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

Main Affiliation

Radio, Television and Cinema

ORCID ID

0000-0001-5548-1866

WoS Researcher ID

GEU-7128-2022

Full item page

Scholarly Output

19

Articles

6

Citation Count

1

Supervised Theses

11 Scholarly Output Search Results

Now showing 1 - 10 of 11

'pro-filmic Thought' in Time-Image: 'lectosigns and 'sub-reality in 'mirror (1975)
(Kadir Has Üniversitesi, 2021) Karyağdı, Mustafa Ozan; 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.
Temsiliyet Krizi: Çek Yeni Dalga Filmlerinde Sistem Karşıtı Kadınlar
(Kadir Has Üniversitesi, 2015) Bayman, Selda; Tüzün, Defne; Tüzün, Defne
Bu 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.
Berlin the Hyperreal and Virtual Realities of Sex in a Dark Room
(Kadir Has Üniversitesi, 2017) Sen, Burak; Tüzün, Defne; 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.
A Threat Exceeding the Diegetic Universe :the Last Horror Movie
(Kadir Has Üniversitesi, 2017) Dursun, Oguzhan; Tüzün, Defne; 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.
Immersion of the Spectator
(Kadir Has Üniversitesi, 2019) Esen, Tan Müyesser; 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.
Scapegoats: the Femme Fatales of World War Ii
(Kadir Has Üniversitesi, 2014) Bozcu, Merve; 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) Aydın, Tuğçe; 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.
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.
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.