HAMAM, ZENNE, VE YAŞAMIN KIYISINDA FİLMLERİNDE ORYANTALİST İMGELEM VE BAKIŞ

Year 2022, Volume: 9 Issue: 1 - Visual Culture, 92 - 114, 27.06.2022

Sanem Peker Dağlı , Zeynep Özarslan

https://doi.org/10.17572/mj2022.1.92114

An Erratum to this article was published on December 31, 2022. https://dergipark.org.tr/en/pub/moment/issue/72740/1184473

Abstract

Oryantalizm, Batı perspektifinden Doğu’nun temsillerini ve de Oryantalist imgelemi belirleyen açık ve örtük iktidar ilişkilerini ortaya çıkarmak için zengin bir literatür sunar. Edward Said’in Oryantalizm kuramsallaştırmasını temel alan bu çalışma, Hamam (Il Bagno Turco), Zenne (Zenne Dancer), ve Yaşamın Kıyısında (Auf Der Anderen Seite) filmleri yörüngesinde Türkiye Sineması’nda, cinsel farklılık perspektifinden Oryantalist imgelem, ikonografi ve bakışı inceler. Seçilen filmlerdeki Batı(lı) ve Doğu(lu) karakterler, kentler, uzamlar ve kültür temsilleri ve de oryantalist bakış, cinsel farklılık perspektifinden tartışılır. Roland Barthes’ın göstergebilim kavramsallaştırmalarını destekleyici bir bileşen olarak alan bu çalışmada, filmler göstergebilimsel yöntemle analiz edilir. Film analizleri, seçilen filmlerin görsel ve anlatı yapılarının, belirgin olarak Doğulunun romantizmi ve homoerotizmini de kapsayarak hem örtük hem de açık Oryantalist öğelerle bezendiğini göstermektedir.

Keywords

Oryantalizme çağdaş yaklaşımlar, örtük Oryantalizm, göstergebilimsel film analizi, Türkiye sineması, Doğu’nun homoerotizmi

ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE

An Erratum to this article was published on December 31, 2022. https://dergipark.org.tr/en/pub/moment/issue/72740/1184473

Abstract

Orientalism still provides a rich literature to explore the representations of the Orient from a Western perspective as well as the manifest and latent power relations designating the Orientalist imagery. Following Edward Said’s theorization of Orientalism, this paper examines Orientalist imagery, iconography, and gaze from a sexual difference perspective in Turkey’s cinema on the trajectory of the films Il Bagno Turco aka Hamam, Zenne Dancer aka Zenne, and Auf Der Anderen Seite aka Yaşamın Kıyısında. The paper discusses the representations of the West(ern) and East(ern) characters, cities, spaces and culture and Orientalist gaze in the selected films from a sexual difference perspective. Semiotic film analysis is implemented as the methodology, deploying Roland Barthes’s conceptualizations on semiotics as a supporting component. The analysis reveals that the visual and narrative structures of the selected films are ornated with both manifest and latent Orientalist elements, the leading of which are romanticism and homoeroticism of the Oriental.

Keywords

Contemporary approaches to Orientalism, latent Orientalism, homoeroticism of the Oriental, semiotic film analysis, Turkey’s cinema

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