Browsing by Author "Diken, Bülent"

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Başka Türlü Gerçeğe" Yolculuk: Güneşe Yolculuk, Hiçbir Yerde, Gelecek Uzun Sürer Filmleri Üzerinden Kürtlerin ve Kürt Sorununun Temsili
(Kadir Has Üniversitesi, 2020) Yıldırım, Sara Durmuş; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
In this thesis, the impact of journey narrative films which question belonging, identity, and displacement on the representation of Kurds and Kurdish issues in "new political films" were examined. This study aims to claim that representation of Kurds and Kurdish conflicts in the films of "the new cinema" significantly differ from the previous periods when the very same topic has been approached via a single perspective based on stereotypes. All in all, in this new period of cinema in Turkey, the journey narrative is a recurring theme being used to question this former one-sided perspective. In this respect, first, the differences between those two periods separately examined and followed up by the analysis to discuss the origin of the way of thinking and it is effect on the practice of representation. And then, the mode of representation based on a single perspective and stereotype until the new cinema of Turkey is explained. Subsequently, it was discussed that why changing practices of cinematography is called new and how the changes and transformation experienced in the social, political, cultural, economic and sector contributed to the transfer of the Kurdish representation on the screen from such a different perspective. In the last chapter of the thesis, three significant examples of new political films Journey to the Sun (Yeşim Ustaoğlu, 1999), Future Last Forever (Özcan Alper, 2011) and In Nowhere Land (Tayfun Pirselimoğlu, x 2001) were analyzed using the formal analyzed method. As a result of the examination, it was understood that these films are using the journey narratives as an effective tool to question the official ideology and convey the narrative of their stories from a counter perspective. Consequently, it was explained how is journey narrative shapes the structure of the films. Another important outcome of the analyzes was that they differ from the representation practice of previous periods with their filmmaking practices and critical attitudes.
Çağdaş Türkiye Sinemasında Alegori ve İktidar
(2025) Ekinci, Yahya Sefa; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Bu çalışma, alegori, iktidar ve sinema arasındaki köklü ilişkiye dair teorik bir çerçeve kurmakta ve bu çerçeve ile iki çağdaş Türkiye filmini ampirik bir analiz yaparak incelemektedir. Alegori, çift katmanlı bir anlatım tekniği olarak tanımlanmakta ve hem bir denetim mekanizması hem de egemen ideolojilere yönelik bir eleştiri yöntemi olarak ele alınmaktadır. Fletcher, Frye ve Honig gibi temel teorisyenlerin yaklaşımlarından yola çıkan bu araştırma alegoriyi metafor ve simgeden ayırmakta ve izleyicileri ahlaki ve entelektüel düşünceye itmedeki eşsiz yeteneğini vurgulamaktadır. Çalışma, görsel ve işitsel potansiyeli sayesinde çok katmanlı hikâye anlatımına özellikle uygun bir araç olan sinemada, alegorinin uygulanışını araştırmaktadır. Ampirik bölümde, Kurak Günler (2022) ve Okul Tıraşı (2021) filmleri modern iktidar alegorileri olarak analiz edilmektedir. Bu filmler, kapalı mekânlar ve sembolik imgeler aracılığıyla sistematik yolsuzluğu, kurumsal ihmali ve hiyerarşik yapıları eleştirmektedir. Detaylı sahne analizlerini içeren bu çalışma, film unsurlarını (görüntü, ses, anlatı ve fikir gibi) daha geniş sosyo-politik bağlamlara bağlamak için Foucault, Bourdieu ve Arendt gibi isimlerin teorik perspektiflerinden yararlanmaktadır. Örneğin, Kurak Günler (2022) küçük bir kasabada yaşanan yolsuzluk ve ekolojik felaketi resmederken, Okul Tıraşı (2021) uzak bir yatılı okulun yalnızlaştırıcı bürokrasisini irdelemektedir. Bu araştırma, alegorinin sinemadaki rolünü, anlatı karmaşıklığı ve sembolik derinliğin dinamik bir etkileşimi olarak vurgulamaktadır. Filmlerin, toplumsal iktidar yapılarının eleştirisini nasıl gerçekleştirdiğini ve izleyiciyi yorumlama sürecine nasıl dahil ettiğini göstermektedir. Çağdaş Türk sinemasına odaklanarak, alegorinin hem bir direniş yöntemi hem de ideolojinin bir yansıması olarak küresel önemini gözler önüne sermektedir. Sonuç olarak, alegorinin iktidar dinamiklerini açığa çıkarma ve eleştirme kapasitesini yeniden teyit ederek film çalışmaları, politik teori ve kültürel analiz alanlarına katkıda bulunmaktadır.
