{"id":3919,"date":"2026-11-10T14:46:13","date_gmt":"2026-11-10T14:46:13","guid":{"rendered":"https:\/\/atolyer10.com\/?p=3919"},"modified":"2026-11-10T14:46:14","modified_gmt":"2026-11-10T14:46:14","slug":"in-the-mood-for-love-soylenmeyenlerin-ve-gecip-giden-zamanin-sinemasi","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=3919","title":{"rendered":"In The Mood For Love: S\u00f6ylenmeyenlerin ve Ge\u00e7ip Giden Zaman\u0131n Sinemas\u0131"},"content":{"rendered":"\n

Baz\u0131 a\u015fklar ya\u015fand\u0131klar\u0131 i\u00e7in de\u011fil, ya\u015fanamadan kald\u0131klar\u0131 i\u00e7in haf\u0131zaya yerle\u015fir. Wong Kar-wai\u2019nin 2000 yap\u0131m\u0131 A\u015fk Zaman\u0131 (In the Mood for Love) filmi, tam da bu eksik kalm\u0131\u015fl\u0131\u011f\u0131n sinemas\u0131n\u0131 kurar. 1962 Hong Kong\u2019unda ayn\u0131 apartmana ta\u015f\u0131nan Chow Mo-wan ve Su Li-zhen, e\u015flerinin birbirleriyle ili\u015fki ya\u015fad\u0131\u011f\u0131n\u0131 \u00f6\u011frenince birbirlerine yakla\u015f\u0131rlar. Ancak bu yak\u0131nl\u0131k, al\u0131\u015f\u0131ld\u0131k bir a\u015fk anlat\u0131s\u0131ndaki gibi kavu\u015fmaya do\u011fru ilerlemez. \u0130ki karakter, kendi duygular\u0131n\u0131n s\u0131n\u0131rlar\u0131n\u0131 ve ba\u015fkalar\u0131n\u0131n ihanetine verecekleri kar\u015f\u0131l\u0131\u011f\u0131 anlamaya \u00e7al\u0131\u015f\u0131rken, aralar\u0131ndaki ili\u015fki giderek bir bekleyi\u015fe d\u00f6n\u00fc\u015f\u00fcr. SinemaT\u00fcrk\u2019\u00fcn film k\u00fcnyesinde de \u00f6ne \u00e7\u0131kan bu temel durum, filmin as\u0131l meselesinin bir ili\u015fkinin ba\u015flamas\u0131ndan \u00e7ok, onun hangi ko\u015fullarda ya\u015fanamayaca\u011f\u0131 oldu\u011funu d\u00fc\u015f\u00fcnd\u00fcr\u00fcr (SinemaT\u00fcrk, t.y.).<\/p>\n\n\n\n

\"BEYAZPERDE-685x1024<\/figure>\n\n\n\n

https:\/\/www.beyazperde.com\/filmler\/film-26389\/fotolar\/detay\/?cmediafile=22067717<\/a><\/p>\n\n\n\n

