AS A FORM OF NARRATIVE INVESTIGATION OF HANEKE'S FUNNY GAMES FILM IN ALIENATION PERSPECTIVE
HANEKE SİNEMASINA YABANCILAŞTIRMA PERSFEKTİFİNDEN BAKIŞ ÖRNEK FİLM: “FUNYY GAMES”

Author : Ufuk UĞUR
Number of pages : 86-101

Abstract

Since he knows himself, he has always felt the need to tell something. This need emerged in different forms such as painting, poetry and literature and continued with cinema in the early 20th century. As a structure that covers all artistic disciplines, antagonism comes out in various forms in terms of cinema narrative. It is accepted many years ago that the cinema which is seen as an entertainment medium first has its own language structure. It has a classic narrative structure in these years, when it begins to tell a story apart from transferring it as if it is a cinema reality. Aristotle's description of reflective narrative follows different forms. Especially in the 1960s, with Brecht, a modern narrative structure based on alienation, as opposed to a narrative structure based on identification, appeared. Instead of the classical, demonstrator, or conventionally accepted Aristotlean narrative form in cinema, a narrative form based on the alienation effect emerged in these years. This form, led by Brecht, opposes identification and defends the active participation of the viewer. In the film "Funny Games" from Haneke's film samples, he applied this alienation effect in various forms. The film, which is named in terms of acting and story fiction, uses the elements of alienation to present the audience an excerpt of Brechtyen in addition to the classical narrative.

Keywords

Cinema, Narrative, Haneke, Brecht.

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