TY - JOUR T1 - The Overlook Hotel as an Ontological Agent: Object-Oriented Ontology and Film Analysis TT - Ontolojik Bir Özne Olarak Overlook Oteli: Nesne Yönelimli Ontoloji ve Film Analizi AU - Türkan, Mustafa PY - 2025 DA - July Y2 - 2025 DO - 10.26650/Filmvisio.2025.0007 JF - Filmvisio PB - İstanbul Üniversitesi WT - DergiPark SN - 2980-3101 SP - 66 EP - 86 IS - 5 LA - en AB - In this article, I move beyond the usual human-centred perspectives that so often possess film analysis, directing attention instead to the significance and agency of objects themselves. By anchoring this discussion in the framework of objectoriented ontology (OOO), I argue that every object in a film can act not merely as part of the backdrop but also as an agentic presence in its own right. I propose conceptualising the object as an ontological unit existing beyond its outward attributes, independent of human experience. Focusing on Stanley Kubrick’s The Shining (1980), I contend that the Overlook Hotel is depicted as an almost living, ominous entity, enveloping the audience in a way that aesthetically reveals the film’s phenomenal–noumenal duality. I then connect OOO’s ideas—such as the tension between object and its qualities, the asymmetry of metaphor, and vicarious causation—to the film’s visual and auditory components. I summarise this approach as the film’s process of reframing itself as a new object and thereby making the viewer’s experience a constitutive element of its ontology. Therefore, in the case of The Shining, I argue that the Overlook Hotel—laden with cultural codes—operates as an independent subject within the cinematic universe, thereby prompting a thorough re-evaluation of the ontological position of objects. KW - object-oriented ontology KW - film criticism KW - The Shining KW - metaphor KW - metaphysics N2 - Bu makalede, film analizini sıklıkla egemenliği altına alan alışıldık insan merkezli bakış açılarının ötesine geçiyor ve bunun yerine nesnelerin kendilerinin önemine ve failliğine dikkat çekiyorum. Tartışma nesne-yönelimli ontoloji (NYO) çerçevesine yerleştirildiğinde, bir filmdeki her nesnenin yalnızca dekorun bir parçası olmakla kalmayıp aynı zamanda kendi başına faal bir varlık olarak hareket edebilir. Bu yüzden nesneyi dış niteliklerinin ötesinde, insan deneyiminden bağımsız olarak var olan ontolojik bir birim şeklinde kavramsallaştırmayı öneriyorum. Stanley Kubrick’in The Shining (1980) filmi üzerinde, Overlook Oteli’nin neredeyse yaşayan varlık gibi yansıtıldığını ve filmin “fenomen–numen” ikiliğini estetik açıdan ortaya koyacak şekilde izleyiciyi kuşattığını savunuyorum. 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