Birbirine yakla\u015fan iki yaln\u0131zl\u0131k<\/strong><\/p>\n\n\n\n

Chow ve Su\u2019nun yak\u0131nla\u015fmas\u0131, ortak bir ac\u0131n\u0131n payla\u015f\u0131lmas\u0131yla ba\u015flar. E\u015flerinin ili\u015fkisini anlamaya \u00e7al\u0131\u015f\u0131rken birbirlerinin yerine ge\u00e7er, konu\u015fmalar\u0131 ve kar\u015f\u0131la\u015fmalar\u0131 zamanla bir t\u00fcr prova h\u00e2lini al\u0131r. Fakat bu provalar, duygular\u0131n\u0131 \u00f6zg\u00fcrce ya\u015fayabilecekleri bir alan yaratmaz; aksine, ne kadar yakla\u015fabileceklerini s\u00fcrekli hat\u0131rlat\u0131r. Pera Sinema\u2019da yay\u0131mlanan Murat Alt\u0131n\u2019\u0131n de\u011ferlendirmesi, filmin merkezine karakterlerin do\u011frudan ifade edilmeyen duygular\u0131n\u0131 ve aralar\u0131nda kalan bo\u015flu\u011fu yerle\u015ftirir (Alt\u0131n, 2022). Bu bo\u015fluk, iki ki\u015finin birbirine s\u00f6yleyemediklerinden ibaret de\u011fildir; toplumsal normlar\u0131n, sadakat d\u00fc\u015f\u00fcncesinin ve kendi ahlaki s\u0131n\u0131rlar\u0131n\u0131n da bi\u00e7imlendirdi\u011fi bir mesafedir. Filmin etkisi, b\u00fcy\u00fck dramatik patlamalardan ka\u00e7\u0131nmas\u0131nda yatar. E\u015flerin y\u00fczlerini neredeyse hi\u00e7 g\u00f6rmeyiz. Onlar\u0131n yoklu\u011fu, hik\u00e2yenin merkezindeki iki karakteri daha da yaln\u0131zla\u015ft\u0131r\u0131rken, izleyicinin dikkatini g\u00f6r\u00fcnmeyen ili\u015fkiye ve g\u00f6r\u00fcn\u00fcr olan k\u00fc\u00e7\u00fck ayr\u0131nt\u0131lara y\u00f6neltir. Bir yemek kab\u0131, dar bir merdiven, kap\u0131 aral\u0131\u011f\u0131 ya da koridorda kar\u015f\u0131la\u015fma; anlat\u0131n\u0131n duygusal y\u00fck\u00fcn\u00fc ta\u015f\u0131yan i\u015faretlere d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n\n\n\n

\"indir-1024x631<\/figure>\n\n\n\n

https:\/\/www.kpbs.org\/news\/arts-culture\/2025\/08\/26\/in-the-mood-for-love-25th-anniversary-wong-kar-wai-maggie-cheung-tony-leung<\/a><\/p>\n\n\n\n

Mek\u00e2n\u0131n i\u00e7ine s\u0131k\u0131\u015fan zaman<\/strong><\/p>\n\n\n\n

A\u015fk Zaman\u0131\u2019nda mek\u00e2n yaln\u0131zca olaylar\u0131n ge\u00e7ti\u011fi \u00e7evre de\u011fildir. Apartman daireleri, dar koridorlar, merdivenler ve restoranlar karakterlerin hareketlerini s\u0131n\u0131rland\u0131r\u0131rken duygular\u0131n\u0131 da g\u00f6r\u00fcn\u00fcr k\u0131lar. Kamera \u00e7o\u011fu zaman onlar\u0131 kap\u0131lar\u0131n, duvarlar\u0131n, parmakl\u0131klar\u0131n ya da aynalar\u0131n ard\u0131ndan izler. B\u00f6ylece seyirci, karakterlere b\u00fct\u00fcn\u00fcyle yakla\u015famaz; sanki onlar\u0131n hayat\u0131na ancak k\u0131sa s\u00fcreli\u011fine bakma izni vard\u0131r. Selim ve \u015eim\u015fek\u2019in 2026 tarihli T\u00fcrk\u00e7e \u00f6zeti yay\u0131mlanan mimarl\u0131k-sinema ara\u015ft\u0131rmas\u0131 da filmdeki apartman, sokak ve e\u015fik mek\u00e2nlar\u0131n bast\u0131r\u0131lm\u0131\u015f duygular\u0131 ve etik teredd\u00fctleri g\u00f6r\u00fcn\u00fcr k\u0131lan anlat\u0131 bile\u015fenleri oldu\u011funu vurgular (Selim & \u015eim\u015fek, 2026). Tekrarlar, filmin zaman duygusunu kuran ba\u015fl\u0131ca ara\u00e7lardan biridir. Ayn\u0131 merdivenlerden ge\u00e7i\u015fler, benzer kar\u015f\u0131la\u015fmalar ve yinelenen m\u00fczik, g\u00fcnlerin birbirine kar\u0131\u015ft\u0131\u011f\u0131 bir ritim yarat\u0131r. Sekans Sinema K\u00fclt\u00fcr\u00fc Dergisi\u2019nde yay\u0131mlanan Yi\u011fit ve Camc\u0131\u2019n\u0131n \u00e7\u00f6z\u00fcmlemesi, filmin nostalji, ge\u00e7mi\u015fe duyulan \u00f6zlem ve tekrar yoluyla kurdu\u011fu melankolik zaman\u0131 ele al\u0131r (Yi\u011fit & Camc\u0131, 2016). Yava\u015flat\u0131lm\u0131\u015f g\u00f6r\u00fcnt\u00fcler ve Yumeji\u2019s Theme\u2019in geri d\u00f6n\u00fc\u015f\u00fc, zaman\u0131 ilerletmekten \u00e7ok bir an\u0131n i\u00e7inde tutar. Duygular de\u011fi\u015fir; fakat \u00e7evre, ritim ve kar\u015f\u0131la\u015fmalar neredeyse ayn\u0131 kal\u0131r.<\/p>\n\n\n\n

