In cinema studies, a film is a means of answering questions beyond the film itself, an “agency” that uses its inherent audio-visual and aesthetic qualities to articulate an idea. Discourse- and representation-oriented analysis methods begin from the premise that film is a representation of assumed reality; they accept a film’s audio-visual elements as transmitters of meaning and subject the image to the workings of the language and sign system. The visual turn and new materialism, however, approach things differently. Starting from the same epistemological position, they problematize representational thinking focused on language and logos, inviting us to reflect on the distinction between object and subject, the relationship between epistemology and ontology, and our practices of knowledge production. In this study, the possibilities the visual turn and new materialism offer for film analysis are discussed within the framework of an analysis of My Father’s Wings (Kıvanç Sezer, 2016). Focusing on the interaction between image-based analysis and research practice, this study explores “The Aesthetic of Absence” or “Image(lessness) of Death.” By moving away from the content and discourse of the film and focusing on the image itself, the film analysis method reveals that the dramatic content of the film—the unpresentable phenomenon of death—is transformed into a cinematographic operation that articulates a concept and notion of death. Meanwhile, new materialism raises questions about the very act of reflection and the impact one’s context has on modes of seeing and perceiving. It thus invites us to rethink the position of the image as a research object and research method. Starting from the critique of representation and representation itself, this study also considers the difference between text/logos and image, the relationship between image and perception, and the knowledge evoked by the image.
|25 Nisan 2022
|Yıl 2022 Cilt: 13 Sayı: 1
sinecine TR DİZİN ve FIAF tarafından taranmaktadır.