Citation - WoS: 4
Citation - Scopus: 2
The Collector's World
(Routledge Journals, Taylor & Francıs Ltd, 2020) Diken, Bülent; Laustsen, Carsten Bagge; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
The article discusses the figure of the collector. We start with positioning the collector in relation to a lack, emphasizing that collecting is not about aesthetic beauty, pleasure or even perfectness, but primarily about filling a gap. The collection itself is merely a by-product of the desire to collect. Discussing how this desire is socially mediated, we move on to contextualizing the collector in relation to the distinction between the useful and the useless. We stress, in this context, that collecting is an inoperative praxis. This is followed by a discussion of the collector's psychopathology in terms of affects and interpassivity. Finally, we turn to the history of the collector and to collecting as a field in sociological terms, and end with articulating a typology of the collector.
Citation - Scopus: 2
The Despotic Imperative: From Hiero To the Circle
(Duke University Press, 2019) Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
The article thematizes the actuality of despotism through a double reading of Xenophon’s Hiero and Dave Eggers’s Circle. A key text on despotism, Hiero is interesting to reconsider in a contemporary context because of its explicit focus on the economic element in the nexus of despotism, economy, and voluntary servitude. Discussing this nexus in an ancient context, the article turns to The Circle, a dystopic novel from 2013, which elaborates on how the attempt at creating a transparent society results in the perversion of democracy to the point where a despotism fueled by economization and voluntary servitude becomes immediately evident. Notwithstanding the significant differences between the two perceptions of despotism that proliferate in Hiero and The Circle, their shared focus on the nexus of despotism, economy, and voluntary servitude testifies to an interesting case of convergence in divergence. Offering an account of this continuity, the article ends with reflecting on this nexus itself, arguing that it should be rethought in a new way today. The concept of use is suggested as a key concept for such reconsideration.
Dolaşan Mimarlık: Mekanın Olaysal Üretimi için Kavramsal Bir Çerçeve
(2025) Karriqi, Jorela; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Epik Tiyatronun Sinemaya Uyarlanması ve Örnek Bir Kısa Film ''z Raporu''
(Kadir Has Üniversitesi, 2018) Anılmış, Emre; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Bu tez çalışmasında ‘’Z Raporu’’ isimli kısa film çekilmiştir. Z Raporu bir iş yeri filmidir. Epik Brechtyen film kategorisine giren film, her iş yerinde olduğu gibi çalışan insanların ‘’durumları’’, ‘’hırsları’’, ‘’özverileri’’, ‘’olumsuzlukları’’, ‘’istekleri’’ ve ‘’hedefleri’’ temaları üzerinde anlatılmaktadır. Kemal, 20’li yaşlarında Üniversite hayali olan bir gençtir. Fakat umduğu gibi olmaz ve hedeflerini değiştirme kararına girer. Bir hedefi vardır; iş yerinde yükselmek ve saygınlık kazanmak. Z Raporu, bu çerçevede ilerleyerek Kemal’in karşılaştığı durumlar anlatılarak hedefine ulaşmaya çalışmasını anlatan kurmaca bağımsız bir kısa filmdir. Bu çalışma anlatılırken Epik tiyatro’dan ve Marksizm’den faydalanılmıştır.
Citation - Scopus: 1
Flattery, Truth-Telling, and Social Theory
(SAGE Publications Ltd, 2025) Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
This article deals with the ‘problem’ of flattery (kolakeia) as a specific form of activity, contrasted to parrhesia. Who is the flatterer? In which ethical-political contexts does the flatterer act? With what cultural, social, and political consequences? Discussing such questions, the article revitalizes the concept of flattery, showing its enduring constitutive role in social life. I start with giving an account of flattery in ancient literature, focusing on Aristotle, Plato, and Aristophanes. Then I move to early modernity and discuss Machiavelli’s and Castiglione’s approach to flattery. Finally, I turn to flattery in late modernity. This analysis is coupled with a discussion of de Certeau’s concept of ‘tactics’ and the concept of ‘profanation’ in Spinoza and Agamben – concepts that are apparently comparable to flattery but are very different. To end with, the article synthesizes its arguments and relates different styles of flattery to each other systematically, discussing some practical-political consequences of flattery. © 2025 Elsevier B.V., All rights reserved.
