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Bedenselleşen Sinema: Film Fenomenolojilerinde Feminist İmgelem

Yıl 2022, Cilt 13, Sayı 1, 203 - 219, 25.04.2022

Öz

Bu yazı, son yıllarda gelişmekte olan feminist film fenomenoloji hakkında genel bir değerlendirme sunmayı amaçlar. Film fenomenoloji, kendine özgü, yerleşik ve kurumsal bir alan olmaya başladığı geçtiğimiz yirmi yılda, genellikle kadın araştırmacılar ve çoklukla feminist kuramcılar tarafından üretilen ve birbiriyle diyalog içinde olan hatırı sayılır bir araştırmalar bütünlüğü ortaya çıkmıştır. Feminist film fenomenolojileri, geleneksel akademik anlayışa ve katı disipliner yaklaşıma özgü temelci düşünceyi aşar, feminizm, fenomenoloji ve film kuramı arasında konumlandığından dolayı geçişken ve esnek bir yapıdadır. Bu çalışma alanı, esasında filmi bedenselleşmiş ve konumlanmış deneyim ile anlama çabasına dayanır. Bu inceleme de güncel araştırmalar eşliğinde bu çabayı izleyerek tekil bir metodolojik girişimden ziyade çoğul, kapsayıcı ve kesişimsel perspektiflere doğru genişleyen feminist film fenomenolojileri araştırır. 

Kaynakça

  • Ahmed, S. (2006). Queer phenomenology: Orientations, objects, others. Duke University Press.
  • Barker, J. M. (2009). The tactile eye: Touch and the cinematic experience. University of California Press.
  • Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression. Edinburgh University Press.
  • Casebier, A. (1991). Film and phenomenology: Towards a realist theory of cinematic representation. Cambridge University Press.
  • Chamarette, J. (2012). Phenomenology and the future of film: Rethinking subjectivity beyond French cinema. Palgrave Macmillan.
  • Chamarette, J. (2015). Embodied worlds and situated bodies: feminism, phenomenology, film theory. Signs: Journal of Women in Culture and Society, 40(2), 289-295.
  • Chamarette, J. (2018). Overturning feminist phenomenologies: disability, complex embodiment, intersectionality, and film. L. Sara Cohen Shabot (Ed.) içinde, Rethinking Feminist Phenomenology: Theoretical and Applied Perspectives (s. 187-208). Rowman & Littlefield International.
  • Fuery, K. (2022). Ambiguous cinema: From Simone de Beauvoir to feminist film-phenomenology. Edinburgh University Press.
  • Ferencz-Flatz, C., & Hanich, J. (2016). Editor’s introduction: What is film phenomenology? Studia Phaenomenologica, 11-61. Ince, K. (2011). Bringing bodies back in: For a phenomenological and psychoanalytic film criticism of embodied cultural identity. Film-Philosophy, 15(1), 2-12.
  • Haraway, D. (1988). Situated knowledges: The science question in feminism and the privilege of partial perspective. Feminist studies, 14(3), 575-599.
  • Ince, K. (2017). The Body and the screen: Female subjectivities in contemporary women’s cinema. Bloomsbury Academic.
  • Lindner, K. (2012). Questions of embodied difference: Film and queer phenomenology. NECSUS. European Journal of Media Studies, 1(2), 199–217.
  • Lindner, K. (2017). Film bodies: Queer feminist encounters with gender and sexuality in cinema. I.B.Tauris & Co. Ltd.
  • Marks, L. U. (2000). The Skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press.
  • Merleau-Ponty, M. (1981). Phenomenology of perception. (Çev. C. Smith,) Routledge.
  • Rutherford, A. (2003). Cinema and Embodied Affect. Senses of Cinema, 25. Ocak 10, 2022 tarihinde https://www.sensesofcinema.com/2003/feature-articles/embodied_affect/ adresinden alındı
  • Rutherford, A. (2011). What makes a film tick?: Cinematic affect, materiality and mimetic innervation. Peter Lang.
  • Schlüpmann, H., & Levin, T. Y. (1987). Phenomenology of film: On Siegfried Kracauer’s writings of the 1920s. New German Critique, 40(Special Issue on Weimar Film Theory), 97-114.
  • Smith, M. (1995). Engaging characters: Fiction, emotion, and the cinema. Clarendon Press.
  • Sobchack, V. (1992). The address of the eye: A phenomenology of film experience. Princeton University Press.
  • Sobchack, V. (2004). Carnal thoughts: Embodiment and moving image culture. University of California Press.
  • Studlar, G. (1990). Reconciling feminism and phenomenology: Notes on problems and possibilities, texts and contexts. Quarterly Review of Film and Video, 12(3), 69-78.

