Kavramlarla Denge Kuran Yönetmen Olarak: Paolo Sorrentino
A Director balancing with the concepts: Paolo Sorrentino

Summary/Abstract: Balance as a word is defined as mental and emotional harmony and stability. As a concept the presence of which can be felt in its absence, it permeates everything both in daily life and intellectually. Human presence experiences a break either at the point of finding it, or at the point of losing it. In The Birth of Tragedy, Nietzsche’s concepts of Apollo and Dionysos are approached as a balance of harmony that need each other despite their opposites, and which arise incompatibility from their union. Their coexistence has resulted in the perfection of Tragedy. These two concepts that carry each other within the scope of the study are the result of both the concepts of Apollo and Dionysos being art related and the fact that they are suitable for Sorrentino cinema. Kant’s philosophy of aesthetic distinguishes beauty from good, pleasant, true and useful, revealing the difference between the beauty of art and the beauty of nature. There is often no purpose or rule in the concept of beauty created by art; aesthetic sense in the soul and pleasantness are what is essential. Aesthetic experience is the sensation of a liking arising from the harmony between imagination and understanding in viewing the object. Cinema’s relationship with view is based on the thesis that viewing itself is a source of pleasure. While Sorrentino cinema satisfies the aesthetic sense of the audience, Kant does this by putting distance from the viewer with the principle of ‘viewing act’. Sorrentino cinema surrounds its aesthetic subject both with judgments of taste and with the supreme judgment. Paolo Sorrentino breaks familiar themes, image dilemmas or reinforcements in his cinema. Everything exists in his cinema with its opposite: Life – Death, Existence – Nothingness, Beauty – Ugliness, Youth – Senility, Nostalgia – Contentment. This study aims to both conceptually and stylistically evaluate Le Conseguenze dell’amore (2004), L’amicio di famiglia (2006), La Grande Belleza (2013), Youth (2015) and Loro (2018) in the filmography of Paolo Sorrentino by bringing Nietzsche with his concepts, Kant with his aesthetic philosophy, and Sorrentino with his films together for the first time in the literature.

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