Theses supervised by Yrd. Doç. Dr. Ahmet Gürata
20 theses · Gazi University, İhsan Doğramacı Bilkent University
Çağdaş sinemada özne
Bu tez çalışmasının amacı, 1990-2007 yılları arasında Çağdaş Hollywood Sinemasında temsil edilen öznelerin türdeş olmayan özellikler gösterdiğini, farklı kuramsal yaklaşımlara dayanarak betimlemektir.Çalışmada 1990-2007 yılları arası Hollywood Sinemasından seçilen 17 adet filmde özne, ?Oidipal film Anlatılarında Özne?, ?Simgesel Sistem içinde Özne?, ?İdeolojik Özne?, ?İktidarın Öznesi? ve ?Öznellikten Kaçış? başlıkları altında toplanarak, Sigmund Freud, Jacques Lacan, Louis Althusser, Michel Foucault ve Gilles Deleuze ve Felix Guattari'nin öznellik kuramlarından oluşan kavramsal çerçeve aracılığı ile analiz edilmiştir.Yapılan analiz sonucunda Çağdaş Hollywood sinemasında öznelerin, hem oluşum süreçleri bakımından, hem benimsedikleri özne konumları ve de bilgi nesneleri bakımından farklı özellik taşıdığı gözlemlenmiştir.Anahtar Sözcükler:1.Özne2.Çağdaş Sinema
Sinemada görüntü - gerçek ilişkisi
Bu çalışmada sinematografik görüntüde gerçeklik hissinin nasıl yaratıldığı ve filmin görsel özelliklerinin gerçekçiliğe etkisi incelenmiştir. Teknolojideki gelişmelerle birlikte görüntülerin artık gerçeğe daha yakın olduğu ve izleyicileri daha çok etkilediği görülmektedir. Sinema, başlangıcından beri gerçeğe en yakın görüntüyü elde etmeye çalışmıştır. Bu bağlamda filmin anlatısından çok, görüntüyü oluşturan unsurların gerçeklik etkisi yaratıp yaratmadığının saptanması amaçlanmıştır.Bu amaçla çalışmada dünya sinemasından seçilen örnekler incelenmiştir. Bunlar; İtalyan Yeni Gerçekçiliğinin en önemli yapıtlarından olan Roma Açık Şehir (Roma Città Aperta, 1945) ve Bisiklet Hırsızları (Ladri Di Biciclette, 1948), son yıllarda yükselişe geçen Güney Amerika sinemasından Meksika yapımı Paramparça Aşklar, Köpekler (Amores Perros, 2000) ve Tanrıkent (Cidade de Deus, 2003) ile 90'larda sinemada gerçekçilikle ilgili önemli çalışmalardan biri olan Dogma akımının öncüsü Lars Von Trier'nin filmi Dogville (2003) ve yine son yılların en ilgi çekici fantastik filmlerinden biri olan Yüzüklerin Efendisi: Kralın Dönüşü'dür (Lord Of The Rings: Return Of The King, 2003).Çalışmada gerçek, hakikat, kurmaca, gerçekçilik; resimde, fotoğrafta ve sinemada gerçekçilikle ilgili kuramsal kısım oluşturulduktan sonra seçilen filmler çözümlenmiştir. Filmlerin incelenmesinde ?biçimsel çözümleme? yöntemi kullanılmıştır. ?Sinemada görüntü-gerçek ilişkisi? konusu belgesel sinemayı da kapsamasına karşın çalışmada sadece kurmaca filmler incelenmiştir.Film çözümlemeleri sonucunda ortaya çıkan bulgular, görsel özelliklerin filmin anlatmak istediği duygu ve düşünceyi aktarmada ve gerçekliği yansıtmada, anlatısal özelliklere göre daha etkili olduğu yönündedir. Buna göre sinemada gerçekçilik hissini yaratan en önemli unsur, görsel özelliklerin gerçeğe uygunluğudur.Anahtar Sözcükler:1.Sinema2.Gerçek3.Gerçekçilik4.Görüntü5.Biçimsel çözümleme
Youtube vlogları, yıldızlık ve LGBTQ topluluğu
This thesis analyzes the rising importance of YouTube vlogs and vloggers against mainstream media organs in terms of self-representation and affiliation. The research specifically focuses on LGBTQ individuals' sexual identity and communication development created by coming out videos while establishing visibility and acculturation for the LGBTQ community through the discourse being used. The study also shows YouTube's potential power to produce online stars as a role model for the audience and the ways these stars use their stardom power to raise more awareness on the LGBTQ issues.
