Bergson’un Düşlediği Sinema: Blade Runner 2049’da Bellek ve Benlik
Bergson’s Dreamed Cinema: Memory and Self in Blade Runner 2049

Summary/Abstract: Bergson, who was one of the first philosophers to put forward original thoughts about the rapidly developing imaging technologies and cinema at the end of the 19th century and the beginning of the 20th century, put forward a unique philosophy with his perspective on the quality of memory and “time”. Bergson tried to remove time from being a linear and measurable element. Conversely it is seen that Bergson, who produced his works in a period when cinema was just emerging, also influenced the philosophy of cinema. Bergson’s cinematography criticism has been accepted as the starting point of a new cinematic understanding by many thinkers or critics, especially Gilles Deleuze (1925-1995). The most important elements of the relevant ‘Bergsonian cinema’ approach are time, memory and self. In fere by discussions of artificial intelligence, one of the areas where the relationship between self and memory is frequently discussed is science fiction cinema. The movie Blade Runner 2049, which is a detective with dystopian content, has a suitable content to answer the question of whether a Bergsonian cinema is possible. Thus, Blade Runner 2049 deals with the question of whether the protagonist K is “human or copy” with a narrative that basically points to the meaninglessness of this question. Our study aims to analyze Blade Runner 2049 with Bergsonian themes of time, memory and self.

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