EXAMINATION OF EVIL LAUGHTER IN THE CONTEXT OF TURKISH ACTOR EROL TAŞ’S FILMS
THE SITUATION OF THE SUBJECT IN THE FILM KIZ KARDEŞLER: A READING FROM THE PERSPECTIVE OF JUDITH BUTLER
March , 2020
A Great Loss: Thomas Elsaesser
March , 2020
Language tr
Subjects Communication
Journal Section Features
Authors

Orcid: 0000-0003-3579-6750
Author: Şükrü SİM
Institution: İSTANBUL ÜNİVERSİTESİ, İLETİŞİM FAKÜLTESİ
Country: Turkey


Orcid: 0000-0001-6528-0494
Author: Semih GÖNCÜ (Primary Author)
Institution: İSTANBUL ÜNİVERSİTESİ
Country: Turkey


Dates Publication Date : April 15, 2020

Evil laughter has always been a significant element that distinguishes the villain from the hero in cinematic narratives. However, the ontology of this evil laughter, and specifically why and how evil laughter occurs, has never been adequately examined in film studies. This study seeks to examine the ontology of evil laughter in the context of films featuring Erol Taş who was a prominent actor in Turkish cinema renowned for the villains he played. This study thus employs character and type theories to distinguish the characters and types in Taş’s films. Its main theoretical framework, however, is theories of laughter. This study focuses on four films that feature him as a leading villain: Dry Summer (Metin Erksan, 1962), Aslan Bey (Yavuz Yalınkılıç, 1968), Çeko (Çetin İnanç, 1970), and The Deathless Devil (Yılmaz Atadeniz, 1972). Analysis of the four films selected here reveals that the superiority theory is the theory that best clarifies evil laughter, though the incongruity and relief theories have value too, as does Henri Bergson’s laughter theory. The study also finds that the evil laughter of characters is more sophisticated than the evil laughter of types.

Laughter, theories of laughter, villain, Turkish cinema, Erol Tas

English