Sinefillik ve arşiv: KaraGarga örneği
KaraGarga as an online cinephilic community and an archive offers an experience of a film library. This study aims at gaining an understanding of recent cinephilia, archive debates in the digital age by looking at KaraGarga as a case study. Keywords: cinephilia, archive, KaraGarga, digital, online communities.
Film formunda tekrar Kim Ki-duk örneği
This thesis mainly deals with repetition in film form. Repetition which is a key concept shows itself in many different forms. In philosophy there are several perceptions at stake. In art forms in which it is structured systematically repetition is one of the basic elements. As for film form, there are concepts that help us to understand the function of it. The basic concern of this thesis is constructing three basic repetition types by grounding on the perceptions of repetition in philosophy by also using basic concepts of repetition in film form. These types of repetitions in film form are specified as informative, constructive and poetic repetitions. As the case study, the films of Kim Ki-duk who is an amateur-auteur director with a unique cinematic style are analyzed on the ground of these constructed types. Keywords: Repetition, Film form, Narrative, Kim Ki-duk
Sosyal TV reytingleri: Türk Televizyon endüstrisinden bir çoklu vaka analizi
In recent years, viewing habits of TV viewers and television itself have changed significantly thanks to the integration of exponentially developing web technologies to continuously evolving mobile devices. Televised content became digitized and freed from time and space, while public expression became available in a time and space unbound form via social media. This integration and its ever growing outcomes started to be called Social TV, which includes dialogues among viewers and/or producers, social media based ratings, screen interactions, analyses over user created content both in numbers and in relation to contexts etc. Academic definitions seem to be insufficient in defining the general scheme of Social TV. Thus, an important part of this thesis aims to offer a comprehensive definition to this newly developed interaction cluster. Moreover, this thesis argues that Social TV ratings are complementary to the traditional set-top- box rating systems with even a potential to replace them in the future. To support this argument, historical background of Turkish Social TV is provided including its current state, as well as a detailed discussion of the pros and cons of Social TV ratings against traditional rating systems. Keywords: Big Data, Social TV, Television Ratings, Twitter Ratings
Non realist tendencies in new Turkish cinema
The realist tendency which had been dominant in cinema became more apparent with Italian neorealism affecting other national cinemas to a large extent. With the changing and developing socio economic and cultural dynamics, realism gradually has stopped being a natural constituent of cinema and the rate of observing non realist films has started to increase in cinema. Along the same line, Turkish cinema was also impressed by the realist tendencies especially with the classic realist films in Yeşilçam period and with Yılmaz Güney's social realism. However, as for 80s in Turkish cinema, the non realist films have been observed with some films of Atıf Yılmaz, and especially by 2000s some prominent directors of new Turkish cinema such as Onur Ünlü, Semih Kaplanoğlu and Reha Erdem have dealt with those kinds of films. In this thesis, the mentioned directors are investigated within the context of how they conceive and construct their cinematic world, and in this regard, this thesis provides a close reading on their non realist tendencies which are discussed over some of their films in terms of their approaches as magical realism with Onur Ünlü, spiritual realism with Semih Kaplanoğlu and anthropocene realism with Reha Erdem. Keywords: Anthropocene Realism, Magical Realism, Non realism, Realism, Spiritual Realism
Postmodernizm sonrası sanatsal pratikler: Bir vaka çalışması
