ZEKİ DEMİRKUBUZ FİLMLERİNDE ARZU VE İHANET

Year 2019, Volume: 10 Issue: 1, 111 - 135, 30.03.2019

Coşkun Liktor

https://doi.org/10.32001/sinecine.545799

Abstract

Bu makale, Zeki Demirkubuz’un karşılıksız aşk, kıskançlık ve ihanet temalarını ele alan filmlerinden Kor (2016), İtiraf, (2001), Masumiyet (1997) ve Kader (2006) üzerine odaklanarak bu filmlerde işleyen arzu dinamiklerini aydınlatmayı amaçlamaktadır. Öncelikle karısının kendisini aldattığı şüphesiyle kıvranan erkeklerin dramlarını konu alan Kor ve İtiraf filmlerinin Rene Girard’ın üçgen arzu kuramına uygun düşecek şekilde, arzunun doğuşunda ve sürdürülmesinde üçüncü şahısların oynadığı aktif rolü ortaya serdiği gösterilecektir. Masumiyet ve Kader’de resmedilen ilişki, aşığın sevdiği kadını yüce bir nesne konumuna yükselttiği şövalye aşkının modern bir versiyonu olarak yorumlanacaktır. Masumiyet ve Kader, Lacancı psikanaliz ışığında, bilhassa Lacan’ın ve Zizek’in şövalye aşkında işleyen anamorfik bakış ve mazoşizm dinamiğine dair yazdıklarından yararlanmak suretiyle incelenecektir. Sonuç olarak bu makalenin amacı, yukarıda adı geçen filmlerin romantik aşk kavramının büyüsünü bozarak Lacan’ın kadınla erkek arasında kendiliğinden, dolayımsız ve dengeli bir cinsel ilişkinin mümkün olmadığına dair tezini kanıtladığını göstermektir.

Keywords

Zeki Demirkubuz, üçgen arzu, şövalye aşkı, anamorfoz, mazoşizm

DECEIT, DESIRE, AND THE FILMS OF ZEKİ DEMİRKUBUZ

Abstract

This article analyses four flms by Zeki Demirkubuz, Kor (Ember, 2016), İtiraf (Confession, 2001), Masumiyet (Innocence, 1997), and Kader (Destiny, 2006), which deal with the themes of unrequited love, jealousy, and betrayal. Analysis reveals the dynamics of desire in these four flms. Kor and İtiraf, both of which depict the sad plight of jealous husbands who agonize over their wives’ infdelity, illustrate Rene Girard’s theory of triangular desire by introducing a third person in the genesis and perpetuation of the subject’s desire. Masumiyet and Kader, on the other hand, are interpreted as modern takes on the theme of courtly love, in which the lover elevates the beloved to the status of sublime object. Masumiyet and Kader are analysed through the lens of Lacanian psychoanalysis, particularly in relation to Lacan’s and Zizek’s writings on the anamorphic gaze and masochistic contract present in courtly love. The article shows that all four flms demystify the concept of romantic love, thereby demonstrating Lacan’s contention that a spontaneous, unmediated and harmonious sexual relationship between a man and a woman is impossible.

Keywords

Zeki Demirkubuz, triangular desire, courtly love, anamorphosis, masochism

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