Formulation of spiritual themes (transcendental-spiritual sense) in the cinema of Frank Darabant

Master's Thesis in Philosophy of Art

Abstract:

The present study is an attempt to analyze and evaluate the formulation of spiritual themes (Spirituality) in cinema. In this way, firstly, a glimpse has been given to the development of spiritualist cinema as well as certain directors whose concern for spiritualism was important in their films. Then, the method of interaction between the spiritual approach and the film from the perspective of religious people is discussed, and in the following, the types of film analysis approaches are presented as existing analytical methods. The method and analytical approach of this research is based on the evaluation of the form and format of the narrative narrative in the film from the point of view of the neo-formalists (post-formalists). Therefore, in the next step, the neo-formalist attitude in cinema and how to apply their theory in the film is explained and the ratio of form and content in the film is discussed. In this approach, because the form somehow creates the content; It is close to the view of the traditionalists regarding the symbol and form of the work of art, which they consider to be a manifestation of the sublime and sacred. In other words, a form that has a spiritualistic content is the same form of spiritual art in the eyes of Sunnis. This view explains that the experience of the film form in interaction with the audience becomes a spiritual-ritual experience. This approach is complemented by the view of the members of the school of German perception to explain the role of the reader in shaping the meaning of the form. In this attitude, they believe that the meaning and spiritual feeling arising from the form is formed with the active participation of the audience and through his experience. Next, the film format has been explained. In this explanation, things like the principles of film form and evaluation and analysis criteria, the principles of narrative structure in fiction films and elements such as mise-en-scène, framing and filming, editing, film sound and directorial style are stated. At the end, the analysis of four films by Frank Darabant, an American director of Magyar descent, has been analyzed.

Key words: Spirituality, Spirituality, Spirituality, Form, Neo-Formalism, Frank Darabant.

1-1- Introduction

Art always expresses a form of human desire for immortality. In today's terms, to be enthusiastic is to be excited about something. The boiling of emotions and enthusiasm to understand, receive or feel something is called enthusiasm. Interestingly, "enthusiasm" is derived from two Greek words en and theos and means "in God". This being like God and the relationship of enthusiasm with something divine is the same sense of spiritual tension that in art causes permanence, immortality and creates a different feeling in the audience. This participation of the audience in an atmosphere full of Passion and spirituality become a spiritual experience for humans and give a divine meaning and direction to human life.

With such an approach, all matters of life and the atmosphere of artistic creativity can be linked to spiritual and sacred matters. Therefore, it can be said that films by themselves have an inner spirituality that stimulates and excites people to reflect and search for their individual (and perhaps collective) unconscious.

On the other hand, the art of storytelling in the film is inspired by the story-telling art of religious elders and divine books. With a passing reflection on the divine books, it can be seen that an artistic and story-like language has always been used for the general (and perhaps educated) audience, and the film has chosen such a way to convey its concepts and meaning to the audience. Therefore, one of the most exciting channels of communication through which a person can be connected and familiarized with spiritual themes is the use of cinema and storytelling with the images of a film. In other words, God inspires and sends messages to man through signs in human life, and one of these signs and places marked in human life in today's world is film and cinema. Therefore, some theorists believe that films also unconsciously contain signs of spirituality, whether the filmmaker wanted to convey such a concept or whether it is hidden in the unconscious and the specific form of presenting his work.

On the other hand, life in today's world has put man in a fierce struggle with spiritual and transcendental issues that did not exist in the past. Yesterday's traditional life, due to the absence of technology and media, provided him with an opportunity to reflect on nature, existence, knowledge and attitude towards the inner man. However, today's communication and media (image media such as cinema, television, etc.) not only deny him such an opportunity, but also distance human needs and attitudes from introspective and spiritual issues. Today, the media (visual media such as cinema, television, etc.) have become an assumed collective culture for the society, whose main task is to define life. Some theoreticians believe that today religious self-education and spiritualistic view is also formed in human life with the help of media. In other words, nowadays, a person's religious action is obtained in the interaction and perception of the media that he is involved with in his life. Perhaps the structure of his personal identity is formed in the interaction with cinema and visual media today.

In a university research in America in 2002, it was found that usually students of a university watch eight to ten movies in one academic month, and in this research there were students who watched up to 55 movies in a month (most of these students had a tendency to watch these movies in the cinema) This same research shows that in the year 2002 Americans spent more than 9.4 billion dollars on movie tickets. It should be added to these statistics that DVD sales in the same year reached 8.7 billion dollars and VHS cassettes 4.3 billion dollars.[1]

The statistics obtained in this research - which can be traced and analyzed with different ratios and percentages for young people and students in other countries - show that the audience's attention to cinema and films (and of course visual media) is increasing day by day. This attention shows that one of the important tools for creating culture, finding identity and creating concentration and spirituality in today's youth is cinema and film media. Therefore, cinema today has become a regular part of the cultural and social education of societies.

Although the appeal of cinema has decreased today in comparison with television and today's easily accessible media, the essence of cinema storytelling and its reliance on the attractive power of story narration still engages the audience's imagination and emotions in a powerful way. Today, films are an integral part of human life and provide a new type of identification possibilities for him.

Similarly, stories use normal life experiences to guide humans to the spiritual realm. Therefore, the story of the film also provides the possibility of creating a spiritual feeling, religious experience and spiritual revelations for people who are involved in today's complicated and car-ridden life. Sensual understanding of forgiveness, friendship, knowledge, feeling of hope in life, miracle and faith, as well as finding the feeling of remorse for sin, punishment or lack of obedience and such concepts are possible today in the narrative of a fictional film. Therefore, dealing with cinema and film as one of the most important aspects of the formation of spiritual and religious identity in today's life becomes doubly important.

Therefore, researchers have tried a lot to look at the interaction between religious (spiritual) affairs and film from different perspectives and to explain how cinema (film) affects society and the world around them. This research tries to project the spiritual and transcendental themes and the effect of the fictional film on the audience through the form and technique used in cinema; take a look Hope this is a way to get closer to an efficient model for directing cinema and cinematographers towards spirituality and a method for spiritual criticism and analysis of movies. Is Frank Darabant's cinema (his films) depicted?

Sub-questions:

Does the depiction and transmission of this feeling (spiritual-transcendental feeling) to the audience follow a certain form in cinema?

If it is possible to present such a feeling (spiritual-transcendental feeling) and its image in the cinema, how does it happen? (Explaining how this is possible by analyzing the formal possibilities in Frank Darabant's cinema)

1-3-Research Hypothesis

Today, despite the opinion of religious people and religious people, cinema, media and religious and spiritual components are becoming more and more connected. Most of the religious teachings and spiritual themes of the contemporary era are understood through images and media.