Sanatta Gerçeğin Sinemasal Olanaklılığı ya da Olanaksızlığı: Otto e Mezzo (1963), Andrei Rublev (1966) Synecdoche, New York (2008)
Cinematic Possibility or Impossibility of Truth in Art: Otto e Mezzo (1963), Andrei Rublev (1966) Synecdoche, New York (2008)

Summary/Abstract: Although the films Otto e Mezzo, Andrei Rublev and Synecdoche, New York appear to be very different at first glance, there is one important common point that connects the three films: This crisis of the artist in the process of creation stems from an aesthetic impasse about the artistic creation of reality. All three films feature intense subjectivity of their directors Federico Fellini, Andrei Tarkovski and Charlie Kaufman's approach to reality. Oscar Wilde, whose aesthetic theory we will take as the starting point in the study, said that art expresses only itself and claims that life imitates art rather than art imitates life. Cinema also has been an area of debate about reality from the moment it first appeared on the stage of history. The three films to be discussed present different approaches to reality. The scope of the study is to analyze the character of the artist in the crisis of creation and the approaches of the directors who are the creators, based on the views of Oscar Wilde and through the movies, after accepting cinema as an art discipline. In doing so, the aim is to discuss the possibility or impossibility of the cinematic re-creation of reality in art, in terms of form and content, within the light of cinematic expression in art. Yet another aim is to discuss the possibility or impossibility of cinematic re-creation of art as cinematic narration at the level of form and content. In the movies Otto e Mezzo and Andrei Rublev, it is possible for the artist to overcome the crisis of creation by accepting that art has an inner essence, not an external one. In Synecdoche, New York, the artist disappears into his own work, but his creator, director Kaufman, overcomes the crisis by creating the work and makes a film that offers a fictitious interpretation of reality. Based also on the aesthetic theories of Oscar Wilde, the comparison of the three films concludes that the work of art is independent from external reality while creating its ozvn truth and makes its own actuality in doing so.

• Details
• Contents