Paul Tillich’te Sanat Stilleri ve Sinemadaki Yansımaları
Özet
Din ve sinema alanında yapılan çalışmalarda Paul Tillich’in sanat ve kültür üzerinden yaptığı değerlendirmeler son derece önemli bir yer tutmaktadır. Bir kültür teoloğu olarak da isimlendirilen Paul Tillich, “dinî kültürün cevheri, kültürü de dinîn biçimi” olarak ele almıştır. Bu açıdan insanın ürettiği her şeyin din ile ilişkisini sistematik bir biçimde kurmak mümkündür. Tillich, doğrudan sanatı ele aldığı özel bir sistem geliştirmemiştir. Ancak Modern Sanatlar Müzesi’nde (MoMA) yaptığı konuşmada, sanat eserleri ile dinî tecrübe arasındaki ilişkiyi değerlendirmiş ve bu ilişkiye göre belirli sanat stilleri oluşturmuştur. Bu çalışmada da Tillich’in ele aldığı biçimi ile kültür, din ve sanat stilleri ile sinema arasındaki ilişki tartışmaya açılmıştır.
Referanslar
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Campbell, J. (1949). The Hero with a thousand faces. Princeton: Bollingen.
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Chilvers, I., Osborne, H., & Farr, D. (Eds.). (1988). The Oxford dictionary of art. New York: Oxford University Press.
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Crockett, C. (2001). A Theology of the sublime. New York: Routledge.
Deamer, D. (2016). Deleuze’s cinema books: Three Introductions to the Taxonomy of Images. Edinburg: Edinburgh University Press.
Deleuze, G., & Partnet, C. (2007). Dialogues II (Revised Edition ed.). (H. Tomlinson, & B. Habberjam, Trans.) New York: Columbia University Press.
Deleuze, G. (1999). Immanence: a life ... In J. Khalfa, Introduction to the Philosophy of gilles deleuze (pp. 170-202). London, New York: Continuum.
Deleuze, G. (2001, May). Dualism, monism and multiplicities (Desire-Pleasure-Jouissance). Contretemps: An Online Journal of Philosophy,, 2, 92–108.
Deleuze, G. (2004). Sinema I; hareket-imge. (S. Özdemir, Trans.) İstanbul: Norgunk Yayıncılık.
Deleuze, G. (2005). Expressionism in philosophy: spinoza (4. ed.). Brooklyn: Zone Books.
Deleuze, G. (2021). Sinema II; zaman-imge. (B. Yalım, & E. Koyuncu, Trans.) İstanbul: Norgunk.
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Hawks, H. (Director). (1946). The big sleep [Motion Picture].
Hegel, G. W. (1988). Aesthetics; lectures on fine art (2. ed., Vol. I). (T. M. Knox, Trans.) New York: Clarendon Press.
Hitchcock, A. (Director). (1927). The lodger: A story of the London fog [Motion Picture].
Hitchcock, A. (Director). (1929). Blackmail [Motion Picture].
Hodge, S. (2021). Gerçekten bilmeniz gereken 50 sanat fikri (10. ed.). (E. Gözgü, Trans.) İstanbul: domingo.
Howie, G. (2002). Deleuze and spinoza; aura of expressionism. New Yoek: Palgrave.
Hurley, N. (1960, Autumn). The social philosophy of Charlie Chaplin. Studies: An Irish Quarterly Review, 49(195), pp. 313-320.
Huston, J. (Director). (1941). The maltese falcon [Motion Picture].
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Jackson, P. (Director). (2001-2003). The Lord of therings trilogy [Motion Picture].
Jessner, L. (Director). (1921). Hintertreppe [Motion Picture].
Johnston, R. K. (2006). Reel spirituality (Engaging Culture): Theology and film in dialogue. Grand Rapids: Baker Academic.
Kegley, C. W. (1960, Winter). Paul Tillich on the philosophy of art. The Journal of Aesthetics and Art Criticism, 19(2), pp. 175-184.
Klinge, P., & Klinge, S. (1983). Evolution of film styles. Lanham, London: University Press of America.
Kracauer, S. (1960). Theory of film: The redemption of physical reality. New York: Oxford University Press.
Kracauer, S. (1966). From caligari to hitler; a psychologicak history of the German film (2. ed.). Princeteon, N.J.: Princeton University Press.
