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Autorka omawia refleksje zamieszczone w publikacjach Germaine Dulac z lat 1919-1937, w których znajdują się odniesienia do jej przemyśleń oraz realizacji filmowych. Tematyka poruszana przez Dulac wpisuje się w dyskusję na temat kina jako sztuki, specyfiki nurtów awangardowych oraz wypracowywanej przez nie estetyki. Jako aktywna realizatorka, wykładowczyni i autorka tekstów śledziła na bieżąco dyskusje wokół filmu abstrakcyjnego, roli koloru, dźwięku, a także formowanie się profesji filmowych, które wymagały zdefiniowania. Interesowały ją ponadto zagadnienia związane z edukacją filmową i kształtowaniem się uniwersalnych kompetencji odbiorczych oraz rozwój rynku filmowego z nowoczesnymi kinami i międzynarodowym systemem dystrybucji. The text presents Germaine Dulac’s ideas on cinema and film form, as discussed in her writings from 1919-1937. As a filmmaker and member of the avant-garde movement, Dulac addressed the issue of cinema as a new art form, and its original aesthetics. As an active director, lecturer, writerand editor of texts, she followed and commented on current discussions on abstract film, the role of color, sound, and new film professions that had to be defined. Moreover, Dulac was interested in film education, educating the audience, as well as in the development of film market and film industry.

Metin Erksan’ın yönetmenlik kariyerinin son dönemlerinde, Türk edebiyatından beş öyküyü sinemaya uyarladığı “Beş Hikâye” serisi filmleri; gösterildikleri dönem büyük tepki toplamış, alışılmadık biçimsel yapıları sebebiyle dönemin seyircisi tarafından anlaşılamamıştır. Bu çalışmanın amacı, Neoformalist yaklaşımla “Beş Hikaye” film serisinin biçimsel yapısını çözümlemek; bu filmlerin gösterildiği dönemde yarattıkları etki ve tepkilerin biçimsel yapılarıyla ilişkisini sorgulamak, ayrıca bu filmler ekseninde yönetmenin stili ile ilgili saptamalarda bulunmaktır. Nitel bir araştırma olarak tasarlanan bu çalışmanın ilk bölümünde, sanatta biçim, stil ve anlatı kavramları tanımlanarak Neoformalist yaklaşımın biçim tanımı somutlaştırılmaya çalışılmış; sinemada biçim olgusunun tarihsel uğrakları ve gelişimi irdelenmiştir. İkinci bölümde, Neoformalist yaklaşımın kuramsal çerçevesi bir bütünlük içinde bir araya getirilerek irdelenmiştir. Sinemada biçimin tarihsel dönüşümü sonucunda ortaya çıkan dört biçimsel tarz irdelendikten sonra, sinemada postmodernizm tartışılmıştır. Üçüncü bölümde, çalışmanın örneklemini oluşturan Metin Erksan’ın “Beş Hikaye” serisi (Müthiş Bir Tren, Sazlık, Bir İntihar, Hanende Melek, Geçmiş Zaman Elbiseleri) filmleri neoformalist yaklaşımla analiz edilerek biçimsel özellikleri belirlenmiş; bu filmlerin gösterildikleri dönem yarattıkları etkilerle biçimsel yapıları arasındaki ilişki sorgulanmıştır. Yapılan analizler sonucunda seçilen filmlerin, o dönem Türk sinemasında örneklerine rastlanmayan çağdaş ve parametrik biçimsel tarzlara ilişkin özellikler taşıdıkları saptanmıştır. Dolayısıyla Türk sineması ekseninde şekillenen, dönemin seyirci şemasına uymadıkları; bu sebeple gerek seyirci gerekse eleştirmenlerin büyük çoğunluğu tarafından anlaşılamadıkları sonucuna ulaşılmıştır. Gördükleri tepki ve eleştirilere karşın bu beş filmde, Metin Erksan’ın biçimsel araçları geniş bir yelpazede kullandığı, stili ile ortaya zengin ve istisnai ürünler çıkardığı belirlenmiştir., Directed by Metin Erksan in the late years of his career, the movie series of “Five Stories” which were consisting of five different stories in the Turkish Literature had been faced with a negative reaction in public, and were not been understood well by the audience because of their unusual structures. This study aims to analyse the “Five Stories” according to the neo-formalist approach; to question the reactions they had been faced and the relationship between these reactions and the structures of the movies; and to analyse Metin Erksan’s style in these movies. Formed as a qualitative research this study begins with the explanations of some notions such as artistic forms, styles and narratives to clarify the approach of neoformalism to form and structure of movies, and continues with analysis of historical evolution of form and structure of movies. The second chapter focuses on discussions about the neo-formalist approach to create its own theoretical framework. To be able to do it, four main styles of cinema (classical narration, art-cinema narration, historical-materialist narration, and parametric narration) which have been evolved in historical process have been analysed, and then, the post-modern cinema has been discussed. The last chapter, analyses the “Five Stories” of Metin Erksan which were named as “Müthiş Bir Tren”, “Sazlık”, “Bir İntihar”, “Hanende Melek”, and “Geçmiş Zaman Elbiseleri” according to the neo-formalist approach to understand their structural features, and the relationship between their structures and the reactions they had been faced in the period of their screening. According to this analysis, the chapter focuses on the unusual structure of the chosen movies, and adresses their contemporary and parametric forms which were very rare in Turkish cinema in that period. This means, since these movies were not in accordance with the usual style of Turkish cinema, they had got big reactions both from the audiences and critics who were approching to the movies in some certain scheme. However, despite having a lot of negative reactions and critics, this study argues that Metin Erksan has applied varieties of styles and forms in these five movies, thus, created a succesful style to make these rare and unique movies.

