tojdac The Turkish Online Journal of Design Art and Communication 2146-5193 Deniz YENGİN 10.7456/tojdac.1674088 Photography, Video and Lens-Based Practice Video Art Art History, Theory and Criticism (Other) Documentary Film - Political Cinema Fotoğraf, Video ve Lens Tabanlı Uygulama Video Sanatı Sanat Tarihi, Teori ve Eleştiri (Diğer) Belgesel Film - Politik Sinema TÜRKİYE’DE DUYUSAL ETNOGRAFİK SİNEMA PRATİKLERİ: SIRTLARINDAKI HAYAT (2004) VE SON MEVSİM ŞAVAKLAR (2009) SENSORY ETHNOGRAPHIC PRACTICES IN TURKEY: LIFE ON THEIR BACKS (2004) AND LAST SEASON SHAWAKS (2009) https://orcid.org/0000-0002-8367-1234 Pınar Ekin ORTA DOĞU TEKNİK ÜNİVERSİTESİ 07 01 2025 15 3 939 954 04 11 2025 06 30 2025 Copyright © 2011, The Turkish Online Journal of Design Art and Communication 2011 The Turkish Online Journal of Design Art and Communication

Bu makale yerel bir kültürün pratiklerini beden, duyu ve duygulara vurgu yaparak aktaran sanatsal bir biçim olan duyusal etnografik film kavramını Türkiye’deki belgesel sinema üretimi üzerinden incelemektedir. Kendilerini duyusal etnografik olarak tanımlamasalar da Türkiye’de üretilmiş Sırtlarındaki Hayat (Yeşim Ustaoğlu, 2004) ve Demsala Dawî Şewaxan (Son Mevsim Şavaklar, Kazım Öz, 2009) gibi bazı belgesel sinema örnekleri de benzer sanatsal eğilimler sergilemeleri bakımından bu kategoriye yakınlık gösterirler. Makale bu iki örneğin duyusal etnografik film kategorisine giren özelliklerini (seyircide oradaymış hissi uyandırmaları, insan-olmayanı da içeren geniş perspektifleri, belirli bir yerelliği ele alışları) incelemek yoluyla bu kategorinin coğrafi sınırlarının çıkış yaptığı Duyusal Etnografya Lab’ının üretimiyle sınırlı kalmadığını savunmaktadır. Bu amaçla, makale, Sırtlarındaki Hayat ve Demsala Dawî Şewaxan’ı, Duyusal Etnografi Lab’ında üretilmiş olan Sweetgrass (Lucien Castaing-Taylor ve Ilisa Barbash, 2009)’la beraber ele alır ve karşılaştırmalı olarak ve yeni maddecilik ve aktör-ağ teorilerinin teorik çerçevesinden yararlanarak analiz eder.

This article explores documentary film production in Turkey, focusing on sensory ethnographic cinema, an artistic approach that highlights local cultural practices through the lens of the body, senses, and emotions. While not explicitly categorized as sensory ethnography, certain Turkish documentaries such as Life on Their Backs (Yeşim Ustaoğlu, 2004) and Last Season Shawaks (Kazım Öz, 2009) embody similar artistic elements. By highlighting the key characteristics of these two films -such as immersing the audience in a ‘being there’ experience, their expansive views including non-human aspects, and their distinct regional focus- the article suggests that the geographical scope of sensory etnography extends beyond the works produced by the Sensory Ethnography Lab where this genre originated. Accordingly, the article conducts a comparative analysis of Life on Their Backs, Last Season Shawaks, and Sensory Ethnography Lab’s Sweetgrass (Lucien Castaing-Taylor and Ilisa Barbash, 2009) within the theoretical frameworks of new materialism and actor-network theories.

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