ABSTRACT

The paper explores how the film Bir Zamanlar Anadolu’da/Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011) represents the difficulty of uncovering meaning and truth in a psychoanalytic process of coming to ‘know thyself’. The film is about a journey to resolve a murder mystery, a crime without reference, trace or known motivation. The protagonists’ aspiration for truth is met by a maze of empty signs, confronting them with distortion, disorientation and a variety of possible narratives. The clarification of facts leads to dead ends; solving one mystery only leads to another, opening more contradictory narratives, alternate memories and disputed spaces. The paper reflects on the possibility that the film’s non-discursive, poetic style can capture, beyond its mimetic aspects, a reality beholden to memory, dreams and other manifestations of the unconscious. In containing both, by means of its poetic discourse, the film enables an expanded meditation on truth and meaning. It offers a resolution that emerges in the creation of a tale bound not only to facts, but to a general truth: a scheme above time, enabling reflectivity, a story to be told – ”Once Upon a Time in Anatolia”.

摘要

本文探讨了电影Bir Zamanlar Anadolu'da /安纳托利亚往事(Nuri Bilge Ceylan, 2011) 代表了在“认识你自己”的精神分析过程中发现意义和真相的困难。这部电影是关于解开谋杀之谜的旅程，这是一场没有参考、痕迹或已知动机的犯罪。主角们对真理的渴望被空洞的迷宫所满足，他们面临着扭曲、迷失方向和各种可能的叙述。澄清事实导致死胡同；解决一个谜只会导致另一个谜，打开更多矛盾的叙述，交替的记忆和有争议的空间。这篇论文反映了这部电影的非话语、诗意风格是否可以超越其模仿方面，捕捉到一个受记忆、梦想和其他无意识表现形式影响的现实。在包含两者的过程中，通过其诗意的话语，这部电影使人们能够对真理和意义进行更深入的思考。它提供了一个解决方案，该解决方案出现在一个故事的创作中，不仅与事实有关，而且与普遍真理有关：一个超越时间的计划，实现反思，一个可以讲述的故事——“安纳托利亚的往事”。