'gölgeye Döndü ve Adını Söyledi': Harry Potter Filmlerinde Kahraman ve Gölge İlişkisi
(Kadir Has Üniversitesi, 2022) Turgay, İpek; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Bu çalışmada 21. yüzyılın fantastik sinemasının en önemli ve popüler örneklerinden olan Harry Potter filmlerinde kahraman ve gölge kavramları temsili incelenmiştir. Bu bağlamda kahraman ve gölgenin arketipsel özellikleriyle birbirlerinin aynısı olup olmadığına ve birbirleriyle olan ilişkisine bakılmıştır. Fantastik sinemada kahramanın yolculuğunun esas hikâye ekseni olup olmadığı temel soru olarak belirlenmiştir. Çalışmanın kuramsal temelinde Joseph Campbell’ın monomit kuramı esas alınarak, Harry Potter filmlerinin kahramanın yolculuğuna uyumlu olup olmadığına bakılmıştır. Bu kuramın aşamalarında kahramanın gölgesiyle olan ilişkisinin Harry Potter filmlerinde nasıl temsil edildiğine de bakılıp, serinin seçilen altı filmi kahraman – gölge kavramları esas alınarak, her filmin mitolojik bağlamlarda incelemeleri yapılmıştır. Bu kuramsal temeller film incelemeleri için yöntem olarak alınarak, filmlerin karakter ve anlatı analizleri yapılmış ve görsel karşılık olarak temsillerine bakılıp yorumlanmıştır. Filmlerden seçilen sahnelerin mitolojik hikayelerle benzerliğine bakılıp mitik tema üzerinden incelenmiştir. Sonuç bölümünde monomit anlatısının kahraman üzerinde karakter gelişimine nasıl etki ettiğine, iyi-kötü savaşının Harry Potter filmlerinin önermesinde nasıl bir tezahür ortaya çıkardığı incelenmiştir. Hala popülerliğini koruyan ve kült haline gelmiş Harry Potter evreni üzerinde, kahraman ve düşman ilişkisinin etkilerine bakılmıştır. Fantastik türde ve masalda temel amacın, monomitin nihai anlamı olan ölüp yeniden doğmak olmasının insanın ve sinema anlatısını etkilediği bulgularına varılmıştır.
Kültürel Miras—dijital Korumaları ve İstenmeyen Hasar
(2022) Kahraman, Baran; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Bu tezin temel amacı, dijital koruma konseptinin çağdaş kültürel mirası koruma uygulamalarında oynadığı rolü daha iyi anlamak için simülakr tanımını genişleterek ve sorgulayarak kültürel mirası ve 3 boyutlu görselleştirmelerinin arasındaki ilişkiyi incelemektir. Tartışmanın temelinde, kültürel mirasın korunmasının dijitalleşmesinin sanal gerçeklikle yeni bir üretim tarzını, belirli kültürel ve sembolik sonuçlar için kullanılan retorik bir konumunu paylaştığı iddiası var. Bu bağlantının amacı iki yönlüdür: Birincisi, kültürel mirasın korunmasında yalnızca hesaplamalı yaratımı taklit eden CGI ya da CAD'dan ayrı olarak 3D görselleştirmeyi inceliyorum; bu pozisyon, gerçekliği tüm boyutlarda (yalnızca görüntüleriyle) 3 boyutlu olarak yakalamanın, herhangi bir maddi nesneyi ya da herhangi bir ölçekteki alanı Sanal Gerçekliğe koyabileceğimiz veya 3 mm'ye kadar doğru temsile kadar yeniden üretebileceğimiz mirasın yeni bir çözülmesini nasıl getirdiğini araştırır ve sorgular. İkinci olarak, kültürel mirasları koruma yönelik sanal çözümleri eleştirmek için Baudrillard'ın dijital imgeleme perspektifine kavramsal bir benzetme kuruyor. Ayrıca bu çözümlerin yeni bir görsel kültüre, Deleuze'ün perspektif içinde yeni bir üretim hattına daha geniş pencereler açabileceğini de tarif ediyorum. Kültürel mirasın dijital planlarını en çok tekrarlanan yararları ve işlevleri (içine gömülme, bilginin dağılımı, insan-bilgisayar etkileşimi) başlıkları altında konumlandırılan bu çalışma, dijital yeniden üretim teknolojilerinin içinde korumanın dijitalleşmesini aydınlatmak ve göstermek için son birkaç yılda giderek artan örnek vaka çalışmalarını kullanır. Ayrıca, kültürel mirasın dijital altyapılara aktarımı kapsamındaki yeni bölgesel pratikleri ifade etmek için gerekli teorik argümanı ve dijitalleşme sürecinin kendisini göstermek için yaratıcı bir görsel çalışma oluşturur. Anahtar Sözcükler: 3D görselleştirme, dijital koruma, simülakr, hiper gerçeklik, yersiz-yurtsuzlaştırma, dijital miras, kültürel mirasın dijitalleştirilmesi
Citation - WoS: 3
Citation - Scopus: 5