To understand any aspect of being-in-the-world in general or cinematic experience in particular, both reductionist and holistic approaches are needed. Psychological accounts can give us only functional explanations of human behaviour or responses to signifying artifacts such as art. To understand the significance of these experiences the psychological must be complemented by a study on a level which may be termed spiritual. This line of thought is applied to analyses of Robert Bresson’s Pickpocket, starting from David Bordwell’s formalist and cognitive account of why many people experience this film as religious despite there being no explicit reference to religion. Paul Schrader’s analysis of the formal structure of this film in terms of his notion of transcendental style in film goes a step forward by explaining how the formal structure as he analyses it suggests a transcendental dimension which cannot be addressed directly. This approach connects in an illuminating way with Slavoj Žižek’s notions of the imaginary and the symbolic sphere. Bordwell’s approach, functioning on the psychological level, is basically reductionist, while Schrader’s, boosted with Žižek’s ideas as appropriated for the purposes of this article, is holistic and operative on the spiritual level. This two-tiered analysis reveals how cinematic form in Pickpocket serves as an indirect expression of faith.

At a little over 50 years of age, fi lm is a relatively new medium in Nigeria. Despite its youth, however, it has established itself as a powerful and popular art form. Nigerian fi lm producers have creatively exploited the techniques that give fi lm its narrative power while expressing emotions and ideas. In general, Nigerian fi lms are both created and produced in the context of their social and economic conditions. Resting on this foundation, this paper takes a critical look at the story and style of contemporary Nigerian fi lms. Employing the concepts of fi lm form and style as the theoretical background, we consider issues such as the organization of fi lm narrative, the cohesiveness and relatedness of scenes (the progression of plots), and the techniques used for presentation and character development. The paper also provides recommendations to improve the quality of productions.

Bu tez temel olarak film formunda tekrarla ilgilidir. Anahtar bir kavram olan tekrar birçok farklı formda kendini gösterir. Felsefede tekrar üzerine farklı anlayışlar söz konusudur. Sistematik bir şekilde yapılandırıldığı sanat formlarında, tekrar temel unsurlardan biridir. Film formunda ise, fonksiyonlarını daha iyi anlamamıza yardım eden bazı konseptler bulunmaktadır. Bu tezin ana meselesi, film formundaki bu kavramları kullanarak ve felsefedeki tekrar anlayışlarını temel alarak üç temel tekrar tipi belirlemektir. Bu tekrar tipleri; bilgilendirici, yapılandırıcı ve şiirsel tekrarlardır. Örnek çalışma olarak; bu oluşturulan tipler temel alınarak, eşsiz sinematik tarzıyla amatör-otör bir yönetmen olan Kim Ki-duk filmleri incelenmektedir.Anahtar Kelimeler: Tekrar, Film Formu, Anlatı, Kim Ki-duk This thesis mainly deals with repetition in film form. Repetition which is a key concept shows itself in many different forms. In philosophy there are several perceptions at stake. In art forms in which it is structured systematically repetition is one of the basic elements. As for film form, there are concepts that help us to understand the function of it. The basic concern of this thesis is constructing three basic repetition types by grounding on the perceptions of repetition in philosophy by also using basic concepts of repetition in film form. These types of repetitions in film form are specified as informative, constructive and poetic repetitions. As the case study, the films of Kim Ki-duk who is an amateur-auteur director with a unique cinematic style are analyzed on the ground of these constructed types.Keywords: Repetition, Film form, Narrative, Kim Ki-duk 95

The focus in this project is an investigation of the representation of Indigenous Australians in the two contemporary films Australia and Ten Canoes. Furthermore, it is to grasp what subject positions are available for the Indigenous characters in the films, especially in relation to former fixed power relations between coloniser and colonised in Australia. Finally, but not less important, the project continues to answer the first two questions by relating them closely to film form. The point of departure is classical and contemporary film theory contributing with different perspectives on the psychoanalytical concept of the gaze. My main inspiration derives from E. Ann Kaplan’s contribution of the imperial gaze which is a transformation of Laura Mulvey’s controversial outline of the male gaze from 1975. Kaplan relates the concept to other aspects of difference than gender, namely that of racial and cultural difference. Furthermore, she develops the gaze into what she calls looking relations which enables me to uncover subject positions on three levels. Primarily I concentrate on characters. Moreover, I situate these subject positions in relation to the overall message or world view that the films provide, as well as potential meanings that the audience produces. Another theoretical inspiration for the project has been Homi Bhabha’s work on the force of ambivalence connected to stereotypes in colonial discourse. Through the recognition of such ambivalence it becomes clear that the once fixed binary oppositions attributed to former coloniser and colonised cannot remain fixed. Furthermore it explains some of the reasons why these oppositional categories have been reproduced again and again. Methodologically, I make use of Robert Stam and Louise Spencer’s approach when working with colonialism, racism and representation. Their approach goes well with the theoretical concepts of the imperial gaze and looking relations as they stress the importance of film form and genre, rather than dealing only with positive and negative images. As the films are different in form and genre the results of the analysis are equally different. Broadly, the project demonstrates how a focus on subject positions and culture enables change. It does not suggest that the prior binary oppositions should be either one or the other; rather it suggests that when differences have been recognized, there should be found a common ground.