Çağdaş toplumların eleştirel teorileri, büyük bir dönüşümün olduğu konusunda hemfikirdir. Ancak bu çağdaş geçiş, eleştirel olmayan kuramların çoğunda özgürleştirici bakış açılarıyla ele alınırken, eleştirel kuramlarda, sanat ve bilim alanlarını etkileyen toplumsal kriz olarak değerlendirilmiştir. Günümüzde modern sinemada, gerçekliğin sinemayla kendini onarmaya çalıştığı ve gerçekliğin yanlış bir izlenimini yarattığı, karakterlerin, konuların ortadan kaldırıldığı, yalnızca şiddetin aşırı temsillerinin sapkın yanılsamaları, şok edici ve kışkırtıcı bir şekilde bırakıldığı kurgusal bir evren sunulmaktadır. Bu makale, bu analizi bir başlangıç noktası alarak, dönüşümü, şiddet ve cinselliğin aşırı net temsillerini içeren büyüyen bir film grubunu tanımlamak için kullanılan bir terim olan yeni aşırıcılığın filmsel temsillerindeki sonuçlarına odaklanmaktadır. Şiddet, beden ve cinsellik temaları üzerinden mevcut yönetmenlerin, modern bireye ve modern egemenlik biçimlerine yönelik tabularına saldırdığı tespit edilmiştir.
Akmeşe, Z. (2019). Adaptation of the novel the Stranger: A Comparative framing analysis of the films Lo Straniero and Yazgı. Connectist, 57, 1-23. https://doi.org/10.26650/CONNECTIST2019-0064
Assayas, O. (Yönetmen). (2002). Demonlover [Film]. Xavier Giannoli.
Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression (1. baskı). Edinburgh University.
Beugnet, M. (2011). The wounded screen. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 29-42). Edinburgh University.
Bordun, T. (2017). Genre trouble and extreme cinema film theory at the fringes of contemporary (1. baskı). Palgrave Macmillan.
Brown, W. (2013). Violence in extreme cinema and the ethics of spectatorship. Projections, 7(1), 25-42. https://doi.org/10.3167/proj.2013.070104
Buñuel, L. (Yönetmen). (1929). Un chien Andalou [Film]. Luis Buñuel.
Butler, A. (2012). Sacrificing the real early 20th century theatrics and the new extremism in cinema. Cinephile, 8(2), 27-31. https://doi.org/10.14288/cinephile.v8i2.198006
Cantaş A. ve Koluaçık, İ. (2022). Yeni dalgadan yeni aşırıcılığa Claire Denis sineması ve “Trouble Every Day” filmi. Uluslararası film araştırmaları sempozyumu bildiri özetleri kitapçığı (1. baskı) (s. 72). http://turkishfilmstudies.com/bildiri-ozet-kitabi/
Cohen, M. (Yönetmen). (2010). It begins with the end [Film]. François Kraus.
Çolak, M. (2011). The new extremism: Representation of violence in the new French extremism. VI. international conference: Communication and reality (1. baskı) (s. 491-501). https://dialnet.unirioja.es/servlet/articulo?codigo=8591089
de Van, M. (Yönetmen). (2002). Dans ma peau [Film]. Laurence Farenc.
Gök Demir, Z. (2010). Çerçevelemenin karar verme sürecine etkisi. Akdeniz iletişim dergisi, 13, 161-180. https://dergipark.org.tr/tr/pub/akil/issue/48082/607945
Denis, C. (Yönetmen). (2002). Trouble every day [Film]. Georges Benayoun.
Dumont, B. (Yönetmen). (2003). Twentynine palms [Film]. Rachid Bouchareb.
Edison, T. A. (Yönetmen). (1896). The kiss [Film]. Thomas Alva Edison.
Edison, T. A. (Yönetmen). (1903). Electrocuting an alephant [Film]. Thomas Alva Edison.
