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Bilinci canlandırmak: Animasyon belgesellerde fenomenal bilincin somutlaştırılması

Year 2025, Issue: 13, 53 - 78, 27.02.2025

Işkın Özbulduk Kılıç

https://doi.org/10.46372/arts.1550255

Abstract

Bu çalışmada, animasyon belgesellerin bireysel bilinç ve öznel gerçeklik algısını dönüştürme kapasitesi incelenmektedir. Araştırma kapsamında, Chris Landreth’in 2004 yapımı Ryan filmi, fenomenal bilincin somutlaşması bağlamında ele alınmıştır. Film, karakterlerin içsel dünyalarını yansıtan fiziksel deformasyonların animasyon yoluyla somutlaştırılmasını ele alan içerikler görsel analiz ve yorumlayıcı içerik analiz teknikleri ile değerlendirilmiştir. Araştırmada, animasyonun belgesel sinemada bireysel deneyimlerin daha derinlemesine ve empati kurularak anlaşılmasına olanak tanıyan yaratıcı bir araç olduğu savunulmaktadır. Bulgular, animasyon belgesellerin, izleyicinin fenomenal bilinç ve öznel deneyimlere dair algılarını derinleştirerek belgesel estetiğine yenilikçi bir bakış açısı sunma potansiyeli taşıdıklarını göstermektedir. Sonuç olarak, animasyon belgesellerin hem gerçekliği hem de bireysel bilinç ve deneyimleri etkileyici bir biçimde görünür kılabileceği ve izleyiciye çok katmanlı bir deneyim sunabileceği ortaya konulmuştur.

