Bülent Diken

Diken, Bülent

Name Variants

Diken, Bülent
D., Bulent
Bülent DIKEN
DIKEN, Bülent
Diken, BÜLENT
Bulent, Diken
Diken,B.
Diken,Bulent
D., Bülent
DIKEN, BÜLENT
Diken, B.
BÜLENT DIKEN
Diken, Bulent
B. Diken
D.,Bulent
Diken B.
Bülent Diken

Job Title

Prof. Dr.

Email Address

bulent.diken@khas.edu.tr

ORCID ID

0000-0002-2661-8568

Scopus Author ID

9335633100

Full item page

Scholarly Output

25

Articles

9

Citation Count

9

Supervised Theses

14 Scholarly Output Search Results

Now showing 1 - 10 of 25

The Collector's World
(Routledge Journals, Taylor & Francıs Ltd, 2020) Diken, Bülent; Diken, Bülent; Laustsen, Carsten Bagge
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.
Cultural Heritage - Its Digital Preservations, and Collateral Damage
(Kadir Has Üniversitesi, 2022-12) Kahraman, Baran; Diken, Bülent; Bülent Diken
The fundamental goal of this thesis is to examine the relationship between cultural heritage and 3D visualizations of them, stretching and challenging the definition of simulacra in order to better understand what role the concept of digital preservation plays in contemporary cultural heritage preservation practices. At the basis of my argument is the allegation that digitalization of cultural heritage preservation shares with virtual reality a new mode of production, a rhetorical position employed to specific, cultural, and symbolical ends. The purpose of this connection is two-fold: first, I examine 3D visualization in cultural heritage preservation apart from CGI or CAD, which only mimics the computational creation; this position investigates and questions how capturing reality in 3D within all dimensions (only appearances) brings a new dissolution of heritage that we can put any material object or site in any scale into Virtual Reality or reproduce it up to 3mm accurate representation. Second, I make a conceptual analogy of the Baudrillardian perspective of digital imagery to criticize the virtual solutions to preserve cultural heritages. I also describe that those solutions might open more expansive windows to a new visual culture, a new production pipeline within the Deleuzian perspective. Situating the digital blueprints of cultural heritage under the banners of their most repeated utilities and functions (immersion, dissemination of knowledge, human-computer interaction), the thesis uses case studies to illuminate and illustrate the digitalization of preservation in which digital reproduction technologies have virtually constitute the shape of the cultural heritage in the last couple of years. It also creates a creative visual study to provide the necessary demonstration of theoretical argument and the digitalization process itself in order to express the new territorial practices of cultural heritage under the transmission to the digital infrastructures.
Money Religion and Symbolic Exchange in Winter Sleep
(Berghahn Journals, 2017) Diken, Bülent; Diken, Bülent
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.
Sarmaşık’in Machiavelli’ye Uzanan Kökleri : Sarmaşık Filminin Machiavelli’nin Siyaset Felsefesi ile Analizi
(Kadir Has Üniversitesi, 2018) Yasin, Fatih; Diken, Bülent; Diken, Bülent
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.
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; Diken, Bülent
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.
"life Is a State of Mind' - on Fiction, Society and Trump
(Routledge Journals, 2017) Diken, Bülent; Diken, Bülent; Laustsen, Carsten Bagge
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.
Feeling Real, Feeling Free: the Body, Bio-Politics and the Spectacle in Blade Runner 2019 and 2049
(The Netherlands Press, 2023) Diken,B.; Diken, Bülent; Gilloch,G.
This paper sets Scott’s original film Blade Runner (1982) and Villeneuve’s Blade Runner 2049 (2017) in a ‘disjunctive synthesis’ in order to provide critical analyses of both films with respect to some complex configurations of the body along two axes: bio-politics and the spectacle. We offer a reading of these configurations by focusing on the relationships between the human (organic), the non-human (android) and the immaterial (holographic); the eye (optics), the hand (haptics), and aesthetics; slavery, instrumental labour and free-play; the politics of bodies and of memories; the potentialities of revolution and the transmission of ‘tradition of the oppressed’. In this, we foreground two seemingly marginal characters – J. F. Sebastian and Ana Stelline. These ‘little people’ embody and inhabit the convolutions of Blade Runner’s ‘more human than human’ world through ‘free use’ of the body and playfulness which, superficially innocent, nevertheless bear within them the promise of radical political change. © 2023, The Netherlands Press. All rights reserved.
Toplumsal Eleştiri Olarak Sinema ve Mizah
(2023) Çam, Hazal Beril; Diken, Bülent; Diken, Bülent
Bu tez, mizahın bir toplumsal eleştiri yöntemi olarak sinemada nasıl kullanılabileceğini araştırıyor. Aynı zamanda, uygulamalı bir tez olarak bu yöntemleri yazdığım ve yönettiğim Sinek Gibi adlı kısa film üzerinden tartışıyor. Bu tartışmalar, şu sorular üzerinden yürütülüyor: (1) mizah teorileri nelerdir; (2) mizaha ideolojik yaklaşımlar nelerdir; ve (3) bu teoriler ve yaklaşımlar nasıl uygulanabilir? Bu sorulardan hareketle mizahın üç teorisi olarak üstünlük, uyumsuzluk ve rahatlama teorileri, seçili filmler aracılığıyla açıklanmış ve tartışılmıştır. Kısaca, üstünlük teorisi, insanların başkalarından üstün hissettiklerinde ortaya çıkan bir mizah çeşididir. Uyumsuzluk teorisi, beklenmedik veya çarpıcı olanla ilgilidir. Rahatlama teorisine göre ise, mizah, gerilimin serbest bırakılmasından kaynaklanır. Bu genellikle, kutsal veya tabu konuları içerir. Bunlarla beraber, yıkıcı, muhafazakar ve gayriihtiyari muhafazakar olarak kavramsallaştırılan üç ideolojik yaklaşım, filmler aracılığıyla açıklanmış ve tartışılmıştır. Kısaca, yıkıcı mizah, hegemonik güç ilişkilerine içkin olan kalıpları, normları ve değerleri sorgulamayı ve değiştirmeyi amaçlarken muhafazakar mizah, bunları korumayı hedefler. Gayriihtiyari muhafazakar mizah ise, aslında onları sorgulama niyeti taşısa da varolan güç ilişkilerini pekiştirir. Son olarak, kısa filmim 'Sinek Gibi' tezde tanıtılır ve bu mizah teorileri ve ideolojik yaklaşımlar, filmin bazı sahneleri aracılığıyla tartışılır. Tezin teorik ve pratik bileşenleri, toplumsal yapıları ve normları sorgulamak için mizahın uygun şekilde kullanmanın ne kadar önemli olduğunu vurgular. Anahtar Sözcükler: komedi, mizah, sinema, üstünlük, uyumsuzluk, rahatlama, muhafazakar, yıkıcı, gayriihtiyari muhafazakar
Sinematik Terör : Sinemanın Terörü ve Terörün Sineması
(Kadir Has Üniversitesi, 2018) Cengiz, Ela; Diken, Bülent; Diken, Bülent
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.
Third Cinema Movement as a Virtuality
(Kadir Has Üniversitesi, 2020) Acar, Faik Onur; 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.