Tüzün, Defne

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https://hdl.handle.net/20.500.12469/6121
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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
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[email protected]
Main Affiliation
Radio, Television and Cinema
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Current Staff
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ORCID ID
0000-0001-5548-1866
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Turkish CoHE Profile ID
Google Scholar ID
WoS Researcher ID
GEU-7128-2022

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Scholarly Output

22

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224/3805

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JournalCount
CINEJ Cinema Journal2
Cinej Cinema Journal1
Critical Arts-South-North Cultural and Media Studies1
Sociology Lens1
Studies in Documentary Film1
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Now showing 1 - 10 of 22
  • Thumbnail Image
    Article
    [safe] in a Narcissistic Closure
    (2022) Tüzün, Defne
    This article offers an in depth formal analysis of the film Safe (Todd Haynes: 1995) By attending to Julia Kristeva’s concept of abjection as the earliest attempts to demarcate a space in the common, indistinguishable territory of the mother-child dyad and as an endeavor to overcome spatial ambivalence, this analysis focuses on the topography of the pre-symbolic. The study deals primarily with the film’s protagonist, Carol’s abjection, as evidenced by her relation to corporeality and to spatiality. Carol goes through a crisis in life and suffers from an undiagnosed illness. As the film progresses, she goes to a healing facility out in the desert, where she seeks treatment for her disease, here, but gradually regresses to a narcissistic phase. The semi-religious philosophy of this facility leads her to isolate herself from society and negates her integration into the socio-symbolic network. This self-indulgence and self-love finally causes her to be trapped in a narcissistic closure. This article discusses this narcissistic closure through the visual and audio analysis of the film.
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    Book Part
    Kim Bu Vasfiye?: Bir Temsiliyet Krizi Olarak Adı Vasfiye Filmi
    (Bağlam Yayınları, 2016) defne tüzün
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    Master Thesis
    Scapegoats: the Femme Fatales of World War Ii
    (Kadir Has Üniversitesi, 2014) Bozcu, Merve; 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.
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    Master Thesis
    1990 sonrasi Hollywood korku sinemasinda mise-en-abyme
    (Kadir Has Üniversitesi, 2017) Yaman, Sevin; 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.
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    Master Thesis
    Guideline for Rabbit Keepers
    (Kadir Has Üniversitesi, 2015) Aydın, Tuğçe; 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.
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    Article
    Citation - Scopus: 1
    A Moebial Ride Through Polanski’s Repulsion
    (University Library System, University of Pittsburgh, 2020) Tüzün,D.
    This article examines Roman Polanski’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. © 2020, University Library System, University of Pittsburgh. All rights reserved.
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    Master Thesis
    Parçalanmış Gerçeklikler: John Cassavetes'in Shadows (1959) ve Opening Night (1977) Filmlerinin Brechtiyen Analizi
    (2025) Tohum, Merve; Tüzün, Defne
    Bu 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.
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    Article
    Citation - Scopus: 1
    Two 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
    This 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.
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    Article
    In Between Two Screens: Trauma, Memory, and Subjectivity in Gulsun Karamustafa's Work
    (Routledge Journals, Taylor & Francis Ltd, 2023) Tuzun, 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.
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    Book Part
    The Abyme of the Shallow
    (Taylor & Francis, 2014) Tüzün, Defne
    [Abstract Not Available]