Doğuyu biçimlendirmek: Ferzan Özpetek filmleri çerçevesinde bir oryantalizm tartışması

This study aims to inaugurate a thorough reading of two films by Ferzan Özpetekthat employ Orient as their setting and major narrative element, Hamam (1997) andHarem Suare (1999), to examine their complicity with the Orientalist practices ofrepresentation. The discussion is informed by just as it responds to some of thecrucial issues within postcolonial theory. Inspired by the deconstructive critique, theintrinsic relation between the Orientalist discourse and the general economy ofWestern subject formation has been elaborated through the analysis of the films. Athree-fold approach has been pursued to be able to diagnose the latent Orientalismsigning the films, since three constitutive moments authorize the attempt of giving astatic form to the Orient. Therefore visual, aural and sexual registers of theOrientalist figuration has been explored.Keywords: Orientalism, Cinema, Ferzan Özpetek, Representation, Deconstruction,Postcolonial Theory.ii