Lisansüstü Eğitim Enstitüsü

Permanent URI for this communityhttps://gcris.khas.edu.tr/handle/20.500.12469/77

Browse

Browsing Lisansüstü Eğitim Enstitüsü by Author "Acar, Faik Onur"

Filter results by typing the first few letters
Now showing 1 - 1 of 1
  • Thumbnail Image
    Master Thesis
    Third cinema movement as a virtuality
    (Kadir Has Üniversitesi, 2020) Diken, Bülent; Diken, Bülent
    The struggle against capitalism was gaining power in the 1960s, both in Europe and in Latin America, and cinema was considered as one of the fields of conflict by the activists. In this context, Fernando Ezequel Solanas and Octavio Getino created the Third Cinema Movement as a strategy to revolutionize the cinema as a form that attracted the masses to the struggle. They declared in their manifesto (Towards a Third Cinema, 1968) that one of the most important objectives of the Third Cinema Movement was to produce revolutionary subjectivities. In this thesis, I argue that the Third Cinema Movement's understanding of cinema and their suggestions are still effectual. In this regard, first the theory (manifest) of the movement is read on the basis of the studies of Maurizio Lazzarato Gilles Deleuze. Then, the mechanism of capitalism today, namely, that of the Post-Fordist era, is analyzed to re-establish the material basis of the arguments of the Third Cinema Movement. Meanwhile, the increasing importance of the production of subjectivities in the Post-Fordist era is mentioned. Finally, on this basis, after summarizing the Deleuzian understanding of cinema, the movies that contain the main characteristics of the Third Cinema Movement are analyzed respectively: The Man with a Movie Camera (Dziga Vertov, 1928), The Battle of Chile (Patricio Guzman, 1975) and The Hour of the Furnaces (Fernando Solanas and Octavio Getino, 1968).These analyses are made mainly with the guidance of Deleuzian concepts such as "movement-image", "time-image" and "affect". In this context, it is demonstrated that the Third Cinema Movement has evaluated cinema and the audiences as well as history, even the universe, both as actuality and virtuality and that therefore, the production of subjectivities was carried out on this basis.