TAVŞANLARIN GÖZÜNDEN, TAVŞANLAR DAHİL: BAŞKA TÜRLÜ BİR BERLİN DUVARI BELGESELİ

Yıl 2019, Cilt: 10 Sayı: 1, 43 - 60, 30.03.2019

Özlem Güçlü

https://doi.org/10.32001/sinecine.545769

Öz

Bu  makale, Bartosz Konopka’nın Berlin Duvarı’nın  hikâyesini,  alışılmadık  bir perspektiften, “tavşan gözünden”, anlatan Królik po berlinsku (Rabbit á la Berlin, 2009) adlı belgeseline odaklanmaktadır. Rabbit á la Berlin tarihi belgesel ve doğa belgeseli kod ve konvansiyonlarıyla ironik bir şekilde oynayarak, arşiv görüntülerini tavşan bakış açısına göre yeniden çerçevelendirerek ve tavşan bakış ve hareketlerini ön plana çıkaracak montaj geçişleri kullanarak belgesel türünün ve sinematik alanın kendisinin insan merkezliliği üzerine benzersiz bir tartışma alanı açmaktadır. Bu bakımdan, bu yazı, perdede insan merkezli kullanımların ve eğilimlerin ötesinde yeni sinematik imkân ve kabiliyetler icat eden Rabbit á la Berlin’in özgün türsel, anlatısal ve biçimsel seçim ve düzenlemelerini mercek altına almaktadır. Böylelikle, hayvanların görünürlük rejimleri ve sinemada hayvanların temsili üzerine bir tartışma ortaya koymayı ve film çalışmalarının daha az türcü dolayısıyla daha mümbit bir alana doğru evrilmesine katkıda bulunmayı amaçlamaktadır.

Anahtar Kelimeler

Hayvan temsili, sinema, belgesel, insan merkezlilik, Berlin Duvarı

RABBITS’ EYES VIEW, INVOLVING RABBITS: A DIFFERENT KIND OF BERLIN WALL DOCUMENTARY

Öz

This article focuses on Bartosz Konopka’s documentary, Królik po berlinsku (Rabbit á la Berlin, 2009), which tells the story of the Berlin Wall in an unconventional way, that is, from a rabbit’s perspective. By playing ironically with the conventions of historical and wildlife documentaries, by reframing and reprocessing archival footage according to a rabbit’s point of view, and by creating transitions that prioritize a rabbit’s gaze and movements, Rabbit á la Berlin opens up a unique opportunity for a discussion of the conventional anthropocentrism of the documentary genre and the cinematic realm itself. In this regard, the article examines the distinctive generic, narrative, and formal arrangements of Rabbit á la Berlin, which develop possibilities and capabilities beyond anthropocentrism. It lays out a discussion of the regimes of visibility that apply to animals and animal representations in cinema and contributes to the evolution of film studies into a vaster field, unconfined to a single species. 

Anahtar Kelimeler

Animal representation, cinema, documentary, anthropocentrism, Berlin Wall

Kaynakça

• Baker, S. (2001). Picturing the Beast. Urbana & Chicago: University of Illinois Press.
• Bell, D. (2011). Documentary Film and The Poetics of History. Journal of Media Practice, 12(1), 3-25.
• Benjamin, W. (2001). Son Bakışta Aşk (Çev. N. Gürbilek, S. Yücesoy). İstanbul: Metis.
• Benjamin, W. (2002). Tarih Kavramı Üzerine. Pasajlar (Çev. A. Ce- mal). İstanbul: Yapı Kredi. (Özgün eser 1940 tarihlidir).
• Benjamin, W. (2007). Estetize Edilmiş Yaşam: Sanat’tan Savaş ve Siyasete Alman Faşizminin Kuramları (Çev. Ü. Oskay). İstanbul: Derin.
• Bousé, D. (2000). Wildlife Films. Philadelphia: University of Pennsylvania Press.
• Bruzzi, S. (2006). New Documentary (2. Baskı). Londra: Routledge.
• Burt, J. (2002). Animals in Film. Londra: Reaktion Books.
• Chris, C. (2006). Watching Wildlife. Minneapolis: University of Minnesota Press.
• Czaja, J. (2012). A Brief History of Communism –Bartosz Konopka’s ‘Rabbit á la Berlin’. Images, 11(20), 75-81.
• Fudge, E. (2009). At The Heart of The Home: An Animal Reading of Mikhail Bulgakov’s The Heart of A Dog. Humanimalia, 1(1), 10-23.
• Fudge, E. (2002). A Left-Handed Blow: Writing the History of Animals. N. Rothfelds (Ed.), Representing Animals (s. 3-18). Bloomington & Indianapolis: Indiana University Press.
• Fudge, E. (2000). Introduction to Special Edition: Reading Animals. Worldviews, 4(2), 101-113.
• Güçlü, Ö. (2018). Hayvanın Felaketi, Manzaradan Lekelere: Hayırsızada (Serge Avedikian, 2010). Kebikeç, 46, 351-365.
• Konopka, B. (Yönetmen). (2009). Królik po berlinsku [Film]. Polonya: MS Films.
• Lawrence, M. & McMahon, L. (2015). Animal Life & The Moving Image. Londra: Palgrave.
• Lippit, A. M. (2000). Electric Animal: Towards a Rhetoric of Wildlife. Minneapolis: University of Minnesota Press.
• McHugh, S. (2009). Animal Farm’s Lessons For Literary (and) Animal Studies. Humanimalia, 1(1), 24-39.
• McMahon, L. (2015). Introduction. Screen, 56(1), 81-87.
• Mills, B. (2017). Animals on Television: The Cultural Making of The Non-Human. Londra: Palgrave Macmillan.
• Mills, B. (2015). Towards a Theory of Documentary Representation for Animals. Screen, 56(1), 102-107.
• Mitman, G. (2009). Real Nature: America’s Romance with Wildlife on Film. Seattle: University of Washington Press.
• Nichols, B. (1991). Representing Reality: Issues and Concepts of Documentary. Indianapolis: Indiana University Press.
• Pedersen, H. (2014). Knowledge Production in the “Animal Turn”: Multiplying the Image of Thought, Empathy and Justice. E. A. Cederholm, A. Björck, K. Jennbert, A. Lönngren (Ed.), Exploring The Animal Turn: Human-Animal Relations In Science, Society and Culture (s. 13-18). The Pufendorf IAS: Lund University.
• Pick, A. (2015A). Animal Life in the Cinematic Umvelt. M. Lawrence & L. McMahon (Ed.), Animal Life & The Moving Image (s. 221-237). Londra: Palgrave.
• Pick, A. (2015B). Yervant Gianikian and Angela Ricci Lucchi’s Animali Criminali. Screen, 56(1), 95-101.
• Pick, A. (2013). Three Worlds: Dwelling and Worldhood on Screen. A. Pick, G. Narraway (Ed.), Screening Nature: Cinema Beyond The Human (s. 21-36). New York: Berghahn Books.
• Pick, A. (2011). Creaturely Poetics: Animality and Vulnerability in Literature and Film. New York: Columbia University Press.
• Pick, A. & Narraway, G. (2013). Screening Nature: Cinema Beyond The Human. New York: Berghahn Books.
• Rancière, J. (2015). Özgürleşen Seyirci (3. Baskı). (Çev. E. B. Şaman). İstanbul: Metis.
• Rosenstone, R. A. (1995). Introduction. R. A. Rosenstone (Ed.), Revisioning History: Film and the Construction of a New Past (s. 3-13). Princeton: Princeton University Press.
• Weil, K. (2012). Thinking Animals: Why Animal Studies Now? New York: Columbia University Press.