Postmodern discourse is still the dominant factor in the 21st century art production. On the other hand, there have appeared a number of alternative concepts which suggest that the influence of postmodern tendencies on art is diminishing, becoming unable to meet today's realities, or transforming altogether. The common ground among these new concepts is that they postulate a partial return to modernist tendencies such as creativity, originality, and/or uniqueness, without denying the achievements of postmodernism such as deconstruction, open-endedness or interaction, thus creating an oscillation. The thesis aims to examine a selection of recent new media works which are all connected with these new tendencies in one way or another, based on their conceptual backgrounds and/or their aesthetic approach in relation to the evolution of new media. While investigating these artworks by case study approach, the thesis claims that these artworks can be taken as indicators of a new understanding in arts. Keywords: Art, Metamodernism, Modernism, New Media, Postmodernism
Güncel sinemada kadın ve güvencesizlik
This thesis mainly focuses on precarity and the terms related with it such as precariat (as a social class), precariousness, and precarization. Within this sociological framework, six films from national cinema of Turkey and three films from outside of specified national cinema have been chosen. These films are Belmin Söylemez's Present Tense (2012), Yeşim Ustaoğlu's Somewhere in Between (2012), Pelin Esmer's Watchtower (2012), Deniz Akçay's Nobody's Home (2013), Emine Emel Balcı's Until I Lose My Breath (2015) and Ahu Öztürk's Dust Cloth (2015). From transnational cinemas respectively from Sweden, the USA, and Romania; Gabriale Pichler's Äta Sova Dö (Eat Sleep Die, 2012), Andrea Arnold's American Honey (2016), and Teodora Ana Mihai's Waiting for August (2014) have been chosen. The main aim of this study is to examine what connects the women protagonists in these particular films. The study argues that in terms of socio-ontological and labour conditions; women might seem more precarious than men. However, in the representation of precarious working women films by the women filmmakers, the female protagonist try to mitigate their precarity whereas men are on the edge of nihilism; i.e. simply being indifferent to their precarious conditions in the broadest sense. Keywords: Interzone, Precariat, Precarity, Women Filmmakers, Women Protagonists
Travma Sineması: Beynelmilel ve Babam ve Oğlum'a eleştirel bir bakış
Cinema, one of the most popular instruments of mass media, is also a product of the society and it cannot be thought to be independent from the social history. Beynelmilel (Sırrı Süreyya Önder, 2006) and Babam ve Oğlum (Çağan Irmak, 2005), being popular Turkish films can be put and analyzed under the category of 12 September films and trauma films. The characters in both films bear the features of traumatic personalities produced by the 12 September coup and its aftermath. The two films create a cinematic field to discuss the 12 September trauma and its impacts. Beynelmilel and Babam ve Oğlum should therefore be paid attention and analyzed, as popular products of the society.
Film teorinin sonu ve film yorumunun görevi: Felsefi dönemeç için bir patika
The aim of this study is to interrogate film interpretation in terms of Heideggerian thinking as a pathway for arguments in the history of film theory via the idea of happening in the art. For this reason, the ?happening of truth is considered in terms of its filmic implications. In addition to this, the poetic revealing as a mode of happening of truth? is questioned via filmic experience by making an analogy with the idea of strife between the earth and the world. Thus, this study also investigates the experience of the audience with respect to its involvement in the film. By walking through this pathway, hermeneutic phenomenology as a method contributes to an understanding of the experience of the audience. In this respect, the idea of film interpretation refers not only to the audience?s dwelling in the film but also to its ontological experience, and so the ontological investigation is triggered via ?happening? in the film.
