Tüzün, Defne
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TÜZÜN, DEFNE
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Defne Tüzün
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Tüzün, Defne
Tuzun,D.
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DEFNE TÜZÜN
TÜZÜN, Defne
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Tuzun, Defne
Tüzün, DEFNE
Tüzün, D.
Tuzun,Defne
T., Defne
Defne Tüzün
Defne TÜZÜN
Defne, Tuzun
Tüzün, Defne
Tuzun,D.
Tüzün,D.
DEFNE TÜZÜN
TÜZÜN, Defne
D. Tüzün
T.,Defne
Tuzun, Defne
Tüzün, DEFNE
Tüzün, D.
Tuzun,Defne
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Dr. Öğr. Üyesi
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Radio, Television and Cinema
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| Journal | Count |
|---|---|
| CINEJ Cinema Journal | 2 |
| Cinej Cinema Journal | 1 |
| Critical Arts-South-North Cultural and Media Studies | 1 |
| Sociology Lens | 1 |
| Studies in Documentary Film | 1 |
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Master Thesis Scapegoats: the Femme Fatales of World War Ii(Kadir Has Üniversitesi, 2014) Bozcu, Merve; Tüzün, DefneThe hard-boiled femme fatales of film noir are usually represented as evil females and as a result they are often seen as a danger to society. However this notoriety usually results in their deaths and/or murders. in the end they are transformed into victims. This thesis focuses on this contradiction in two regards: What are the main reasons that they become victims as femme fatales and what is the meaning of this dilemma? This research answers such questions by exploring and utilizing René Girard’s theories of violence and Julia Kristeva’s notion of abjection through the textual analysis of the following films: Double indemnity (Billy Wilder 1944) Scarlet Street (Fritz Lang 1945) and The Strange Love of Martha ivers (Lewis Milestone 1946). The perils of these femme fatales are discussed in terms of the background of increasing women’s participation in the workforce in America during World War ii. This study concludes that the hard-boiled femme fatales are actually uncanny victims that bear traces of deep-seated social concerns and present a discussion about women’s new roles during the war years. -- Abstract'tan.Article Citation - WoS: 1A Moebial Ride Through Polanski's Repulsion(Univ Pittsburgh, 2020) Tüzün, DefneThis article examines Roman Polonski's film Repulsion from a psychoanalytic perspective by attending Julia Kristeva's notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film's portrayal of the protagonist, Carole's abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.Book Part Kim Bu Vasfiye?: Bir Temsiliyet Krizi Olarak Adı Vasfiye Filmi(Bağlam Yayınları, 2016) defne tüzünArticle Citation - Scopus: 1Two Balloons Can Fly a Minaret: Parody and Fabricated Reality as Integral Qualities of Mock-Documentary in aya Seyahat(Routledge Journals, Taylor & Francis Ltd, 2025) Tuzun, Defne; Akcali, Elif; Cengiz, Esin Paca; Behlil, Melis; Paca Cengiz, EsinThis paper takes a close look at the critically acclaimed artist and filmmaker Kutlu & gbreve; Ataman's mockumentary Aya Seyahat (Journey to the Moon, 2009). We discuss the potentials and possibilities that the mockumentary mode brings to the film in detail, and address this mode as an aesthetic and critical manner that Ataman employs in his artistic practice. Through this discussion, we evaluate the ways in which the film is informed by and can be interpreted as a parodic observation of recurrent patterns in Turkish politics and representations of the national pasts. We argue that it exemplifies and endorses mockumentary's politically reflexive capacity to rethink history and the process of historiography in which historical truths are constructed. Mockumentary mode offers layers of meanings, exceeding the obvious narrative of historical parody, and invites the viewers to notice and problematize conventional narrational and stylistic methods of documenting a historical event. Thus, the film provides a criticism and comparison