"life Is a State of Mind' - on Fiction, Society and Trump
(Routledge Journals, 2017) Diken, Bülent; Laustsen, Carsten Bagge; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
The article undertakes an allegorical double reading of Being There and Trump as instances of what we call socio-fiction. Crucially in this respect, reality and fiction are not two opposed realms. The two realms always interact in subtle ways, which is why cinema can be a resource for diagnostic social analysis. We first articulate a general commentary on the relationship between cinema and society, introducing the concept of socio-fiction'. Secondly, we analyse Peter Sellers' Being There, an interesting film focused on the relationship between reality and fiction. In this analysis, we elaborate on different ways of approaching fiction in a sociological prism. And finally, we discuss Trump as a fallout effect of Being There. After all, a film is not just an image of a reality, a shadow or appearance of a social fact; sometimes the reality itself seems to have become an appearance of an appearance, a shadow of a shadow.
Citation - Scopus: 1
Migration the Sociology of Mobility and Critical Theory
(Taylor & Francis, 2018) Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Being one of my PhD supervisors John’s influence on my intellectual life has been decisive in many respects. However his work has inspired me especially in relation to three fields: immigration the sociology of critique and the critique of mobility. The following is a reflective account of this. First I focus on immigration in the prism of mobility. Then I turn to the sociology of critique in the framework of mobility. Finally I revisit the link between critique and immobility relating this to the sociology of the camp. © 2019 selection and editorial matter Ole B. Jensen Sven Kesselring and Mimi Sheller.
Citation - WoS: 1
Citation - Scopus: 1
Money Religion and Symbolic Exchange in Winter Sleep
(Berghahn Journals, 2017) Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Winter Sleep is the latest film from Nuri Bilge Ceylan a Turkish director and screenwriter who has received international acclaim. For the purpose of social and cultural analysis this article critically focuses on the film's key themes and maneuvers that have diagnostic value from a social theoretical viewpoint. These themes are religion the relationship between religion and capitalism and symbolic exchange. Organized around these topics the article examines the religion-capitalism-symbolic exchange nexus by analyzing the motifs of formation intervention and intelligibility as these themes arise. This site of intersection is the conceptual pivot around which the article configures itself. It explores Winter Sleep based on what the film shows and says on screen how its thought processes emerge and at what points this thought supports or conflicts with dominant societal opinions.
Citation - WoS: 1
Neo-Despotism as Anti-Despotism
(Sage Publications, 2021) Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
I treat despotism as a virtual concept. Thus it is necessary to expose its actualizations even when it appears as its opposite, refusing to recognize itself as despotism. I define despotism initially as arbitrary rule, in terms of a monstrous transgression of the law. But since the monster is grounded in its very formlessness, it cannot be demonstrated. However, one can always try to de-monstrate it through disagreements. In doing this, I deal with despotism not as a solipsistic undertaking but as part of a constellation that always already contains two other elements: economy and voluntary servitude. I give three different – ancient, early modern and late modern – accounts of this nexus, demonstrating how despotism continuously takes on new appearances. I conclude, in a counter-classical prism, how the classical nexus has evolved in modernity while the focus gradually shifted towards another triangulation: neo-despotism, use and dissent.
