s\u0131ra h\u00e2linde piyadeler ilerliyorlard\u0131. Aralar\u0131nda, g\u00f6\u011f\u00fcsl\u00fckler ve demir kemerler ku\u015fanm\u0131\u015f tepeden t\u0131rna\u011fa z\u0131rhl\u0131 ve y\u00fczleri mi\u011fferleriyle kapal\u0131 atl\u0131lar bulunuyordu. \u00d6yle ki Praksiteles\u2019in bizzat elleriyle cilalad\u0131\u011f\u0131 heykeller olduklar\u0131n\u0131 sanabilirdiniz\u2026 [Constantius] sanki boynu mengenedeymi\u015f gibi bak\u0131\u015flar\u0131n\u0131 ileriye \u00e7evirmi\u015fti ve y\u00fcz\u00fcn\u00fc ne sa\u011fa ne de sola \u00e7eviriyordu. Araba sars\u0131ld\u0131\u011f\u0131 zaman bir heykelmi\u015f gibi ba\u015f\u0131n\u0131n sallanmas\u0131na izin vermedi ve hi\u00e7bir zaman t\u00fck\u00fcr\u00fcrken, burnun silerken ya da ellerini oynat\u0131rken g\u00f6r\u00fclmedi.<\/em><\/p>\n\n\n\n

Yukar\u0131daki \u00f6rneklerden de anla\u015f\u0131laca\u011f\u0131 \u00fczere d\u00f6nemin edebiyat\u0131 ve sanat\u0131ndaki tasvirlerle Antik \u00c7a\u011f filmlerindeki baz\u0131lar\u0131na \u201cyapay\u201d gelebilecek kitlesel eylemler aras\u0131nda bir \u00f6rt\u00fc\u015fme s\u00f6z konusudur. O h\u00e2lde Stoa Poikile\u2019deki \u015fimdi kay\u0131p Marathon Sava\u015f\u0131 duvar resmi,  \u0130skender Mozai\u011fi,  Traianus ve Marcus Aurelius s\u00fctunlar\u0131, Ludovisi Lahdi gibi \u00f6rnekler Kracauer\u2019in \u201cdramatize edilmi\u015f g\u00f6rsel kay\u0131t\u201d tan\u0131m\u0131na uygundur diyebiliriz. Quo Vadis<\/em> veya Ben-Hur<\/em>\u2019daki canl\u0131 zafer alay\u0131 sahnelerini Gladiator<\/em>\u2019da Commodus\u2019un Roma\u2019ya d\u00f6n\u00fc\u015f\u00fcnde d\u00fczenlenen alayla kar\u015f\u0131la\u015ft\u0131rd\u0131\u011f\u0131m\u0131zda aradaki farklar \u00e7ok \u00e7arp\u0131c\u0131d\u0131r: Scott\u2019\u0131n filmi Commodus\u2019un ac\u0131mas\u0131zl\u0131\u011f\u0131, ahlak yoksunlu\u011fu, tekinsiz davran\u0131\u015flar\u0131n\u0131 ve Roma\u2019n\u0131n yozla\u015fm\u0131\u015f siyasetini g\u00f6rselle\u015ftirmek i\u00e7in zafer alay\u0131 sahnesinde kasvetli ve bask\u0131c\u0131 bir his yaratan gri-mavi tonlar\u0131ndan m\u00fcte\u015fekkil bir renk paletini tercih etmi\u015ftir. Bu ba\u011flamda Gladiator<\/em>‘un daha belirgin bir yapayl\u0131k i\u00e7erdi\u011fini s\u00f6ylemek m\u00fcmk\u00fcnd\u00fcr. Elbette burada y\u00f6netmenin belirli bir amaca y\u00f6nelik tercihi s\u00f6z konusudur. Fakat s\u0131radan bir seyirci Gladiator<\/em>‘u seyrederken modern bir film olarak bilimsel ara\u015ft\u0131rmalara daha fazla dayanan “akademik” d\u00fcnya kurulmu\u015f oldu\u011funu d\u00fc\u015f\u00fcnebilir ve onunla kar\u015f\u0131la\u015ft\u0131rd\u0131\u011f\u0131nda klasik Antik \u00c7a\u011f filmlerindeki renk c\u00fcmb\u00fc\u015f\u00fcn\u00fc yapay g\u00f6rebilir. En az\u0131ndan bu konuda Hollywood’un klasik Roma filmlerini sahtelikle ele\u015ftirmek haks\u0131zl\u0131k olur.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Ger\u00e7ek\u00e7i okula mensup Siegfried Kracauer’\u0131n Film Teorisi. Fiziksel Ger\u00e7ekli\u011fin Kurtulu\u015fu (\u00e7ev. \u00d6. \u00c7elik, Metis Yay\u0131nlar\u0131, \u0130stanbul, 2015) kitab\u0131 film kuram\u0131na dair kitaplar i\u00e7inde a\u00e7\u0131k bir d\u00fczen i\u00e7inde yaz\u0131lm\u0131\u015f sistematik ve net bir \u00e7al\u0131\u015fma olmas\u0131yla \u00f6ne \u00e7\u0131kar. Kracauer i\u00e7in tarihin kabul edilebilir sinemasal temsilini kurmak i\u00e7in y\u00f6ntemlerden biri, filmin konu edindi\u011fi d\u00f6neme ait g\u00f6rsel malzemeden yararlanarak … <\/p>\n

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