Political Camera: The Ideologization of View in Romanian New Wave Cinema and Representation of Women’s Body

Öz

Cinema is considered as a set of practices during the processing of social issues and is considered as an important tool to handle and convey occurrences. Cinema -an area where various ideologies are reproduced can be applied as a set of discourses opposing to the mainstream narrative, as well. Romanian New Wave cinema shows an opponent attitude towards mainstream narrative in terms of the themes and techniques it uses. It is known that the conditions of fear, threat and insecurity created by the Ceausescu’s regime on the masses are frequently addressed in the Romanian New Wave cinema, and it is believed that there is a concern about reckoning with the past in films for the mentioned period. Accordingly, many people remain indifferent to the trauma caused by Ceausescu’s regime in Romanian citizens, and at this point, cinema is used effectively in the sense of making oneself heard/announcing the voice. The qualities of the period are reconstructed with formal codes such as cold colors, plan-sequence/séquence and dark field, and so the interpretation is left to the audience-traces, such as tension-transferring to the audience. Starting from the fact that Cristian Mungiu is one of the leading directors of the Romanian New Wave, his film named 4 Luni, 3 Săptămâni şi 2 Zile (4 Months, 3 Weeks, 2 Days - 2007) is discussed in detail as a sample. The film is analyzed within the context of masculine view/gaze and gender codes. That gaze concept has a masculine character and causes women’s body to be observable is the starting point of this analysis. Furthermore, it is thought that Mungiu has a concern to challenge the masculine codes in that period in Romania. Therefore, film analysis also includes a political reading based on the concept of political camera.

Anahtar Kelimeler

• Romanian New Wave Cinema,Political Camera,Masculine View,Reproduce,Cristian Mungiu

Politik Kamera: Rumen Yeni Dalga Sinemasında Bakışın İdeolojikleşmesi ve Kadın Bedeninin Temsili | Political Camera: The Ideologization of View in Romanian New Wave Cinema and Representation of Women’s Body

Öz

Sinema, toplumsal konuların işlenmeleri sürecinde bir pratikler bütünü şeklinde değerlendirilmekte ve meydana gelen olayların ele alınıp aktarılmasında önemli bir araç olarak kabul edilmektedir. Çeşitli ideolojilerin yeniden üretildiği bir alan olan sinema, ana akım anlatıya karşıt söylemler için de kullanılabilmektedir. Rumen Yeni Dalga sineması, ele aldığı temalar ve kullandığı teknikler bakımından ana akım anlatıya karşıt bir tutum sergilemektedir. Çavuşesku rejiminin kitleler üzerinde oluşturduğu korku, tehdit ve güvensizlik hâlinin Rumen Yeni Dalga sinemasında sıklıkla ele alındığı bilinmekte ve döneme yönelik filmlerde geçmişle hesaplaşma kaygısı taşındığı düşünülmektedir. Buna göre, Çavuşesku rejiminin Romanyalı vatandaşlarda yarattığı travmaya birçok kişi kayıtsız kalmakta ve bu noktada sinema, sesin duyurulması anlamında etkin bir biçimde kullanılmaktadır. Dönemin nitelikleri, soğuk renklerle, plan-sekanslarla, karanlık alanlar gibi biçimsel kodlarla yeniden inşa edilmekte ve böylece gerginliğin izler-kitleye aktarılması gibi yorumun da yine izler-kitleye bırakılması söz konusu olmaktadır. Bu çalışma kapsamında Cristian Mungiu’nun Rumen Yeni Dalga’sının önde gelen yönetmenlerinden biri olmasından hareketle, yönetmenin 4 Luni, 3 Săptămâni şi 2 Zile (4 Ay, 3 Hafta, 2 Gün- 2007) filmi örnek olarak ele alınmakta, ilgili film, eril bakış ve toplumsal cinsiyet kodları temel alınarak analiz edilmektedir. Bakışın eril bir nitelik taşıması ve kadın bedenini izlenebilir kılması, analizin çıkış noktasını oluşturmakta ve Mungiu’nun eril kodları tersine çevirerek dönemin Romanya’sına karşı bir meydan okuma/hesaplaşma kaygısı güttüğü düşünülmektedir. Bu nedenle film analizi, politik kamera kavramından hareketle politik bir okumayı da içermektedir.

Anahtar Kelimeler

• Rumen Yeni Dalga Sineması,Politik Kamera,Eril Bakış,Yeniden Üretmek,Cristian Mungiu

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