On the Crossroads of Ethics and Form: the Dialectical Image in Krzysztof Kieslowski's Decalogue
(Kadir Has Üniversitesi, 2021) Eker, İrem; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
In On Painting (1435), Leon Battista Alberti describes the rectangular frame as an "open window" (aperta finestra), which lays the ground for framing in painting, photography, and cinema. Considering this metaphor and taking the 'framing gesture' in Camera Buff (1979) as my starting point, I explore how Kieslowski's oeuvre is related to the frame and how he deals with Alberti's model of finestra and its potentialities in The Decalogue (1989). Kieslowski's artistic quest for the truth of the cinematographic image and its ethical course creates a dialectical tension between the two. This dialectical tension finds its visual expression in the fissures on the surface of the image. Fissures, appearing as cracks, tears, or slits and serving as thresholds, openings, and passages, that haunt and distort the frame, are approached as visual devices and a metadiscursive figure. As the point of encounter and contact and its failure, an opening is where a haptic urge to touch, the scopic drive, and its ethical restraint occurs, thus leading their way to the origin and the primary object. Keywords: frame, finestra, fissure, ethics, form, dialectical image, Decalogue, Krzysztof Kieslowski
Representations of Everyday Life in İnci Eviner’s We, Elsewhere: Comedy, Use and Free Will
(Routledge, 2021) Tuncer, Ezgi; Diken, Bülent; Radio, Television and Cinema; Architecture; 04. Faculty of Communication; 06. Faculty of Art and Design; 01. Kadir Has University
İnci Eviner's installation We, Elsewhere 1 for the Turkey Pavilion 2 at the 58th Venice Art Biennial offers a spectacle of the incomplete, in which the objects, videos and their characters, and sounds in the piece, along with the exhibition space itself, consist all of halves, missing something. It is designed as a non-place in the midst of nowhere, which appears as a liminal space of exception, in which the inside and outside become indistinct. In this respect, the role of the large ramp, which transgresses the public-private divide, is particularly remarkable for it both connects and disconnects the place in relation to the outside, incarnating a paradoxical form of inclusionary exclusion. One cannot avoid noticing the ramp on entering the pavilion: cut horizontally and vertically, the spaces between left void, it is a cross-sectional space experienced through its corridors, area closed off by metal bars, a semi-closed room and viewing area arranged on stairs. However, its interior is rendered visible through the cross-sections of buildings and the subterranean. We bear witness to the events inside it, and, ceasing to be spectators, participate in the installation. Through this displacement, we also move from a representational space to a lived space.
Resistance Is an Inside Job: Liquid Surveillance Within the Context of Dispositif, Subject and Lines of Flight
(Kadir Has Üniversitesi, 2020) Uçak, Mesut; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Despite the growing human rights and privacy concerns, liquid surveillance machine is now capable of moving with lightning speed in all areas of our lives. Governments and huge transnational companies exploit the data that are gathered from our physical and digital activities with highly questionable methods and purposes. While governments legitimize their efforts by relying on national security discourse and companies on so-called customer satisfaction, now we face an unprecedented privacy crisis which also generates ethical and ontological concerns about human dignity. However, ordinary people who voluntarily participate in liquid surveillance machine, especially within the consumer realm, are as responsible as afore-mentioned actors since they provide the required data and make that machine work and expand. That's why it is meaningless to attribute all the responsibility to the Big Brother who sees everything. Hence, the thesis argues that liquid surveillance is a dispositif of the societies of control and the subject that is the product of the relationship between that dispositif and living beings is the nihilistic last man. The study tries to explore lines of flight from the societies of control within the context of liquid surveillance. In the light of that theoretical framework, the thesis analyzes activities of the Electronic Frontier Foundation (EFF) which is a non-profit, anti-surveillance organization that promotes digital privacy, free speech at digital platforms and innovation. The study builds a theoretical methodology that enables a comprehensive analysis of the EFF's activities within the contexts of liquid surveillance as the dispositif, nihilistic last man as the subject and counter-information as incarnation of lines of flight.