\"5400625-1024x685<\/figure>\n\n\n\n

https:\/\/www.beyazperde.com\/filmler\/film-26389\/fotolar\/detay\/?cmediafile=21825597<\/a><\/p>\n\n\n\n

Bir s\u0131rr\u0131n hat\u0131ras\u0131<\/strong><\/p>\n\n\n\n

Filmin g\u00f6rsel d\u00fcnyas\u0131nda kost\u00fcmler, \u0131\u015f\u0131k ve renkler de anlat\u0131n\u0131n par\u00e7as\u0131d\u0131r. Su\u2019nun farkl\u0131 desen ve renklerdeki elbiseleri, dar i\u00e7 mek\u00e2nlar\u0131n dokusuyla birlikte karakterin kontroll\u00fc d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015f\u00fcn\u00fc \u00f6ne \u00e7\u0131kar\u0131r. G\u00f6r\u00fcnt\u00fclerin g\u00fczelli\u011fi, ya\u015fanamayan ili\u015fkinin h\u00fczn\u00fcn\u00fc \u00f6rtmez; tersine, o h\u00fczn\u00fc daha yo\u011fun hissettirir. A\u015fk burada bir sonuca ula\u015fma arzusundan \u00e7ok, zaman i\u00e7inde saklanan bir ihtimaldir.<\/p>\n\n\n\n

Finalde Chow\u2019un Angkor Wat\u2019ta bir duvar bo\u015flu\u011funa s\u0131rr\u0131n\u0131 f\u0131s\u0131ldamas\u0131, filmin b\u00fct\u00fcn bi\u00e7imini tek bir imgeye d\u00f6n\u00fc\u015ft\u00fcr\u00fcr: S\u00f6ylenemeyen, unutulmamas\u0131 i\u00e7in bir yere b\u0131rak\u0131l\u0131r. A\u015fk Zaman\u0131, kavu\u015famaman\u0131n romantik bir y\u00fcceltilmesinden fazlas\u0131n\u0131 yapar; insan\u0131n ge\u00e7mi\u015fte kalm\u0131\u015f bir ana d\u00f6nme arzusunu ve zaman\u0131n geri al\u0131namazl\u0131\u011f\u0131n\u0131 duyumsat\u0131r. Belki de filmde as\u0131l kaybolan a\u015fk de\u011fil, o a\u015fk\u0131n m\u00fcmk\u00fcn olabilece\u011fi zamand\u0131r.<\/p>\n\n\n\n

