Açlık: Zaman Bedenin İçinde

Year 2022, , 128 - 146, 29.04.2022

Gülşen Dilek Akbaş

https://doi.org/10.33464/mediaj.1075979

Abstract

Steve McQueen, ilk uzun metrajlı filmi olan Açlık (2008) filminde Kuzey İrlanda’daki 1981 Açlık Grevini konu alır ve bunu hapishanedeki eylemcilerin bedenleri üzerinden anlatır. Bu bedensel anlatım filme siyasi bir söylem kazandırmıştır: anlatının görüntü üzerinden ilerlemesi McQueen'in neyin doğru neyin yanlış olduğunu söylemek yerine meselenin gerçeğini göstermesini sağlar. Açlık: Zaman Bedenin İçinde, bu filmin estetize ettiği bedenselliği göstermeyi ve filmin hem içsel zamansallığı temsil ettiğini hem de Deleuze’un zaman-imgesinin izlerini taşıdığını savunmayı amaçlar. İmgenin dokusu olarak nesnel bedensellik, mahkumların bedensel direnişinde kendini gösterir. Fakat bu, filmi yaklaşım olarak gerçekçi bir yere taşımaz; filmde klasik sinemada alışık olduğumuz nedensellik zinciri ve zamansal çizgi sürekli kırılır. Bu kırılmış kronolojik zaman zinciri bedenselliğin akışında gözlemlenir ve dureé deneyimi burada kendi içinde yoğunlaşan görüntü ile ortaya çıkar. İzleyici anlatımı takip etmez, görüntüyü takip eder, çünkü, zaman çizgisi ve anlam, bedenlerin tutumları aracılığıyla inşa edilir. Deleuze'un terimleriyle film, bir tür zaman-imge olan bedenlerin sineması olarak gözlemlenebilir ve bununla birlikte klasik dramatik yapıdan ayrılır. Sonuç olarak, bu makale, bedenselliğin eleştirel nesnelliği yoluyla Steve McQueen'in Açlık filminde zamanı bedenin içine koyduğunu önerir.

Keywords

Gilles Deleuze, Steve McQueen, zaman-imge, sinema, zaman

Hunger: Time is in the Body

Abstract

Hunger (2008), Steve McQueen's first feature film, is about the 1981 Hunger Strike in Northern Ireland. He tells the story through prisoners’ bodies. This corporeal presentation creates a political discourse in the film: the progression of the narrative through imagery allows McQueen to show the fact of the matter rather than saying what is right or wrong. Hunger: Time Is In The Body aims to display the aestheticized corporeality of the film and argue that the film represents inner temporality and carries the marks of Deleuzian time-image. Objective corporeality as the fabric of the imagery manifests itself in the bodily resistance of the prisoners. Nevertheless, this imagery does not place the film within realism; in the film, the causal chain and the temporal line that we are accustomed to in classical cinema are constantly broken. The broken timeline is observable within the flow of corporeality, and the experience of dureé emerges by the density of such imagery. The spectator does not follow the narration; they follow the imagery because the timeline and the meaning are built through the bodies' attitudes. In Deleuzian terms, the film can be observed as the cinema of bodies, which is a kind of time-image, and with that, it gets separated from the classical dramatic structure. In conclusion, this article suggests that in Hunger, Steve McQueen places time in the body through the critical objectivity of corporeality.

Keywords

Gilles Deleuze, Steve McQueen, Time-image, Cinema, Time

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