of the public opinion towards politics within two distinct periods in Turkey's history, namely the 1950s and the 2000s. It also opens up a space for a critical engagement with Turkey's troubled pasts and their construction as historical narratives in both cinematic and other representations.Master Thesis A Threat Exceeding the Diegetic Universe :the Last Horror Movie(Kadir Has Üniversitesi, 2017) Dursun, Oguzhan; Tüzün, DefneThis thesis focuses on the film - The Last Horror Movie (Julian Richards 2003) - in which the protagonist is a serial killer who is recording his murders and trying to shoot his own movie. Additional to using a variety of conventions of the horror genre the film includes “found footage” mode. What makes the film distinct from its counterparts and renders it worthy of deeper inquiry is that found footage form takes on a different function. The thesis firstly makes a detailed formal analysis of The Last Horror Movie and evaluates the movie with respect to horror genre and found footage mode. The thesis analyzes how the movie uses the patterns of horror genre and found footage strategies and with which aspects does the movie diverge from these conventions. The thesis investigates how and why the movie undermines horror codes and conventions by focusing on the narrative and narration aspects of the film and by instrumentalizing the found footage mode. in the film the facts that the protagonist avoids demonstrating killings scenes rejects to use darkness as an element of horror interrupts all the horror scenes and gives exhaustive explanations to the audience are elaborated in great detail. The film does all these depending on the reality claim of the found footage mode. By demolishing the ordinary conventions of horror genre with these strategies the film claims that it creates a horror effect which is more realistic and convincing.Master Thesis Temsiliyet Krizi: Çek Yeni Dalga Filmlerinde Sistem Karşıtı Kadınlar(Kadir Has Üniversitesi, 2015) Bayman, Selda; Tüzün, DefneBu tezde, 1962'den 1968'e kadar Çekoslovakya'da üretilmiş, Yeni Dalga sinema akımının etkilerini taşıyan ve kadın figürlerin anlatılarının merkezinde olduğu filmlerdeki kadın temsilleri, sistem karşıtı hareketler bağlamında tartışılıyor. Bu araştırmada, Çek Yeni Dalga sineması olarak tarif edilen akımın etkilerini taşıyan filmlerdeki kadın figürleri performansları, ve hem filmlerin anlatısı, hem anlatım biçimleri bakımından üstlendikleri fonksiyonlar bağlamında incelenmiştir. Tezde, bu figürlerin, Çekoslovakya'da vatandaşların özgürlük ve eşitlik haklarını sınırlandıran sisteme karşı bir reform hareketi ve liberalleşme sürecini temsil ettikleri savı araştırılmıştır. Michel Foucault'nun özne ve iktidar ilişkisi ve 'biyo-iktidar' kavramı ile Judith Butler'ın 'performatif' kimlik kavramı bağlamında, Věra Chytilová'nın Bir Torba Dolusu Pire (Pytel Blech, 1962), Farklı Bir Şeyler (O něčem jiném, 1963) ve Miloš Forman'ın Bir Sarışının Aşkları (Lásky jedné plavovlásky, 1965) filmlerini inceleyen bu tezde, kadın figürlerin, ülkede yaşanan demokratikleşme ve liberalleşme sürecini temsil ediyor olabileceği önermesi tartışılmıştır. Bu tez özellikle, Chytilová'nın Papatyalar (Sedmikrásky, 1966) filminin detaylı formal analizi yaparak, filmin ana karakterleri olan Marie I ve Marie II'nin toplumsal kuralları nasıl ihlal ettiklerini ve filmin biçiminin de bu kural bozucu tutumu nasıl desteklediği göstererek, bu figürlerin, Çekoslovakya'da liberalleşme sürecini imleyen Prag Baharı'nın gelişini haber veren papatyalar olduğu iddiasını yapıyor.Master Thesis Parçalanmış Gerçeklikler: John Cassavetes'in Shadows (1959) ve Opening Night (1977) Filmlerinin Brechtiyen Analizi(2025) Tohum, Merve; Tüzün, DefneBu tez, Amerikan bağımsız sinemasının öncü figürlerinden biri olarak kabul edilen ve Hollywood konvansiyonlarına açıkça karşı çıkan John Cassavetes'in filmlerinde kullandığı filmik stratejilerin, Bertolt Brecht'in Aristocu klasik tiyatroya karşı geliştirdiği epik tiyatro anlayışıyla nasıl kesiştiğini incelemektedir. Shadows (1959) ve Opening