Görsel İletişim Tasarımı Bölümü Koleksiyonu

Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/62

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Browsing Görsel İletişim Tasarımı Bölümü Koleksiyonu by Subject "Collective enunciation"

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    Versions of Minor Literature: Two Contemporary Cases from
    (İmge Kitabevi Yayınları, 2016) Eken, Bülent
    The concept of “collective enunciation,” which Deleuze and Guattari propose in delineating their idea of minor literature/cinema, remains regrettably underdeveloped for the purpose of exploring the political investment of a given film. In the context of cinema, the concept designates the possibility of attaining a collective voice in film under a set of negative conditions, such as the crisis of a private poetics and the objective disintegration of the category of the “people,” through the transformation of both parties involved in these conditions, the author and real characters as her people. In this way, it becomes possible to imagine the political dimension of a film in such a way that goes beyond the merely thematic treatment of political issues. In the end, this refers to the politics of what is called minor cinema. This paper reflects on the place of such a politics in the cinema of two contemporary Turkish cinematographers, Zeki Demirkubuz and Nuri Bilge Ceylan, who are rarely imagined as political filmmakers. It proposes a theoretical framework which enables reading their films as two different aesthetic responses formulated within cinema against the fragmentation of what made the classical political cinema possible: the “people.” For this purpose, it is necessary to show that Gilles Deleuze’s concept of “missing people” or “minorities,” which made modern political cinema possible according to Deleuze, is not restricted to the historical period chosen by him. The paper demonstrates that an analysis of certain aspects of Ceylan’s and Demirkubuz’s films, such as real characters, formation in series, national allegory, autobiography, interiors and outdoor landscapes, warrants an understanding of the work of these two authors as instances of a second generation, minor political cinema.