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Leni, P. (Director). (1924). Das Wachsfigurenkabinett [Motion Picture].
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Referanslar
1949 (Director). (Akira Kurosawa). Stray dog [Motion Picture].
Aitken, I. (2016). In I. Aitken (Ed.), The major realist film theorists; a critical anthology (pp. 1-40). Edinburgh: Edinburgh University Press.
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Berger, J. (1972). Ways of seeing. New York: Penguin Books.
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Cooper, J. C. (1997). The spiritual presence in the theology of Paul Tillich: Tillich's use of St Paul. Macon: Mercer University Press.
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Deleuze, G., & Partnet, C. (2007). Dialogues II (Revised Edition ed.). (H. Tomlinson, & B. Habberjam, Trans.) New York: Columbia University Press.
Deleuze, G. (1999). Immanence: a life ... In J. Khalfa, Introduction to the Philosophy of gilles deleuze (pp. 170-202). London, New York: Continuum.
Deleuze, G. (2001, May). Dualism, monism and multiplicities (Desire-Pleasure-Jouissance). Contretemps: An Online Journal of Philosophy,, 2, 92–108.
Deleuze, G. (2004). Sinema I; hareket-imge. (S. Özdemir, Trans.) İstanbul: Norgunk Yayıncılık.
Deleuze, G. (2005). Expressionism in philosophy: spinoza (4. ed.). Brooklyn: Zone Books.
Deleuze, G. (2021). Sinema II; zaman-imge. (B. Yalım, & E. Koyuncu, Trans.) İstanbul: Norgunk.
DeMille, C. B. (Director). (1956). The ten commandments [Motion Picture].
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Dourley, J. P. (2008). Paul Tillich, Carl Jung and the recovery of religion. New York: Routledge.
Eliade, M. (1969). The Quest. Chicago: University of Chicago.
El-Khachab, W. (2013, August). Cinema as a sacred surface: ritual rememoration of transcendence. Kinephanos, 4(1), pp. 32-48.
Elley, D. (2014). The epic film; myth and history (2. ed.). Oxon: Routledge.
Elsaesser, T. (2016). Expressionist cinema style and design in film history. In O. Brill, & G. D. Rhodes (Eds.), Expressionism in the Cinema (pp. 15-40). Edinburgh: Edinburgh University Press.
Fincher, D. (Director). (1995). Se7en [Motion Picture].
Fleming, V. (Director). (1939). The wizard of Oz [Motion Picture].
Florey, R. (Director). (1932). Murders in the rue morgue [Motion Picture].
Galeen, H. (Director). (1928). Alraune [Motion Picture].
Gaughan, J. (1974, Winter). An ecumenical philosopher of religious experience: Paul Tillich. Philosophy Today, 18(4), pp. 330-337.
Graham, D. J. (2006). The Uses of film in theology. In C. Marsh, & G. Ortiz (Eds.), Explorations in Theology and Film (pp. 35-43). Oxford: Blackwell Publishing.
Grune, K. (Director). (1923). Die Straße [Motion Picture].
Hart, S. M. (2005). Magical realism: style and substance. In S. M. Hart, & W.-c. Quyang (Eds.), A Compion to Magical Realism (pp. 1-22). Rochester, New York: Tamesis, Woodbridge.
Hawks, H. (Director). (1946). The big sleep [Motion Picture].
Hegel, G. W. (1988). Aesthetics; lectures on fine art (2. ed., Vol. I). (T. M. Knox, Trans.) New York: Clarendon Press.
Hitchcock, A. (Director). (1927). The lodger: A story of the London fog [Motion Picture].
Hitchcock, A. (Director). (1929). Blackmail [Motion Picture].
Hodge, S. (2021). Gerçekten bilmeniz gereken 50 sanat fikri (10. ed.). (E. Gözgü, Trans.) İstanbul: domingo.
Howie, G. (2002). Deleuze and spinoza; aura of expressionism. New Yoek: Palgrave.
Hurley, N. (1960, Autumn). The social philosophy of Charlie Chaplin. Studies: An Irish Quarterly Review, 49(195), pp. 313-320.
Huston, J. (Director). (1941). The maltese falcon [Motion Picture].
Introduction: The Return of the epic. (2014). In A. B. Elliott, & A. B. Elliott (Ed.), The return of the epic film; Genre, Aesthetics and History in the Twenty-first Century (pp. 1-15). Edinburgh: Edinburgh University Press.