Kaynak\u00e7a<\/strong><\/p>\n\n\n\n

Alt\u0131n, M. (2022, 24 A\u011fustos). Modern Klasikler: In the Mood for Love. Pera Sinema. https:\/\/www.perasinema.com\/modern-klasikler-in-the-mood-for-love\/<\/p>\n\n\n\n

Selim, S., & \u015eim\u015fek, C. F. (2026). Mimari anlat\u0131lar: In the Mood for Love filminde atmosfer ve bellek. Gazi \u00dcniversitesi Fen Bilimleri Dergisi Part B: Sanat, Be\u015feri Bilimler, Tasar\u0131m ve Planlama, 14(2), 157\u2013175. https:\/\/dergipark.org.tr\/tr\/pub\/gujsb\/article\/1859864<\/p>\n\n\n\n

SinemaT\u00fcrk. (t.y.). A\u015fk Zaman\u0131 (Faa yeung nin wa \/ In the Mood for Love). https:\/\/www.sinematurk.com\/film\/18755-ask-zamani\/ Yi\u011fit, Z., & Camc\u0131, M. C. (2016, Ekim). Ge\u00e7mi\u015f ana dokunmak: In the Mood for Love. Sekans Sinema K\u00fclt\u00fcr\u00fc Dergisi, e3, 64\u201378. https:\/\/www.sekans.org\/docs\/e-sayilar\/2016-e3\/e3.02f-INTHEMOODFORLOVE%28COZUMLEME%29.pdf<\/p>\n\n\n\n

Film: A\u015fk Zaman\u0131 (In the Mood for Love)<\/p>\n\n\n\n

Y\u00f6netmen: Wong Kar-wai<\/p>\n\n\n\n

Platform: MUBI<\/p>\n\n\n\n

Y\u0131l: 2000<\/p>\n\n\n\n

\u00dclke: Hong Kong<\/p>\n\n\n\n

T\u00fcr: Romantik dram<\/p>\n\n\n\n

S\u00fcre: 98 dakika<\/p>\n\n\n\n

Oyuncular: Tony Leung, Maggie Cheung Senaryo: Wong Kar-wai<\/p>\n","protected":false},"excerpt":{"rendered":"

Wong Kar-wai\u2019nin A\u015fk Zaman\u0131 filmi, 1962 Hong Kong\u2019unda e\u015flerinin ili\u015fkisini \u00f6\u011frenen iki kom\u015funun birbirlerine yakla\u015fmas\u0131n\u0131, ancak bu yak\u0131nl\u0131\u011f\u0131 ya\u015fayamamalar\u0131n\u0131 anlat\u0131yor. Chow ve Su\u2019nun hik\u00e2yesi, b\u00fcy\u00fck itiraflardan \u00e7ok bak\u0131\u015flar, tekrar eden kar\u015f\u0131la\u015fmalar, dar koridorlar ve sessizlikler \u00fczerinden ilerliyor. Filmde mek\u00e2n ve zaman, karakterlerin bast\u0131r\u0131lm\u0131\u015f duygular\u0131n\u0131 ta\u015f\u0131yan anlat\u0131 unsurlar\u0131na d\u00f6n\u00fc\u015f\u00fcyor. Yava\u015f \u00e7ekimler ve yinelenen m\u00fczik, ya\u015fanamayan a\u015fk\u0131 bir hat\u0131raya sabitliyor. A\u015fk Zaman\u0131, kavu\u015fman\u0131n de\u011fil, bir ihtimalin zaman i\u00e7inde nas\u0131l sakland\u0131\u011f\u0131n\u0131n filmi.<\/p>\n","protected":false},"author":13,"featured_media":3920,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[394,351,395,47,347],"class_list":["post-3919","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sinema","tag-ask-zamani","tag-in-the-mood-for-love","tag-mubi","tag-sinema","tag-wong-kar-wai"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/3919","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3919"}],"version-history":[{"count":1,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/3919\/revisions"}],"predecessor-version":[{"id":3924,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/3919\/revisions\/3924"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/3920"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3919"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3919"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3919"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}