TY  - JOUR
T1  - Being zoē: theorizing childhood through world cinema
TT  - Varlık olarak zoē: dünya sineması üzerinden çocukluğu teorileştirmek
AU  - Düzcan, Ebubekir
PY  - 2026
DA  - February
Y2  - 2026
DO  - 10.46372/arts.1856750
JF  - ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi
JO  - ARTS
PB  - Mardin Artuklu University
WT  - DergiPark
SN  - 2687-1890
SP  - 131
EP  - 150
IS  - 15
LA  - en
AB  - This article examines the cinematic gaze on childhood in world cinema from a sociological perspective by bringing the being / becoming framework of the new sociology of childhood—developed primarily within the British sociology of childhood tradition—into dialogue with Agamben’s distinction between zoē (nature) and bios (discourse). While childhood in cinema is often positioned within developmental or nostalgic narratives, this article argues that certain films render childhood visible as a domain of experience that resists adult expectations and institutional arrangements. Drawing on examples from world cinema across diverse cultural and national contexts, childhood is conceptualized not as a culturally bounded figure but as a transnational cinematic form through which modern social orders are negotiated. To this end, the article employs the analytic pair being zoē and becoming bios in parallel, demonstrating how the cinematic child is situated both within and beyond prevailing social regulations. The child on screen is approached as a threshold figure whose openness, uncanniness, excess, and indeterminacy bring into view the points of tension within modern social orders. In doing so, the article proposes an original sociological theoretical framework for understanding representations of childhood in world cinema.
KW  - world cinema
KW  - sociology of cinema
KW  - sociology of childhood
KW  - agamben
N2  - Bu makale, özellikle İngiliz Çocukluk Sosyolojisi geleneği içinde gelişen yeni çocukluk sosyolojisinin being (olmakta olan) / becoming (oluşmakta olan) çerçevesini, Agamben’in zoē (doğa) ve bios (söylem) ayrımıyla ilişkilendirerek, dünya sinemasındaki çocuk bakışını sosyolojik bir perspektiften tartışmaktadır. Sinemada çocukluk sıklıkla gelişimsel ya da nostaljik anlatılar içinde konumlandırılsa da, bu çalışma bazı filmlerin çocukluğu yetişkin beklentilerine ve kurumsal düzenlemelere direnen bir deneyim alanı olarak görünür kıldığını savunur. Farklı kültürel ve ulusal bağlamlardan dünya sineması örneklerine dayanarak çocukluk, kültürel olarak sınırlı bir figürden ziyade modern toplumsal düzenlerin müzakere edildiği ulusötesi bir sinemasal form olarak kavramsallaştırılmaktadır. Bu amaçla makale, being zoē ve becoming bios kavramlarını paralel biçimde kullanarak, sinemadaki çocuğun hem toplumsal düzenlemelerin içinde hem de ötesinde nasıl konumlandığını gösterir. Ekrandaki çocuk, açıklığı, tekinsizliği, taşkınlığı ve belirsizliğiyle modern sosyal düzenlerin gerilim noktalarını açığa çıkaran bir eşik figürü olarak ele alınır. Böylece makale, dünya sinemasındaki çocuk imgesine ilişkin özgün bir sosyolojik teorik çerçeve önermektedir.
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UR  - https://doi.org/10.46372/arts.1856750
L1  - https://dergipark.org.tr/en/download/article-file/5572500
ER  -