Tüzün, Defne

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

Sustainable Development Goals

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LIFE ON LAND
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AFFORDABLE AND CLEAN ENERGY
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INDUSTRY, INNOVATION AND INFRASTRUCTURE
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QUALITY EDUCATION
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DECENT WORK AND ECONOMIC GROWTH
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GENDER EQUALITY
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PEACE, JUSTICE AND STRONG INSTITUTIONS
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RESPONSIBLE CONSUMPTION AND PRODUCTION
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Scholarly Output

22

Articles

7

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79/0

Supervised MSc Theses

13

Supervised PhD Theses

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WoS Citation Count

1

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2

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WoS Citations per Publication

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Scopus Citations per Publication

0.09

Open Access Source

15

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13

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
    Flattery and the Misanthrope
    (Wiley, 2025) Diken, Bulent; Akcali, Elif; Tuzun, Defne
    Molière'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.
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    Article
    Garden of Ambivalence The Topology of the Mother-child Dyad in Grey Gardens
    (Univ Pittsburgh, Univ Library System, 2012) Tuzun, Defne
    The 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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    Master Thesis
    Trapped Zone Belgesel Filminde Arzu Oluşumu ve Kamera
    (2025) İpek, Canberk Emre; Tüzün, Defne
    Tez çalışması, Trapped Zone belgesel filminde yer alan aile arşivi görüntüleri üzerinden yönetmenin film yapma arzusunun oluşumunun izini sürerken yönetmenin çocukluğundan beri hayatında olan kameranın bilinçdışında edinmiş olabileceği farklı konumları psikanalitik olarak inceler.
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    Master Thesis
    A Threat Exceeding the Diegetic Universe :the Last Horror Movie
    (Kadir Has Üniversitesi, 2017) Dursun, Oguzhan; Tüzün, Defne
    This 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.
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    Master Thesis
    Immersion of the Spectator
    (Kadir Has Üniversitesi, 2019) Esen, Tan Müyesser; 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.
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    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
    Berlin the Hyperreal and Virtual Realities of Sex in a Dark Room
    (Kadir Has Üniversitesi, 2017) Sen, Burak; Tüzün, Defne
    Berlin’s unique history as an urban epicenter for the key events of the previous centuries also witnesses an era which is known as the “Golden Twenties”. The sexually liberated atmosphere of the then Weimar Berlin is in a way being simulated inside spaces urban phenomena called the “dark room”. A popular type of accommodation in the nightlife scene of the city in 2017 which serves as an entertainment space for the people who seek to experience a sexually charged escape from the humdrumness of reality. Meanwhile the advancements for the technology of Virtual Reality are catching up with the philosophical visions for virtual realities. This thesis intends to discuss the mind’s capacity to imagine through a philosophical examination and debate on reality and whether or not there are virtual realities by opening Berlin’s dark rooms Virtual Reality technologies the history of art films and film theory to discussion. Contextualized by Jean Baudrillard the hyperreal is one of the key concepts in making clarifying and criticizing these points of discussion. Furthermore the thesis revisits ancient philosophical debates such as Plato’s allegory of the cave while making observations on the most recent examples in Virtual Reality such as Alejandro González iñárritu’s installation Carne y Arena (2017). Although this thesis intends to refrain itself from analysis on a microscopic level concepts and ideas of film theorists who worked within a psychoanalytical framework will also be revisited to be able to suggest an explanation to certain phenomena such as the dark rooms in analogy with virtual reality. The general aim will be to open points of discussion which are thought to be significant for critique of recent examples in entertainment.
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    Book Part
    The Abyme of the Shallow
    (Taylor & Francis, 2014) Tüzün, Defne
    [Abstract Not Available]
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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; Paca Cengiz, Esin
    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.