Entman, R. M. (1991). Framing U.S. coverage of international news: Contrasts in narratives of the KAL and Iran Air incidents. Journal of communication, 41(4), 6-27. https://doi.org/10.1111/j.1460-2466.1991.tb02328.x
Entman, R. M. (1993). Framing: Towards clarification of a fractured paradigm. Journal of communication, 43(4), 51-58. https://doi.org/10.1111/j.1460-2466.1993.tb01304.x
Frey, M. (2014). The ethics of extreme cinema. J. Choi ve M. Frey (Ed.), Cine-ethics ethical dimensions of film theory, practice, and spectatorship (1. baskı) (s. 145-163). Routledge.
Frey, M. (2016). Extreme cinema the transgressive rhetoric of today’s art film culture (1. baskı). Rutgers University.
Gitlin, T. (1980). The whole world is watching (1. baskı). University of California.
Goffman, E. (1974). Frame analysis: An essay on the organization of experience (1. baskı). Harvard University.
Günevi Uslu, E. (2022). Türk sinemasında New extremism, yeni aşırıcılık: Serdar Akar filmlerinin analizi. Türkiye film araştırmaları dergisi, 2(2), 87-96. https://dergipark.org.tr/en/pub/film/issue/74363/1162249
Horeck, T. ve Kendall, T. (2011). Introduction. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 1-17). Edinburgh University.
Horeck, T. ve Kendall, T. (2012). The new extremism: Rethinking extreme cinema. Cinephile, 8(2), 7-9. https://doi.org/10.14288/cinephile.v8i2.198003
Joyard, O. (2002). Le sexe, prochaine frontiere du cinema. Cahiers du cinéma, 574, 10-12. https://dialnet.unirioja.es/servlet/articulo?codigo=682595
Kalender, A. B. (2021). Yeni aşırılığın auteur yönetmeni: Bir l’enfant terrible olarak Gaspar Noé. Sinefilozofi dergisi, 6(11), 908-927. https://doi.org/10.31122/sinefilozofi.806391
Kerner, A. M. ve Knapp, J. L. (2016). Extreme cinema affective strategies in transnational media (1. baskı). Edinburgh University.
Kristeva, J. (2014). Korkunun güçleri iğrençlik üzerine deneme (2. Baskı) (Çev. N. Tutal). Ayrıntı.
Kubrick, S. (Yönetmen). (1971). A clockwork orange [Film]. Stanley Kubrick.
Kuhn, A. ve Westwell, G. (2012). A dictionary of film studies. Oxford University.
Laugier, P. (Yönetmen). (1971). Martyrs [Film]. Frédéric Doniguian.
Lübecker, N. (2011). Bruno Dumont’s Twentynine Palms: The avant-garde as tragedy. Studies in French cinema, 11(3), 235-247. https://doi.org/10.1386/sfc.11.3.235_1
Noé, G. (Yönetmen). (2002). Irréversible [Film]. Christophe Rossignon.
Oshima, N. (Yönetmen). (1976). In the realm of the senses [Film]. Anatole Dauman.
Palmer, T. (2006). Under your skin: Marina de Van and the contemporary French cinéma du corps. Studies in French cinema, 6(3), 171-181. https://doi.org/10.1386/sfci.6.3.171_1
Palmer, T. (2011). Brutal intimacy (1. baskı). Wesleyan University.
Quandt, J. (2011a). Flesh and blood: Sex and violence in recent French cinema. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 18-28). Edinburgh University.
Quandt, J. (2011b). More moralism from that ‘wordy fuck’. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 209-214). Edinburgh University.
Resmini, M. (2015). Reframing the new French extremity: Cinema, theory, mediation. Camera obscura, 30(3), 161-187. https://doi.org/10.1215/02705346-3160685
Río, E. D. (2016). The grace of destruction a vital ethology of extreme cinemas (1. baskı). Bloomsbury Publishing.
Russell, D. (2010). Introduction: Why rape?. D. Russell (Ed.), Rape in art cinema (1. baskı) (s. 1-12). Continuum.
Trier, L. V. (Yönetmen). (2009). Antichrist [Film]. Meta Louise Foldager.
Vincendeau, G. (2007). The new French extremism. P. Cook (Ed.), The cinema book (1. baskı) (s. 205-207). BFI.