Etik dönüş ve sinema: Jacques Rancière'in siyaset ve estetiği
French philosopher Jacques Rancière has worked on wide range of topics including democracy, literature, the visual arts, particularly film. After translation of his works to English, he found a wide audience and academic interest. His works are based on mostly a new understanding of equality, which gives him chance to approach both politics and aesthetics from similar point of views. This thesis aims at gaining an insight the relation between political and aesthetic theory of Rancière and to understand reflections of his notion of the ethical turn, on cinema. The ethical turn points a certain aspect of the changes in politics and aesthetics after the fall of the Soviets. This thesis aims to investigate this new ethics in cinema that emerged after the ethical turn. With this aim, the thesis scans the theories of politics and aesthetics and their relation with the ethical turn in different works of Rancière and searches for the interdependent changes in politics and aesthetics after the ethical turn. This analysis permits a new reading of Alfonso Cuarón's Children of Men (2006).The reading of Children of Men alongside of an analysis of reflections of the ethical turn in cinema, opens a room for catching the motives of the ethical turn in the world order after the ethical turn
Postmodern bir fenomen olarak fantazi filmleri
The aim of this research is to analyze the fantasy fiction genre films as a postmodern phenomenon. With various ways of looking into the texts, the study focuses on the narrative structure of the fantasy formations with a postmodern perspective. This thesis firstly investigates the fantasy genre films as a whole by conducting a research on the fantasy films database. From this point, the boundary of the definition for fantasy genre is argued. With using psychoanalysis along with Tolkienian and mystic way of looking into texts, this thesis finds connections to the postmodern features of these narrative structures. In this context the film Lord of the Rings (2001, Peter Jackson) is analyzed through these ways of looking into texts. Specifically the notions of time, historicism and subject were examined through postmodern theory. Thus, the features of the narrative structure indicate postmodern tendencies.Keywords: Fantasy Fiction, Fantasy, Lord of the Rings, Cinema, Film.
Karanlık Gece: Son dönem süper kahraman filmlerinde kentsel endişelerin temsili
The comic book superhero is one of the most important cultural products of the United States. From the second quarter of the 20th century on, the iconic and allusional images of the larger-than-life superheroes in colorful costumes took over not only the pages of comic books, but also occasionally, and recently quite frequently, the big screen. Due to the changing tone of the superhero narratives over time and with the help of special effects that enable directors to imagine broader cityscapes, the concept of city, which has always been a fundamental element in superhero comics, gained even more importance on film. This study aims to overview the aesthetics of urban spaces in recent superhero films, as well as the relationship they build with the elements of the city. Additionally this study will investigate and bring together thoughts on the after-effects of the September 11, 2001 attacks on New York City as one of the possible reasons of the `superhero boom? of the last decade, and ultimately reach the conclusion that the position of the superhero films towards both urban crime and international terror can be classified as ambiguity.
Dünyayı yeniden hayal etmek: Masalları hareketli görüntüyle yeniden anlatmak
This study aims to depict the fact that adaptations are all kind of intertextual texts in the postmodern world where every text undergoes a process of adaptation. With the aims of pointing at this dialogic process, the term retelling is used both for the adaptation processes and products throughout the thesis, instead of the term adaptation. Keeping this in mind, the thesis examines the fairy tales ?Snow White and ?Little Red Riding Hood with their retellings both in literature and film. These analyses include structural, narrative and feminist criticisms as well as the consideration of the affects of postmodernism. Through these evaluations it becomes clear that while some retellings pose a very contradictory point of view for the tales abovementioned, some still adjust to the traditional ideological teachings of the earlier versions of the tales.
Gözlem sineması ve bedenselleşmiş görüş
The aim of this study is to discuss the notion of embodiment in respect of Merleau Ponty?s philosophy of phenomenology and its relation to observational cinema. For this aim, this thesis dwells on the embodied nature of perception of seeing and its relation to epistemological approaches that understand the process of thinking and knowing either based on dualisms of body and mind, subject and object or interdependency of them. It is argued that phenomenological understanding of bodily experience provides a basis for the constitution of knowledge without a separation of thought and sensuous experience, self and other. Thus, when the cinema is considered as a way of thinking through images or producing knowledge via images, phenomenological perspectives allows us to understand filmmaking, film viewing and film experience in general considering embodied recprocity between images of other?s bodies and our own bodily experience in the world. Since the underlying idea is that language and body involve in each other within experience as being in the world and the body as the house of the language is the structuring structure of it by preceding it.