Sarmaşık’in Machiavelli’ye Uzanan Kökleri : Sarmaşık Filminin Machiavelli’nin Siyaset Felsefesi ile Analizi
(Kadir Has Üniversitesi, 2018) Yasin, Fatih; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Bu çalışma yönetmen Tolga Karaçelik’in 2015 yılında çektiği Sarmaşık filmini bir Rönesans dönemi düşünürü olan Niccolo Machiavelli’nin siyaset felsefesi ile beraber analiz etmektedir. Bir gemide mahsur kalan altı insanın sınırlı kaynaklarla geçirdikleri günleri anlatan film, egemenlik, otorite ve yönetim hakkında düşünmeye imkân sağlamaktadır. Kaptanın gemisini yönetmeye ve egemenliğini korumaya çalışması, Machiavelli’nin devlet yönetimine ve egemenliğin korunmasına dair fikirleri ışığında incelenmiş ve filmin temasının Machiavelli’nin siyaset teorisiyle benzerlikleri ve farkları ele alınmıştır. Bu çalışmada Machiavelli’nin siyaset bilimsel teorik analizi ve film analiz metotları kullanılarak Machiavelli’nin siyaset teorisi ile Sarmaşık filmi karşılıklı bir okumaya tabi tutulmuştur. Çalışma neticesinde varılan sonuç Sarmaşık filminin anlatısı ile özelde Machiavelli’nin siyaset felsefesinin genelde ise sosyal teorilerin sinema ile birlikte ele alınıp yeni bir eleştirel alan açtığıdır.
Sinematik Terör : Sinemanın Terörü ve Terörün Sineması
(Kadir Has Üniversitesi, 2018) Cengiz, Ela; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
Bu çalışma terör ile sinema arasında bir analoji kuruyor ve bu bağlamda terör sinema ilişkisine odaklanıyor. Bu etkileşimli yüzeyi görünür kılabilmek için önce Zizek ve Baudrillard’ın felsefeleri bağlamında sosyolojik bir terör analizi yapılarak Agamben’e varılıyor. Ardından sinemanın kavramsal tanımı yapılıyor. Bu bağlamda imgeyi sinemanın düşünme tarzı olarak alıyor ve bunu Deleuze’ün hareket-imge, zaman-imge kavramları ile açıklıyor. Buradan hareketle Brazil (Terry Gilliam, 1985), Kurtuluş Günü (Roland Emmerich, 1996) ve Yedi (David Fincher, 1995) filmleri sinema ve sosyoloji bir arada tutulmaya çalışılarak analiz ediliyor. Bu çalışmada iki metot kullanılıyor. İlk olarak terörün analitik sosyolojik bir tartışması yapılıyor. İkinci olarak ise film çalışmaları ve film sosyolojisinin ortak paydası gözetilerek film analizi yapılıyor. Son kertede bu çalışma terör ile sinemanın benzer işleyişe sahip aygıtlar olduğunu iddia etmektedir.
Citation - WoS: 2
Citation - Scopus: 2
Terror as Potentiality - the Affective Rhythms of the Political
(Routledge Journals, 2018) Diken, Bülent; Laustsen, Carsten Bagge; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
The paper addresses the ways in which the cultural, the affective and the political intersect, counter and/or feed upon one another in the context of contemporary terror. Initially, building upon Machiavelli and Hobbes, we deal with the political significance of terror (and the fear it provokes), emphasizing its potentiality, which inscribes future within the present. Then we turn to an analysis of terror in the prism of securitization. Terror, in this respect, amounts to de-materialization (the enemy as spectre), de-temporalization (the erasure of the temporal difference between the present and the future), and de-territorialisation the breakdown of the distinctions between inside' and outside'. Following this, we observe how these three processes are dealt with at the subjective and objective (social) levels. Regarding the first, subjective, level we differentiate three attitudes as paranoid, panic and rational. Regarding the latter, we consider terror in terms of accident, risk and catastrophe. Then, discussing the rhythmic relations between these conceptualizations and their spatio-temporal consequences, we focus on the notion of catastrophe. We end with articulating the aporias emerging in this context
Third Cinema Movement as a Virtuality
(Kadir Has Üniversitesi, 2020) Acar, Faik Onur; Diken, Bülent; Radio, Television and Cinema; 04. Faculty of Communication; 01. Kadir Has University
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.