Defne Tüzün

Tüzün, Defne

Name Variants

TÜZÜN, 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

Job Title

Dr. Öğr. Üyesi

Email Address

defne.tuzun@khas.edu.tr

ORCID ID

0000-0001-5548-1866

Full item page

Scholarly Output

17

Articles

5

Citation Count

1

Supervised Theses

11 Scholarly Output Search Results

Now showing 1 - 10 of 16

'Pro-filmic thought' in time-image: 'Lectosigns' and 'sub-reality' in 'Mirror' (1975)
(Kadir Has Üniversitesi, 2021) Tüzün, Defne; Tüzün, Defne
When 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.
The return of the repressed through social disruption in horror films: Analyses of Don't Breathe (2016) and It Follows (2014)
(Kadir Has Üniversitesi, 2022) Kavas, Ali; Tüzün, Defne; Tüzün, Defne
The independent American horror cinema has shown some major advancement in terms of artistic approaches to the genre and critical acclaim during the last ten years. In this new era of the horror genre in which horror films are appreciated not only by the audience but also by the critics, the manifestation of places and spaces has become more significant with the ongoing impacts of globalization. Moreover, the characters started to be portrayed as struggling modern individuals who are threatened by the disrupted society, and the objects of horror have turned into more ambiguous and dialectical figures with psychological implications. Within this context, psychoanalytic film theory becomes useful to explore what the society represses beneath the surface and how these repressed thoughts are portrayed in horror films which the audience continues to enjoy despite the worrisome effects. Hence, this study focuses on the formal analyses of two contemporary horror films, Don’t Breathe (Alvarez 2016) and It Follows (Mitchell 2014), and it is argued that the pleasure of horror films takes root in the fulfilment of the unconscious thoughts whose emergence through social disruption represents the return of the repressed.
Citation Count: 1
A Moebial Ride through Polanski's Repulsion
(Univ Pittsburgh, 2020) Tüzün, Defne
This 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.
Bakış ve insan: Blade Runner 2049
(Kadir Has Üniversitesi, 2019) Tüzün, Defne; Tüzün, Defne
Siberpunk sineması için temel konulardan bir tanesi insan ve insan olmayan arasındaki ayrımın muğlâklaşmasıdır. Bu konunun işlendiği zeminlerden bir tanesi ‘bakış’ kavramıdır. Bakış, insan-insan olmayan arasındaki beden ve zihin savaşının tam ortasında durmaktadır ve insana ait bir özellik olarak kodlanır. Bu tezin amacı, Blade Runner 2049 (Denis Villeneuve, 2017) filmine bakış açısı çekimi üzerinden biçimsel analiz uygulayarak, ‘bakış’ ve ‘insan’ kavramının diğer hangi kavramlarla ilişkilendirildiği araştırmak ve bakış açısı çekimi açısından nasıl bir strateji izlenildiği açıklamaktır.
Manzara
(Kadir Has Üniversitesi, 2016) Tüzün, Defne; Tüzün, Defne
Manzara filmi Kinaliada’da geri donusum alani oldugu soylenen bir mekandaki canli ve cansiz varliklarin hayati uzerinedir. Film bu mekanda kadrajin icine aldigi ve kaydettigi canli cansiz her seyi ritmik bir kurguyla degisen farkli olcekteki goruntulerle sunar. Filmin kamerasi mekana mumkun mertebe mudahale etmeden buradaki olagan ve siradan akisi kaydetmistir. Kurgu esnasinda ise kamera olceklerinin en kucuk cerceveden en buyuk cerceveye dogru ilerleyerek cekilmis goruntuler uzerinden bir anlati kurulmustur. Farkli olceklerde cekilmis goruntuler filmin baslarinda bir varligi hatta onun oldukca mikro bir detayini gostererek onu etrafindaki diger varliklardan tamamen soyutlamis boylece kadrajdaki varligin ya da nesnenin ne oldugu hakkinda seyircinin bir fikir edinmesi dahi neredeyse imkansiz kilinmistir. Ancak asiri yakin plandan orta cekim ve uzak cekime dogru ilerleyen goruntuler izleyicileri bu kez bu varliklari diger varliklar ve bu mekan ile iliskilendirmesi dogrultusunda yonlendirmistir. Dolayisiyla goruntulerin kaydi esnasinda mekanin ic isleyisine mudahale etmemeye gayret edilmistir ancak kurgu bu surecin tam aksi yonunde ilerlemistir. Kadraj icindeki bir varlik hatta onun asiri yakin plandaki bir detayi once tamamiyla ait oldugu butunden ve mekandan soyutlanmis sonra belirli bir ritim icinde ilerleyen kurgu bu varligi bulundugu mekanin bir parcasi kilmis dolayisiyla bu varliklarin goruntuleri oldukca mudahaleci bir kurgu surecine tabii tutulmuslardir.Film kamerasinin mudahale etmeden kaydetmeye calistigi oldukca rutinlesmis bir geri donusum surecini kurgu asamasinda bozarak ve yeniden kurarak siradan sira disi ve sasirtici yonlerini gostererek canli cansiz enteresan banal alisildik sasirtici ve benzeri bircok zitligin bir arada oldugu bir manzara sunar. Bu tez Manzara filminin cekim esnasinda ve sonrasinda ise kostugu bicimsel stratejileri analiz ederek yonetmenin nasil bir manzara ortaya koymaya calistigi uzerinedir.