Postmodern dönemde üç boyutlu sinema tecrübesinin gerçeklik ötesi anlayışı
This research aims to analyze hyper-reality of three-dimensional cinematic experience within postmodern era. In the study, (illusion of) realistic aspect of a cinematic experience is taken into account in order to examine the `shifts? occurred in the expectations and the understanding of a cinematic experience due to changes within the social paradigm. In this mentioned context, the movie Avatar (2009) is analyzed through its hyper-realistic characteristics with respect to postmodernist notion of understanding. As a result, it could be said that, due to changes on the mode of thought, any understanding could be shaped inevitably, under the effect of the `norms? that came with the mode of thought. In this study, the point tried to be shown is that the changes in the mode of thought has a reflection on the understanding of a cinematic experience.
Ölüm algısının teknolojik başkalaşımı
The historical attitudes toward death are compared with the philosophical tradition of death contemplation to suggest points of divergence and similarities on the notion of the death of the body. Technological transformations of the attitudes toward body that are established through new modes of perception are often confined into the narrow understanding of Cartesian philosophy. Merleau-Ponty?s notion of flesh overcomes the dualistic consequences of the representational theory of perception thus offering a unified understanding to the elementary relation of bodies to their world. Death must be understood in this bodily sense of Being on which the technological makeup of the daily life plays a crucial and transformative role. The changes in the tradition of Vanitas and the technological penetration of body in Cronenberg?s cinema are prime expressions of bodily death. Merleau-Ponty?s phenomenology and textual and visual expressions of encounters with technology and nature are used in order to propose a transformative project to re-establish a primal relation with the intertwinings of death and life.Keywords: Death, Body, Flesh, Technology, Phenomenology
Türkiye'de tecavüz söylemleri: Türk televizyon dizisi Fatmagül'ün Suçu Ne? örneği
The television series Fatmagül?ün Suçu Ne?, which first aired in September 2010,turned in to a phenomenon. The rape scene in the first episode was anticipated for months and after it aired, scene was talked about for very long time. In mass media,series was addressed widely. There were many different criticisms regarding the rape scene. Mainly, it was blamed for vividly representing the act of rape, thus encouraging and rape and humiliating women in various newspaper articles. However, while doing so, newspapers employed a number of rhetoric that may be elucidated as normalization of rape discourse through concealing by deceiving and trivializing rape. In this study, newspaper articles related to Fatmagül?ün Suçu Ne? published in Zaman, Hürriyet, Posta, Radikal and Cumhuriyet newspapers are studied and evaluated in terms of discourse they employ in order to determine rape discourses in Turkish newspapers.Key Words: Rape, Sexual Violence, Rape Myths, Rape on Television, Normalization, Discourse, Women
Performans sanatında estetik deneyim: Marina Abramovic the artıst ıs present
This thesis explores the possibility of an embodied, corporeal and transforming aesthetic experience that performance art may reveal. The artistic practice of Marina Abramović, who witnessed and pioneered the paradigm shifts in the performance art sphere, will be examined in conjunction with the performative turn and affective turn that art has been going through. In addition to a comprehensive overview of the former academic studies done on Abramović's body of work, her latest performance The Artist Is Present (2010) and the critical reception it received will be discussed within the framework of aesthetic experience as a path to affective encounter in the area of contemporary performance art. John Dewey's idea of art as a form of experience that creates an active engagement with oneself, and the others, in addition to the contemporary affect theory that is rooted in Gilles Deleuze's concept of affect will lead us to see how affects grow in the area of performance art, and how aesthetic experience is constituted in and reinforces this affective engagement. Keywords: Aesthetic Experience, Marina Abramović, Affect, Performance Art