Jackson, P. (Director). (2001-2003). The Lord of therings trilogy [Motion Picture].
Jessner, L. (Director). (1921). Hintertreppe [Motion Picture].
Johnston, R. K. (2006). Reel spirituality (Engaging Culture): Theology and film in dialogue. Grand Rapids: Baker Academic.
Kegley, C. W. (1960, Winter). Paul Tillich on the philosophy of art. The Journal of Aesthetics and Art Criticism, 19(2), pp. 175-184.
Klinge, P., & Klinge, S. (1983). Evolution of film styles. Lanham, London: University Press of America.
Kracauer, S. (1960). Theory of film: The redemption of physical reality. New York: Oxford University Press.
Kracauer, S. (1966). From caligari to hitler; a psychologicak history of the German film (2. ed.). Princeteon, N.J.: Princeton University Press.
Kuhn, A., & Westwell, G. (2012). A dictionary of film studies. Oxford: Oxford University Press.
Lang, F. (Director). (1921). Der müde Tod [Motion Picture].
Lang, F. (Director). (1922). Dr. Mabuse, der Spieler [Motion Picture].
Lang, F. (Director). (1927). Metropolis [Motion Picture].
Leni, P. (Director). (1924). Das Wachsfigurenkabinett [Motion Picture].
Leni, P. (Director). (1927). The Cat and the Canary [Motion Picture].
Lipchitz, J. (n.d.). Figure. MoMA - Museum Of Modern Art.
Lucas, G. (Director). (1977-2019). Star Wars [Motion Picture].
Lumet, S. (Director). (1957). 12 Angry Men [Motion Picture].
Lumière, L. (Director). (1895). La Sortie de l'usine Lumière à Lyon [Motion Picture].
Lumière, L. (Director). (1895). L'Arroseur Arrosé [Motion Picture].
Lumière, L. (Director). (1895). Place des cordeliers à Lyon [Motion Picture].
Lumière, L. (Director). (1896). L'arrivée d'un train en gare de La Ciotat [Motion Picture].
Lundy, C. (2018). Deleuze's Bergsonism. Edinburgh: Edinburgh University Press.
Manning, R. R. (2009). Tillich's theology of art. In R. R. Manning (Ed.), The Cambrigde Companion to Paul Tillich (pp. 152-172). Cambridge: Cambridge University Press.
Martin, K. H. (Director). (1920). Von Morgens bis Mitternachts [Motion Picture].
Maté, R. (Director). (1962). The 300 Spartans [Motion Picture].
Méliès, G. (Director). (1896). Le Manoir du diable [Motion Picture].
Mullarkey, J. (2009). Gilles Deleuze. In F. Colman (Ed.), Film, Theory and Philosophy; The Key Thinkers (pp. 179-189). Québec: McGill-Queen's University Press.
Murnau, F. W. (Director). (1922). Nosferatu – Eine Symphonie des Grauens [Motion Picture].
Murnau, F. W. (Director). (1922). Phantom [Motion Picture].
Nayar, S. J. (2012). The sacred and the cinema: Reconfiguring the 'Genuinely' Religious Film. London, New Delhi, New York, Sydney: Bloomsbury.
Pabst, G. W. (Director). (1925). Die freudlose Gasse [Motion Picture].
Pabst, G. W. (Director). (1926). Geheimnisse einer Seele [Motion Picture].
Pabst, G. W. (Director). (1929). Die Büchse der Pandora [Motion Picture].
Palmer, M. (1984). Paul Tillich's Philosophy of Art. Berlin, New York: Walter De Gruyter.
Palmer, M. F. (1983). Paul Tillich's philosophy of art. New York: De Gruyter.
Pamerleau, W. C. (2009). Existentialist cinema. New York: Palgrave Macmillan.
Plate, S. B. (2017). Cinema and the re-creation pf the world (2. ed.). New York: Columbia University Press.
Price, J. L. (1986, Winter). Expressionism and ultimate reality: Paul Tillich's theology of art. Soundings: An Interdisciplinary Journal, 69(4), pp. 479-498.
Rachmuth, M. (2017, December). Laughter and the death of the comic: Charlie Chaplin's the circus and limelight in light of the ethics of emmanuel levinas. Film-Philosophy, 19(1), pp. 16-32.
Reed, C. (Director). (1949). The third man [Motion Picture].
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