Williams, J. (2009). His life to film: The extreme art of Jacques Nolot. Studies in French cinema, 9(2), 177-190. https://doi.org/10.1386/sfc.9.2.177_1
Winterbottom, M. (Yönetmen). (2004). 9 Songs [Film]. Andrew Eaton.
Cinema of evil, cinema of destruction: The new extremism
Today, in modern cinema, a fictional universe is presented where reality tries to repair itself with cinema and creates a false impression of reality, where characters and subjects are eliminated, and only perverted illusions of extreme representations of violence are left in a shocking and provocative way. Taking this analysis as a starting point, this article focuses on the consequences of filmic representations of the new extremism, a term used to describe a growing group of films that include transformation, and over-clear representations of violence and sexuality. It has been determined that the current directors attack the taboos of the modern individual and modern forms of domination through the themes of violence, body and sexuality.
Akmeşe, Z. (2019). Adaptation of the novel the Stranger: A Comparative framing analysis of the films Lo Straniero and Yazgı. Connectist, 57, 1-23. https://doi.org/10.26650/CONNECTIST2019-0064
Assayas, O. (Yönetmen). (2002). Demonlover [Film]. Xavier Giannoli.
Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression (1. baskı). Edinburgh University.
Beugnet, M. (2011). The wounded screen. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 29-42). Edinburgh University.
Bordun, T. (2017). Genre trouble and extreme cinema film theory at the fringes of contemporary (1. baskı). Palgrave Macmillan.
Brown, W. (2013). Violence in extreme cinema and the ethics of spectatorship. Projections, 7(1), 25-42. https://doi.org/10.3167/proj.2013.070104
Buñuel, L. (Yönetmen). (1929). Un chien Andalou [Film]. Luis Buñuel.
Butler, A. (2012). Sacrificing the real early 20th century theatrics and the new extremism in cinema. Cinephile, 8(2), 27-31. https://doi.org/10.14288/cinephile.v8i2.198006
Cantaş A. ve Koluaçık, İ. (2022). Yeni dalgadan yeni aşırıcılığa Claire Denis sineması ve “Trouble Every Day” filmi. Uluslararası film araştırmaları sempozyumu bildiri özetleri kitapçığı (1. baskı) (s. 72). http://turkishfilmstudies.com/bildiri-ozet-kitabi/
Cohen, M. (Yönetmen). (2010). It begins with the end [Film]. François Kraus.
Çolak, M. (2011). The new extremism: Representation of violence in the new French extremism. VI. international conference: Communication and reality (1. baskı) (s. 491-501). https://dialnet.unirioja.es/servlet/articulo?codigo=8591089
de Van, M. (Yönetmen). (2002). Dans ma peau [Film]. Laurence Farenc.
Gök Demir, Z. (2010). Çerçevelemenin karar verme sürecine etkisi. Akdeniz iletişim dergisi, 13, 161-180. https://dergipark.org.tr/tr/pub/akil/issue/48082/607945
Denis, C. (Yönetmen). (2002). Trouble every day [Film]. Georges Benayoun.
Dumont, B. (Yönetmen). (2003). Twentynine palms [Film]. Rachid Bouchareb.
Edison, T. A. (Yönetmen). (1896). The kiss [Film]. Thomas Alva Edison.
Edison, T. A. (Yönetmen). (1903). Electrocuting an alephant [Film]. Thomas Alva Edison.
Entman, R. M. (1991). Framing U.S. coverage of international news: Contrasts in narratives of the KAL and Iran Air incidents. Journal of communication, 41(4), 6-27. https://doi.org/10.1111/j.1460-2466.1991.tb02328.x
Entman, R. M. (1993). Framing: Towards clarification of a fractured paradigm. Journal of communication, 43(4), 51-58. https://doi.org/10.1111/j.1460-2466.1993.tb01304.x
Frey, M. (2014). The ethics of extreme cinema. J. Choi ve M. Frey (Ed.), Cine-ethics ethical dimensions of film theory, practice, and spectatorship (1. baskı) (s. 145-163). Routledge.
Frey, M. (2016). Extreme cinema the transgressive rhetoric of today’s art film culture (1. baskı). Rutgers University.