Embodied Cinema: Feminist Imagination in Film Phenomenologies

Yıl 2022, Cilt 13, Sayı 1, 203 - 219, 25.04.2022

Öz

This review aims to provide an overview of the emerging field of feminist film phenomenology. While film phenomenology has yet come into its own as a distinct, established, and institutionalized field, in the past two decades a considerable body of research—often produced by women researchers, and mostly by feminist theorists, in dialogue with one another—has embraced a phenomenological approach to the study of film. Feminist film phenomenology transcends the strict disciplinary approach and traditional academic understandings that have long marked the study of film, instead employing a transitive and flexible structure that situates the field between the disciplines of feminism, phenomenology, and film theory. This field of study is fundamentally based on the effort to understand film through embodied and situated experience. This review follows this effort through an examination of recent research and an exploration of feminist film phenomenologies that eschew narrowly singular methodologies to expand into multiple, inclusive, and intersectional perspectives.

Kaynakça

  • Ahmed, S. (2006). Queer phenomenology: Orientations, objects, others. Duke University Press.
  • Barker, J. M. (2009). The tactile eye: Touch and the cinematic experience. University of California Press.
  • Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression. Edinburgh University Press.
  • Casebier, A. (1991). Film and phenomenology: Towards a realist theory of cinematic representation. Cambridge University Press.
  • Chamarette, J. (2012). Phenomenology and the future of film: Rethinking subjectivity beyond French cinema. Palgrave Macmillan.
  • Chamarette, J. (2015). Embodied worlds and situated bodies: feminism, phenomenology, film theory. Signs: Journal of Women in Culture and Society, 40(2), 289-295.
  • Chamarette, J. (2018). Overturning feminist phenomenologies: disability, complex embodiment, intersectionality, and film. L. Sara Cohen Shabot (Ed.) içinde, Rethinking Feminist Phenomenology: Theoretical and Applied Perspectives (s. 187-208). Rowman & Littlefield International.
  • Fuery, K. (2022). Ambiguous cinema: From Simone de Beauvoir to feminist film-phenomenology. Edinburgh University Press.
  • Ferencz-Flatz, C., & Hanich, J. (2016). Editor’s introduction: What is film phenomenology? Studia Phaenomenologica, 11-61. Ince, K. (2011). Bringing bodies back in: For a phenomenological and psychoanalytic film criticism of embodied cultural identity. Film-Philosophy, 15(1), 2-12.
  • Haraway, D. (1988). Situated knowledges: The science question in feminism and the privilege of partial perspective. Feminist studies, 14(3), 575-599.
  • Ince, K. (2017). The Body and the screen: Female subjectivities in contemporary women’s cinema. Bloomsbury Academic.
  • Lindner, K. (2012). Questions of embodied difference: Film and queer phenomenology. NECSUS. European Journal of Media Studies, 1(2), 199–217.
  • Lindner, K. (2017). Film bodies: Queer feminist encounters with gender and sexuality in cinema. I.B.Tauris & Co. Ltd.
  • Marks, L. U. (2000). The Skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press.
  • Merleau-Ponty, M. (1981). Phenomenology of perception. (Çev. C. Smith,) Routledge.
  • Rutherford, A. (2003). Cinema and Embodied Affect. Senses of Cinema, 25. Ocak 10, 2022 tarihinde https://www.sensesofcinema.com/2003/feature-articles/embodied_affect/ adresinden alındı
  • Rutherford, A. (2011). What makes a film tick?: Cinematic affect, materiality and mimetic innervation. Peter Lang.
  • Schlüpmann, H., & Levin, T. Y. (1987). Phenomenology of film: On Siegfried Kracauer’s writings of the 1920s. New German Critique, 40(Special Issue on Weimar Film Theory), 97-114.
  • Smith, M. (1995). Engaging characters: Fiction, emotion, and the cinema. Clarendon Press.
  • Sobchack, V. (1992). The address of the eye: A phenomenology of film experience. Princeton University Press.
  • Sobchack, V. (2004). Carnal thoughts: Embodiment and moving image culture. University of California Press.
  • Studlar, G. (1990). Reconciling feminism and phenomenology: Notes on problems and possibilities, texts and contexts. Quarterly Review of Film and Video, 12(3), 69-78.

Ayrıntılar

Birincil Dil Türkçe
Konular Sanat
Bölüm Değini
Yazarlar

Cansu YILMAZ> (Sorumlu Yazar)
ANKARA BİLİM ÜNİVERSİTESİ, FİLM TASARIM VE YÖNETİMİ
0000-0002-9814-7064
Türkiye

Yayımlanma Tarihi 25 Nisan 2022
Yayınlandığı Sayı Yıl 2022, Cilt 13, Sayı 1

Kaynak Göster

APA Yılmaz, C. (2022). Bedenselleşen Sinema: Film Fenomenolojilerinde Feminist İmgelem . sinecine: Sinema Araştırmaları Dergisi , 13 (1) , 203-219 . Retrieved from https://dergipark.org.tr/tr/pub/sinecine/issue/69529/1104932

sinecine TR DİZİN ve FIAF tarafından taranmaktadır.