Night (1977) filmlerini Brechtiyen estetik çerçevesinde ele alan bu çalışma, Cassavetes'in sinematik gerçekçilik arayışının, Hollywood karşıtı duruşunun ve klasik anlatı yapılarını reddedişinin Brecht'in epik tiyatro ilkeleriyle nasıl örtüştüğünü ortaya koymaktadır. Bu tez, söz konusu filmlerin Klasik Hollywood'un görünmez anlatım tekniklerini ve illüzyonist izleyici yaklaşımını sorguladığını, bunun yerine parçalanmış yapılar, kendine referans veren anlatım teknikleri ve izleyiciyi yabancılaştıran stratejiler benimsediğini savunmaktadır. Ayrıca, Cassavetes'in kendine özgü sinema yapma biçiminin, Brechtiyen diyalektik temsille ve Verfremdungseffekt ile Gestus kavramlarıyla örtüştüğünü ileri sürmektedir. Cassavetes'in yenilikçi sinemasal yaklaşımının, yeni bir film biçimi yaratarak seyir deneyimini yeniden şekillendirdiği gösterilmektedir. Shadows'daki Brechtiyen stratejiler, 1950'lerin Klasik Hollywood konvansiyonları ve melodramatik anlatı anlayışıyla karşılaştırılarak incelenirken, Opening Night'taki Brechtiyen stratejiler 1970'lerin Yeni Hollywood eğilimleri çerçevesinde değerlendirilmektedir.Master Thesis 'pro-filmic Thought' in Time-Image: 'lectosigns and 'sub-reality in 'mirror (1975)(Kadir Has Üniversitesi, 2021) Karyağdı, Mustafa Ozan; Tüzün, DefneWhen discussing cinema as a 'pre-linguistic' system of images and signs, audiovisual thinking gains another dimension as a 'pre-verbal' act of creation that lays the groundwork for a new kind of thinking. It attributes that a film could capture the unutterable through the peculiar cinematic expression beyond the 'rational monotony' and 'given codes in language'. Following the interrelated relationships, I problematize the notion of cinema-thinking that has critical distinctions in kind between filmmaking and spectatorship. Bergsonian method of intuition was approved to address this problem of irreducibility within the process of inter-exchange. That is in-between 'pre-determinant response' and 'pro-filmic thought' in spectatorial activities, moreover on the filmmaker side, cinematographic thinking of engendering movement/duration blocks through the strategic and intuitive way of thinking. Through Deleuzian taxonomy of images and signs, I specify the pure virtual domain called 'lectosigns' in Mirror (Tarkovsky, 1975), in which the spectator actively reads the images to engender autonomous thoughts proceeding beyond the narrative; to reconnect the collapsed images with actual life. In this concern, I trace Mirror back to its production process with the help of the diaries of Tarkovsky to unveil his strategic and intuitive thinking of cinematographic ideas. On the production side, strategic and intuitive thinking to actualize virtual cinematographic ideas following the unique potentialities of the medium as well as pre-determinant response and pro-filmic thought to reconnect images with the whole in spectatorial activities. As a result of the analysis of Mirror, the concept of 'sub-reality' manifests itself referring to the subdued realities by the oppressive ideologies that could be 'sealed' in time and 'rescued' by active cinematic 'lectorship' in a different space-time by the spectators through 'pro-filmic thinking' within the domain of lectosigns, in which cinema and philosophy collaborate. Wenn man das Kino als ein „präverbales" System von Bildern und Zeichen diskutiert, ist die Schaffung eines audiovisuellen Denkens aufgrund der wechselseitigen Beziehungen zwischen der Zuschauerschaft und des Filmemachens problematisch. Ich problematisiere den Begriff des Kino-Denkens, der eine kritische Unterscheidung zwischen dem Filmemachen und dem Zuschauen vornimmt. Diese Studie ist grundlegend darauf ausgerichtet, dieses Problem anzugehen. Das heißt, zwischen „vorbestimmter Reaktion" und „pro-filmischem Denke"' in der Zuschauertätigkeit, darüber hinaus auf der Seite des Filmemachers, kinematographisches Denken des Erzeugens von Bewegungs- /Dauerblöcken durch die strategische und intuitive Denkweise. Um die Implikationen beider Prozesse in Bezug auf das Kino-Denken