Immersion of the spectator
(Kadir Has Üniversitesi, 2019) Tüzün, Defne; Tüzün, Defne
From the first cinematic screening to this day, the basic concern of the mainstream cinema had been its attraction from the audience. Cinema enlarged its frame, curved its screen, darkened its theater, used multiple projectors and screens, added sound and color, used surrounding system in sound, added third dimension by using additional glasses, in order to make the audience immersed in the narrative, and to create an impression of reality. In the digital era, cinema as many other art forms has come to a paradigm shift. The inevitable change in the production and distribution along with the screening techniques of cinema by the arrival of the digital technology, create new cinematic narration strategies. However, the desire for the immersion of the spectator in narrative remains. In this thesis, the aim is to examine the new immersive narration strategies from the perspective of the cinematic apparatus and its function by analyzing Gravity (Alfonso Cuarón, 2013) as a highly immersive narrative cinema example which regulates conventions of the invisible narration to digital era.
Citation Count: 0
In Between Two Screens: Trauma, Memory, and Subjectivity in Gulsun Karamustafa's Work
(Routledge Journals, Taylor & Francis Ltd, 2023) Tüzün, Defne
Informed by psychoanalytic theory, this essay analyses two major video installations, namely The Settler (2003) and Memory of a Square (2005) by Gulsun Karamustafa, who is one of the best-known artists from Turkey. These two works are concerned with similar themes, such as trauma, memory, subjectivity, and spatiality, through certain stylistic choices which allow them to be evaluated and studied from a Lacanian perspective. Elaborating on Lacan's topology of the Real in relation to trauma as well as his notion of extimacy, this paper argues that in both works, the questions of exterior/interior, reality/imaginary, and public/private are repeatedly posed and subverted, thereby creating spatio-temporal and epistemological ambiguity for the spectators. Both works include double-projection video installations, and the presence of the two screens with the simultaneous flow of images in each work not only mobilizes the viewer's memory and facilitates their unconscious, but also invites them to contemplate their own history, subjectivity, and experiences.
Scapegoats: the femme fatales of world war ii
(Kadir Has Üniversitesi, 2014) Tüzün, Defne; Tüzün, Defne
The 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.
1990 sonrasi Hollywood korku sinemasinda mise-en-abyme
(Kadir Has Üniversitesi, 2017) Tüzün, Defne; Tüzün, Defne
1990 sonrasi Hollywood Korku Sinemasi'nin giderek kan kaybettigi ve cekilen filmlerin birbirinin tekrari hâline geldigi soylenmektedir. ''Metakorku'' olarak siniflandirilan bu filmlerin kendi yapilarina referans vererek tur kodlarini aynaladiklari gorulmektedir. Wes Craven John Carpenter ve Drew Goddard gibi yonetmenlerin filmlerinde ise bu konvansiyonlar sadece ifsa edilmek kalmaz ayni zamanda ihlâl de edilerek yeni bir soylem arayisina girilir. Korku Sinemasi'nin temsil krizini vurgulayan bu filmler diger bir yandan filmin sundugu gercek ve kurmaca arasindaki sinirin da bulaniklasmasini saglamaktadir. Filmin kendi farkindaligina varmasinin dolayisiyla kendi temsil sorununu yansitmasinin ve kendini yansitmasinin mise-en-abyme stratejisi ile desteklendigi gorulmektedir. Bu arastirmada New Nightmare (Wes Craven 1994) in the Mouth of Madness (John Carpenter 1994) ve The Cabin in the Woods (Drew Goddard 2012) filmlerinin formal analizi yapilarak 1990 sonrasi Hollywood Korku Sinemasi'nda mise-en-abyme anlatim stratejisinin nasil olusturuldugu ve neye hizmet ettigi arastirilmaktadir. Korku sinemasinin konvansiyonlarini nasil ifsa edip sonrasinda cignedigi ve bu kendini aynalayan orneklerinin nasil bir egilime isaret ettigine deginilmekle birlikte ortaya cikan temsil krizinin ayni zamanda anlatim bicimi ve endustri acisindan nasil bir imkân olarak degerlendirilebilecegi gibi sorularin cevabi aranmaktadir. Filmlerin analizi sonucunda mise- en-abyme anlatim stratejisinin kendi temsil sorunundan yola cikarak yeni bir anlatim biciminin kapisini actigi gozlemlenmistir.
Guideline for rabbit keepers
(Kadir Has Üniversitesi, 2015) Tüzün, Defne; Sarıkartal, Çetin Kemal; Tüzün, Defne
The study, based on my readings on the concepts of "abjection" and "liminality", consists of the video records of subsequent performances that I have created using my bodily expressions and my reflection in the mirror, as well as the following text in which I have given an account of my own experiences of the processes.