{"id":8229,"date":"2026-07-13T09:38:44","date_gmt":"2026-07-13T09:38:44","guid":{"rendered":"https:\/\/kenansubasi.com\/?p=8229"},"modified":"2026-07-31T12:08:12","modified_gmt":"2026-07-31T09:08:12","slug":"reha-erdemin-bes-vakit-isimli-filminin-munsterberg-ve-arnheimin-kuramlari-uzerinden-incelemesi","status":"publish","type":"post","link":"https:\/\/kenansubasi.com\/en\/reha-erdemin-bes-vakit-isimli-filminin-munsterberg-ve-arnheimin-kuramlari-uzerinden-incelemesi\/","title":{"rendered":"An Analysis of Reha Erdem's Film "Five Times a Day" Through the Theories of M\u00fcnsterberg and Arnheim"},"content":{"rendered":"
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Summary<\/p>\n

Reha Erdem, y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131 2006 y\u0131l\u0131 yap\u0131m\u0131 Be\u015f Vakit filminde \u00fc\u00e7 \u00e7ocu\u011fu merkeze alarak ataerkil d\u00fczeni, otoriteyi ve iktidar ile olan m\u00fccadeleyi k\u00f6y\u00fcn ya\u015fant\u0131s\u0131 i\u00e7erisinden ili\u015fkiler ba\u011flam\u0131nda anlatmaktad\u0131r. Erdem, filmin \u00e7ocuk karakterleri olan Yakup, \u00d6mer ve Y\u0131ld\u0131z\u2019\u0131n \u00fczerinden kurdu\u011fu anlat\u0131s\u0131nda ergenlik \u00e7a\u011f\u0131n\u0131 ya\u015fayan \u00e7ocuklar\u0131n ebeveynleri ile olan ili\u015fkileri \u00fczerine yo\u011funla\u015f\u0131r. Filmin temel anlat\u0131sal yap\u0131s\u0131; bu ili\u015fkiyi bir ara\u00e7 olarak kullan\u0131p \u00e7ocuklar \u00fczerinde bir otorite kurma \u00e7abas\u0131 olan ebeveynler ile bu otoriteye direnme \u00e7abas\u0131nda olan \u00e7ocuklar\u0131n \u00f6yk\u00fcs\u00fc \u00fczerinde yo\u011funla\u015ft\u0131\u011f\u0131 g\u00f6r\u00fclmektedir. Hugo M\u00fcnsterberg sineman\u0131n zihne hitap etti\u011fini s\u00f6ylemektedir. Seyirciyi pasif olarak konumland\u0131rman\u0131n yanl\u0131\u015f oldu\u011funu asl\u0131nda seyircinin izledi\u011fi g\u00f6r\u00fcnt\u00fcler ile kar\u015f\u0131l\u0131k olarak etkile\u015fim halinde oldu\u011funu belirtir. Sinemay\u0131 bir sanat dal\u0131 olarak tan\u0131mlayan M\u00fcnsterberg, sinemada kurgu arac\u0131l\u0131\u011f\u0131 ile zaman\u0131 par\u00e7alayabildi\u011fimizi, zamanda ileriye veya geri do\u011fru gidebildi\u011fimizi s\u00f6yleyip sineman\u0131n tiyatrodan bu y\u00f6nleriyle ayr\u0131ld\u0131\u011f\u0131n\u0131 ve bu y\u00f6nleriyle de tiyatroya \u00fcst\u00fcnl\u00fck sa\u011flad\u0131\u011f\u0131n\u0131 iddia etmektedir. Kurgu arac\u0131l\u0131\u011f\u0131yla olu\u015fturulan sinemasal anlat\u0131y\u0131 seyircinin nas\u0131l anlayabilece\u011fi sorusuna bu anlat\u0131m ara\u00e7lar\u0131n\u0131n t\u00fcm\u00fcn\u00fcn zihinsel i\u015flemlerin nesnelle\u015ftirilmesi oldu\u011fu s\u00f6yler. Rudolf Arnheim\u2019\u0131n \u201cSanat Olarak Sinema\u201d \u00e7al\u0131\u015fmalar\u0131 Gestalt kuram\u0131n\u0131 temel almaktad\u0131r. Gestalt kuram\u0131, b\u00fct\u00fcn anlam\u0131na gelmektedir. Par\u00e7alar\u0131n bir b\u00fct\u00fcn\u00fc olu\u015fturdu\u011funu ancak b\u00fct\u00fcn\u00fc olu\u015fturan par\u00e7alar\u0131n her birinin b\u00fct\u00fcnden daha b\u00fcy\u00fck bir anlam olu\u015fturdu\u011funu ifade eder. Arnheim\u2019\u0131n deneyimledi\u011fi Gestalt kuram\u0131n\u0131n yan\u0131nda her sanat dal\u0131n\u0131n kendisine \u00f6zg\u00fc bir dili de oldu\u011funu s\u00f6ylemektedir. Arnheim\u2019\u0131n sanat teorisine g\u00f6re sanat yap\u0131t\u0131 ger\u00e7e\u011fin kaydedilmi\u015f bir kopyas\u0131 de\u011fil, g\u00f6zlemlenen niteliklerinin belirli bir arac\u0131n bi\u00e7imlerine d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesidir. Arnheim da M\u00fcnsterberg gibi sineman\u0131n zihinsel bir s\u00fcre\u00e7 oldu\u011funu ifade etmektedir. Her ne kadar sinema ve teknoloji ili\u015fkisine korkarak yakla\u015fsa da yapt\u0131\u011f\u0131 \u00e7al\u0131\u015fmalar sineman\u0131n bir sanat oldu\u011funu ispat etme y\u00f6n\u00fcndedir. Bildirimiz kapsam\u0131nda Reha Erdem\u2019in Be\u015f Vakit filmini incelerken Hugo M\u00fcnsterberg\u2019in \u201cZaman, Mek\u00e2n ve Nedensellik\u201d kuram\u0131, Rudolf Arnheim\u2019\u0131n \u201cSanat Olarak Sinema\u201d bak\u0131\u015f a\u00e7s\u0131s\u0131 ve Rus sinemac\u0131lar\u0131n \u201cSovyet Montaj Kuram\u0131ndan\u201d faydalan\u0131lacakt\u0131r.<\/p>\n