zu untersuchen, verwende ich die Bergsonische Methode der Intuition. Mittels der Deleuz'schen Taxonomie von Bildern und Zeichen spezifiziere ich den rein virtuellen Bereich, der in Tarkowskijs „Der Spiegel" (1975) „lectosigns" genannt wird, in dem der Zuschauer aktiv die Bilder liest, um ein Denken jenseits der Erzählung zu schaffen, um die kollabierten Bilder wieder mit dem Leben selbst zu verbinden. In diesem Anliegen verfolge ich „Der Spiegel" mit Hilfe von Tarkowskijs Tagebüchern bis zu seinem Produktionsprozess zurück, um sein strategisches und intuitives Denken von kinematographischen Ideen aufzudecken. Somit möchte ich die Unreduzierbarkeit der unterschiedlichen Arten des Kino-Denkens in beiden Prozessen aufzeigen, kinematografische Ideen mit ihrem einzigartigen Akt des kreativen Denkens als strategisch und intuitiv, wie auch die vorgegebene Reaktion und das pro-filmische Denken in den Aktivitäten des Zuschauers. Als Ergebnis der Analyse von „Der Spiegel" manifestiert sich das Konzept der „Sub-Realität", das sich auf die unterdrückten Realitäten durch die unterdrückenden Ideologien bezieht, die in der Zeit „versiegelt" und durch aktives filmisches „Lektorat" in einer anderen Raum Zeit durch die Zuschauer „gerettet" werden könnten, durch „pro-filmisches Denken" im Bereich der „lectosigns". Mit anderen Worten: Das Kino als „vorsprachliches" System des audiovisuellen Ausdrucks kann die Aphasie, in der die Freiheit des Sprechens kaum gewährleistet ist, als Akt der Freiheit des Denkens eigenwillig überwinden.Article Flattery and the Misanthrope(Wiley, 2025) Diken, Bulent; Akcali, Elif; Tuzun, DefneMolière's Alceste is often discussed with reference to his misanthropic personality, but what he aspires to doing, truth-telling, has received relatively less attention. This is curious especially if we consider that Alceste defines flattery, the opposite of truth-telling, as his main adversary. Indeed, it is Alceste's hatred of flattery that explains his misanthropy, not the other way around. We will first discuss the significance of flattery. Then, we trace the consequences of this idea in the play drawing on Aristophanes, Plato, and Aristotle where they define flattery as a relation to untruth and in opposition to friendship. In Plato's Gorgias, however, a second sense of flattery transpires: distorting ideas and practices through instrumental use. We ask what a reflection on flattery in these two interrelated senses can contribute to our understanding of Molière's comedy. What frames our discussion is the relation between Alceste and Philinte (as a stand-in for the social), on the one hand, and the relation between Alceste and Célimène (as a stand-in for seduction) on the other. Alceste cuts an abject figure in relation to both Philinte and Célimène. We end with a discussion of how Alceste can, for all his abjection, continue to fascinate us.Article Garden of Ambivalence The Topology of the Mother-child Dyad in Grey Gardens(Univ Pittsburgh, Univ Library System, 2012) Tuzun, DefneThe Maysles brothers' 1975 documentary, Grey Gardens, portrays the lives of Edith Bouvier Beale and her daughter, Edith, known as Little Edie, the aunt and first cousin, respectively, of Jacqueline Bouvier Kennedy Onassis. As their identical names imply, the Beales share a symbiotic relationship which is reflected in every aspect of their We. This article argues that Grey Gardens calls for Julia Kristeva 's insistence on abjection as a crucial struggle with spatial ambivalence (inside/outside uncertainty) and an attempt to mark out a space in the undifferentiated field of the mother-child symbiosis. In Powers of Hoffor, Kristeva (1982) states. abjection preserves what existed in the archaism of pre-objectal relationship (p. 10). Grey Gardens portrays the topology of the mother-child dyad. which pertains to a particular spatio-temporality: where this primordial relationship is concerned object and subject crumble, and the distinction between past and present is irrelevant.
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