FUNNY GAMES AND THE AUDIENCE
Journal Title: European Journal of Business and Social Sciences - Year 2016, Vol 5, Issue 8
Abstract
The theme of violence has been represented in different ways in cinema. While violence is represented as an exciting factor of entertainment in a lot of movies, in some others it is approached with a critical viewpoint. However, even in those movies approaching violence with a critical viewpoint, the real audience watching the movie is being put in a safe position. And this voyeuristic safe position causes the audience to develop an external and detached view against violence. Haneke, on the other hand, aims to make the audience go through an experience by removing this distance between the cinematic representation and the audience in his movie “Funny Games†(1997). Turning into a performance in this way, the movie Funny Games, different from the conventional-critical movies, seeks to show the audience their position in front of violence by aspiring to make them question their watching habits. It is attempted in this study to reveal what kind of an effect the director wanted to create upon the audience, by analysing the audience’s position in the movie Funny Games. While Aristoteles’ catharsis and Bertolt Brecht’s defamiliarization concepts, the latter being developed as an objection to Aristoteles, provide a significant intellectual basis for the movie’s analysis, the notions and analyses of Mario Pezzela, Susan Sontag, Ben McCann, David Sorfa, Brian Price, David Rhodes and Michael Haneke were benefited from.
Authors and Affiliations
Yavuz Akyıldız| Omer Halisdemir University, Departmant of Radio,Televisio and Cinema, Faculty of Communication, Merkez Yerleşke, Bor Yolu Üzeri, Niğde
Keywords
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