Gitlin, T. (1980). The whole world is watching (1. baskı). University of California.
Goffman, E. (1974). Frame analysis: An essay on the organization of experience (1. baskı). Harvard University.
Günevi Uslu, E. (2022). Türk sinemasında New extremism, yeni aşırıcılık: Serdar Akar filmlerinin analizi. Türkiye film araştırmaları dergisi, 2(2), 87-96. https://dergipark.org.tr/en/pub/film/issue/74363/1162249
Horeck, T. ve Kendall, T. (2011). Introduction. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 1-17). Edinburgh University.
Horeck, T. ve Kendall, T. (2012). The new extremism: Rethinking extreme cinema. Cinephile, 8(2), 7-9. https://doi.org/10.14288/cinephile.v8i2.198003
Joyard, O. (2002). Le sexe, prochaine frontiere du cinema. Cahiers du cinéma, 574, 10-12. https://dialnet.unirioja.es/servlet/articulo?codigo=682595
Kalender, A. B. (2021). Yeni aşırılığın auteur yönetmeni: Bir l’enfant terrible olarak Gaspar Noé. Sinefilozofi dergisi, 6(11), 908-927. https://doi.org/10.31122/sinefilozofi.806391
Kerner, A. M. ve Knapp, J. L. (2016). Extreme cinema affective strategies in transnational media (1. baskı). Edinburgh University.
Kristeva, J. (2014). Korkunun güçleri iğrençlik üzerine deneme (2. Baskı) (Çev. N. Tutal). Ayrıntı.
Kubrick, S. (Yönetmen). (1971). A clockwork orange [Film]. Stanley Kubrick.
Kuhn, A. ve Westwell, G. (2012). A dictionary of film studies. Oxford University.
Laugier, P. (Yönetmen). (1971). Martyrs [Film]. Frédéric Doniguian.
Lübecker, N. (2011). Bruno Dumont’s Twentynine Palms: The avant-garde as tragedy. Studies in French cinema, 11(3), 235-247. https://doi.org/10.1386/sfc.11.3.235_1
Noé, G. (Yönetmen). (2002). Irréversible [Film]. Christophe Rossignon.
Oshima, N. (Yönetmen). (1976). In the realm of the senses [Film]. Anatole Dauman.
Palmer, T. (2006). Under your skin: Marina de Van and the contemporary French cinéma du corps. Studies in French cinema, 6(3), 171-181. https://doi.org/10.1386/sfci.6.3.171_1
Palmer, T. (2011). Brutal intimacy (1. baskı). Wesleyan University.
Quandt, J. (2011a). Flesh and blood: Sex and violence in recent French cinema. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 18-28). Edinburgh University.
Quandt, J. (2011b). More moralism from that ‘wordy fuck’. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 209-214). Edinburgh University.
Resmini, M. (2015). Reframing the new French extremity: Cinema, theory, mediation. Camera obscura, 30(3), 161-187. https://doi.org/10.1215/02705346-3160685
Río, E. D. (2016). The grace of destruction a vital ethology of extreme cinemas (1. baskı). Bloomsbury Publishing.
Russell, D. (2010). Introduction: Why rape?. D. Russell (Ed.), Rape in art cinema (1. baskı) (s. 1-12). Continuum.
Trier, L. V. (Yönetmen). (2009). Antichrist [Film]. Meta Louise Foldager.
Vincendeau, G. (2007). The new French extremism. P. Cook (Ed.), The cinema book (1. baskı) (s. 205-207). BFI.
Williams, J. (2009). His life to film: The extreme art of Jacques Nolot. Studies in French cinema, 9(2), 177-190. https://doi.org/10.1386/sfc.9.2.177_1
Winterbottom, M. (Yönetmen). (2004). 9 Songs [Film]. Andrew Eaton.
Cantaş, A., & Koluaçık, İ. (2023). Kötülüğün sineması, yıkıcı bir sinema: Yeni aşırıcılık. ARTS: Artuklu Sanat Ve Beşeri Bilimler Dergisi(10), 85-109. https://doi.org/10.46372/arts.1324781