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Anahtar Kelimeler: Reha Erdem, Sinema, \u0130ktidar, Sanat<\/p>\n

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Abstract<\/p>\n

Reha Erdem tells the patriarchal order, authority and the struggle with power in the context of relations within the life of the village, by taking three children to the center in the 2006 film Be\u015f Vakit, which he directed. Erdem focuses on the relationships of adolescent children with their parents in the film’s narrative based on the child characters Yakup, \u00d6mer and Y\u0131ld\u0131z. The basic narrative structure of the film; It is seen that he focuses on the story of parents who use this relationship as a tool to establish an authority over their children, and children who try to resist this authority. Hugo M\u00fcnsterberg says that cinema appeals to the mind. It states that it is wrong to passively position the audience, in fact, the audience interacts with the images they watch. Defining cinema as a branch of art, M\u00fcnsterberg claims that we can divide time, move forward or backward in time through editing in cinema, and claims that cinema differs from theater in these aspects, and in these aspects it provides superiority to theater. To the question of how the audience can understand the cinematic narrative created through editing, he says that all these means of expression are the objectification of mental processes. Rudolf Arnheim’s “Cinema as Art” studies are based on Gestalt theory. Gestalt theory means the whole. It states that the parts constitute a whole, but each of the parts that make up the whole creates a greater meaning than the whole. He says that besides the Gestalt theory that Arnheim experienced, each branch of art has its own language. According to Arnheim’s theory of art, the work of art is not a recorded copy of reality, but the transformation of its observed qualities into the forms of a particular medium. Arnheim, like M\u00fcnsterberg, states that cinema is a mental process. Although he approaches the relationship between cinema and technology with fear, his works are in the direction of proving that cinema is an art. Within the scope of our report, Hugo M\u00fcnsterberg’s “Time, Space and Causality” theory, Rudolf Arnheim’s “Cinema as Art” perspective, and Russian filmmakers’ “Soviet Montage Theory” will be used while examining Reha Erdem’s Five Times film.<\/p>\n

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Keywords: Reha Erdem, Cinema, Power, Art<\/p>\n

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Yazarlar: Hasan Yaman, Hakan Alp, Kenan Suba\u015fi<\/p>\n

Sempozyum: International Communication and Art Symposium (INCAS), Elaz\u0131\u011f, T\u00fcrkiye, 04 Eyl\u00fcl 2021, cilt.1, ss.31-32<\/p>\n

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Detail<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\u00d6zet Reha Erdem, y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131 2006 y\u0131l\u0131 yap\u0131m\u0131 Be\u015f Vakit filminde \u00fc\u00e7 \u00e7ocu\u011fu merkeze alarak ataerkil d\u00fczeni, otoriteyi ve iktidar ile olan m\u00fccadeleyi k\u00f6y\u00fcn […]<\/p>\n","protected":false},"author":1,"featured_media":8231,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[21],"tags":[71,72,73,74,75,76,78,54,77],"class_list":["post-8229","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bildiri","tag-dijital-medya","tag-dijital-sinema","tag-gorsel-imge","tag-gundem-belirleme","tag-gundem-belirleme-kurami","tag-sanal-gerceklik","tag-sinema","tag-vr-film","tag-vr-sinema"],"acf":{"choi\u0441e_menu_page":"global_settings","full_width":false,"header_transparent":false,"header_white":false,"menu_align_page":"default","menu_style":""},"_links":{"self":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8229","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/comments?post=8229"}],"version-history":[{"count":4,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8229\/revisions"}],"predecessor-version":[{"id":8234,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8229\/revisions\/8234"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media\/8231"}],"wp:attachment":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media?parent=8229"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/categories?post=8229"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/tags?post=8229"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}