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

Yıl 2022, Cilt: 9 Sayı: 2 - Gündelik Milliyetçilik, 613 - 613, 31.12.2022

Sanem Peker Dağlı Zeynep Özarslan

Bu makalenin ilk hali 27 Haziran 2022 tarihinde yayımlandı. https://dergipark.org.tr/tr/pub/moment/issue/70570/1059358

Düzeltme Notu

1. The order of the authors on the article cover and in the headers of the pages has been corrected. 2. Footnote added to page 92: "This article was derived from Sanem Peker Dağlı's MA dissertation titled “Orientalist Imagery in the Films Il Bagno Turco, Zenne Dancer, and Auf Der Anderen Seite” presented to the Graduate Program in Humanities and Social Sciences, Institute of Social Sciences, Yildiz Technical University, Turkey in 2019."

Öz

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.

Anahtar Kelimeler

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

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

Bu makalenin ilk hali 27 Haziran 2022 tarihinde yayımlandı. https://dergipark.org.tr/tr/pub/moment/issue/70570/1059358

Düzeltme Notu

1. Makale kapağındaki ve sayfa üst kısımlarındaki yazar sıralaması düzeltildi. 2. Sayfa 92'ye dipnot eklendi: "This article was derived from Sanem Peker Dağlı's MA dissertation titled “Orientalist Imagery in the Films Il Bagno Turco, Zenne Dancer, and Auf Der Anderen Seite” presented to the Graduate Program in Humanities and Social Sciences, Institute of Social Sciences, Yildiz Technical University, Turkey in 2019."

Öz

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.

Anahtar Kelimeler

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

Kaynakça

• Afary, J. and Anderson, K. (2005). Foucault and the Iranian Revolution: Gender and the seductions of Islamism. Chicago and London: The University of Chicago Press.
• Aksoy, A. and Robins, K. (2000). Thinking across spaces - Transnational television from Turkey. European Journal of Cultural Studies, 3(3), 343-365.
• Anderlini-D’Onofrio, S. (2004). Bisexual games and emotional sustainability in Ferzan Özpetek’s queer films. New Cinemas: Journal of Contemporary Film, 2(3), 163-174. doi: 10.1386/ncin.2.3.
• Bari, S. and Eaglestone, R. (2011). Orientalism. Michael Ryan (Gen. Ed.) and M. Keith Booker (Vol. Ed.), in, The encyclopedia of literary and cultural theory Volume III (p. 756-757). UK: Blackwell Publishing.
• Barthes, R. (1972). Mythologies. (A. Lavers, Trans.). New York: The Noonday Press, Farrar, Straus & Giroux.
• Boone, A. J. (2014). Homoerotics of orientalism. New York: Columbia University Press.
• Boschi, E. (2015). Loose cannons unloaded - Popular music, space, and queer identities in the films of Ferzan Özpetek. Studies in European Cinema, 12(3), 246–260. doi:10.1080/17411548.2015.1094257.
• Buckland, W. (2000). The cognitive semiotics of film. Cambridge: Cambridge University Press.
• Burns, R. (2009). On the streets and on the road: Identity in transit in Turkish–German travelogues on screen. New Cinemas: Journal of Contemporary Film 7(1): 11-26. doi: 10.1386/ncin.7.1.11/1
• Büker, S. (1985). Sinema dili üzerine yazılar. Ankara: Dost Kitabevi.
• Diken, B. and Laustsen, C. B. (2014). Filmlerle sosyoloji. İstanbul: Metis.
• Duncan, D. (2005). Stairway to heaven: Ferzan Özpetek and the revision of Italy. New Cinemas: Journal of Contemporary Film, 3(2), 101-113. doi: 10.1386/ncin.3.2.101/1 p.112.
• Foucault, M. (1995). Discipline and punish: The birth of the prison. New York: Vintage Books.
• Girelli, E. (2007). Transnational orientalism: Ferzan Özpetek’s Turkish dream in Hamam (1997) New Cinemas: Journal of Contemporary Film, 5(1), 23-38. doi: 10.1386/ncin.5.1.23/1.
• Güngör, F. S. (2011). Oryantalizm ve Amerika Birleşik Devletleri’nin Ortadoğu’ya bakışının sinemaya yansımaları. PhD Thesis, Hacettepe University, Institute of Social Sciences, Turkey.
• Korkman, K. Z. (2015). Fortunes for sale: Cultural politics and commodification of culture in millennial Turkey. European Journal of Cultural Studies, 18(3), 319–338 Doi: 10.1177/1367549414526727. P. 331.
• Loomba, A. (2015). Colonialism postcolonialism. London: Routledge.
• Mansbridge, J. (2017). The Zenne: Male belly dancers and queer modernity in contemporary Turkey. Theatre Research International, 42(1), 20–36. doi:10.1017/S0307883317000049.
• Özselçuk, E. (2014). Unsettling the metaphor: The failure of liberal hybridity in Fatih Akin’s Crossing The Bridge. New Cinemas: Journal of Contemporary Film, 12(3), 173-189. doi: 10.1386/ncin.12.3.173_1.
• Said, E. W. (1979). Orientalism. New York: Vintage Books.
• Sambuco, P. (2016). Food consumption in Ferzan Ozpetek’s Hamam and Luca Guadagnino’s Io sono l’amore: A gender issue. Quaderni d’italianistica, 37(2), 173–190.
• Singh, R. and Ladsaria, S. K. (2017). Reading ‘studium’ and ‘punctum’ in Steve McCurry and Raghu Rai’s photography. Trames, 21(71/66), 1, 33–50.
• Yeğenoğlu, M. (1998). Colonial fantasies: Towards a feminist reading of Orientalism. Cambridge: Cambridge University Press.