Keywords

sinema animasyon belgesel ryan fenomenal bilinç

References

  • Ahuvia, A. (2001). Traditional, interpretive, and reception-based content analyses: Improving the ability of content analysis to address issues of pragmatic and theoretical concern. Social indicators research, 54(2), 139-172. https://doi.org/10.1023/A:1011087813505
  • Alıcı, T. (2014). Gerçek bir yanılsama: Bilinç (1. baskı). Metis.
  • Arısoy, E. ve Rouyandozagh, Y. D. (2024). At the intersection of cinema and architecture: An exploration of how architectural space transforms into a subject of social resistance in the film Leila’s Brothers. Sinefilozofi dergisi, 9(18), 181-197. https://doi.org/10.31122/sinefilozofi.1439525
  • Block, N. (2002). Concepts of consciousness. D. J. Chalmers (Ed.), Philosophy of mind: Classical and contemporary readings (1. baskı) (s. 206-226). Oxford University.
  • Carroll, N. (2016). Sanat felsefesi: çağdaş bir giriş (1. baskı) (Çev. G. K. Tirkeş). Ütopya.
  • Chalmers, D. (1995). Facing up to the problem of consciousness. Journal of consciousness studies, 2(3), 200-219. https://philpapers.org/rec/CHAFUT
  • Damasio, A. (2020). Zihindeki benlik (1. baskı) (Çev. E. Akman). ODTÜ.
  • Diken Yücel, D., (2017). Thesus’un sinemadaki distopik yolculuğu ve dönüşümü üzerine. SineFilozofi dergisi, 2(3), 137-155. https://dergipark.org.tr/tr/download/article-file/347983
  • Drisko, J. W. ve Maschi, T. (2015). Content analysis (1. baskı). Oxford University.
  • Ehrlich, N. (2013). Animated documentaries: Aesthetics, politics and viewer engagement. Suzanne Buchan (Ed.), Pervasive animation (1. baskı) (248-271). Routledge.
  • Ehrlich, N. E. (2015). Animated realities: From animated documentaries to documentary animation (Doktora tezi). Edinburgh Üniversitesi, Edinburgh.
  • Flaherty, R. J. (Yönetmen). (1926). Moana [Film]. Paramount Pictures.
  • Folman, A. (Yönetmen). (2008). Waltz with Bashir [Film]. Sony Pictures Classics.
  • Fore, S. (2007) Romancing the rotoscope: self-reflexivity and the reality effect in the animations of Jeff Scher. Animation, 2(2), 111-127. https://doi.org/10.1177/1746847707078273
  • Fore, S. (2011). Reenacting Ryan: The fantasmatic and the animated documentary. Animation, 6(3), 277-292. https://doi.org/10.1177/1746847711416561
  • Glynne, A. (2021). Yaşamdan çizgilerle: animasyon belgesel. B. Winston (Ed.), Belgesel sinema kitabı (1. baskı) (s. 159-164). Ayrıntı.
  • Grierson, J. (1966). Grierson on documentary (1. baskı). University of California.
  • Haines, T. ve James, J. (Yönetmen). (1999). Walking with dinosaurs [TV Belgesel]. BBC.
  • Hann, J. S. (2012). A case for the animated documentary (Doktora tezi). Montana Eyalet Üniversitesi, Bozeman.
  • Hardy, F. (1966). Introduction. Grierson on documentary (2. baskı) (s. 13-39). University of California.
  • Hubley, J. ve Hubley, F. (Yönetmen). (1959). Moonbird [Film]. Hubley.
  • Hubley, J. ve Hubley, F. (Yönetmen). (1974). Cockaboody [Film]. Hubley.
  • Jay, M. (2012). Deneyim şarkıları: Evrensel bir tema üzerine modern çeşitlemeler (1. baskı) (Çev. B. Engin). Metis.
  • Kraemer, J. A. (2015). Waltz with Bashir (2008): Trauma and representation in the animated documentary. Journal of film and video, 67(3-4), 57-68. https://doi.org/10.5406/jfilmvideo.67.3-4.0057
  • Kinoshita, R. (Yönetmen). (1978). Pica don [Film]. Lotus.
  • Landreth, C. (Yönetmen). (2004). Ryan [Film]. Copperheart.
  • Lye, L. (Yönetmen). (1937). Trade tattoo [Film]. GPO.
  • Majeed, T. (2020). Psychorealism in scene: Artistic imagery of subjective psyche and emotions in Ryan (2004). Studies in Indian place names, 40(10), 1219-1231. https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3703440
  • McCay, W. (Yönetmen). (1918). The sinking of the Lusitania [Film]. Jewel.
  • Mick, D. ve Buhl, C. (1992). A meaning-based model of advertising experiences. Journal of consumer research, 19(4), 317-338. https://doi.org/10.1086/209305
  • Mills, R. (2010). A comparative analysis of the contemporary documentary films Ryan and Waltz with Bashir as animated representations of autobiographical reality (Yüksek lisans tezi). Witwatersrand Üniversitesi, Johannesburg.
  • Morgen, B. (Yönetmen). (2007). Chicago 10 [Film]. Roadside.
  • Nagel, T. (1974). What is it like to be a bat? The philosophical review, 83(4), 435-456. https://doi.org/10.2307/2183914
  • Nichols, B. (2008). Documentary reenactment and the fantasmatic subject. Critical inquiry, 35(1), 72-89. https://doi.org/10.1086/595629
  • Özkan, B. (2019). Nörofelsefe ve bilinç: Bilinç-kimlik etkileşiminin nörofelsefe açısından tanımlanması (1. baskı). Ginko.
  • Patrick, E. (2004). Representing reality: Structural/conceptual design in non-fiction animation. Animac magazine, 3, 36-47. https://doi.org/10.2307/j.ctv32bm1p2
  • Pearson, R. (1996). Early cinema. G. Nowell-Smith (Ed.), The Oxford history of world cinema (1. baskı) (s. 13-42). Oxford University.
  • Pikkov, Ü. (2010). Animasophy: Theoretical writings on the animated film (1. baskı) (Çev. E. Näripea). Estonian Academy of Arts.
  • Porter, E. S. (Yönetmen). (1901). The execution of Czolgosz with panorama of Auburn prison [Film]. Edison.
  • Revonsuo, A. (2017). Bilinç: Öznelliğin bilimi (1. baskı) (Çev. S. Değirmenci). Küre.
  • Roe, A. H. (2013). Animated documentary (1. baskı). Palgrave Macmillan.
  • Roe, A. H. (2016). Against animated documentary? International journal of film and media arts, 1(1), 20-27. https://revistas.ulusofona.pt/index.php/ijfma/article/view/5433
  • Rosen, P. (1993). Document and documentary: On the persistence of historical concepts. M. Renov (Ed.), Theorizing documentary (1. baskı) (s. 58-89). Routledge.
  • Scott, L. (1994). Images in advertising: The need for a theory of visual rhetoric. Journal of consumer research, 21(1), 252-273. https://doi.org/10.1086/209396
  • Spiggle, S. (1994). Analysis and interpretation of qualitative data in consumer research. Journal of consumer research, 21(3), 491-503. https://doi.org/10.1086/209413
  • Strøm, G. (2001). The animated documentary. Norsk medietidsskrift, 8(2), 51-65. https://doi.org/10.18261/issn0805-9535-2001-02-04
  • Torey, Z. L. (2019). Bilinçli zihin (1. baskı) (Çev. A. Bucak). Pan.
  • Türk Dil Kurumu. (2024). Zihin. https://sozluk.gov.tr
  • Velmans, M. (2009). Understanding consciousness (2. baskı). Routledge.
  • Ward, P. (2011). Animating with facts: The performative process of documentary animation. Animation, 6(3), 294-305. https://doi.org/10.1177/1746847711420555
  • Wells, P. (2002) Animation: Genre and authorship (1. baskı). Wallflower.

Animating consciousness: The embodiment of phenomenal consciousness in animated documentaries

Year 2025, Issue: 13, 53 - 78, 27.02.2025

Işkın Özbulduk Kılıç

https://doi.org/10.46372/arts.1550255

Abstract

This study explores the transformative capacity of animated documentaries in reshaping individual consciousness and the perception of subjective reality. Directed by Chris Landreth in 2004, Ryan is examined in this study within the context of the embodiment of phenomenal consciousness. The film’s depiction of physical deformations, reflecting the characters’ inner worlds, is analyzed through visual analysis and interpretive content analysis techniques. The research argues that animation serves as a creative tool in documentary cinema, enabling a deeper and more empathetic understanding of individual experiences. The findings indicate that animated documentaries have the potential to deepen viewers’ perceptions of phenomenal consciousness and subjective experiences, offering an innovative perspective on documentary aesthetics. In conclusion, it is demonstrated that animated documentaries can effectively render both reality and individual consciousness visible, providing audiences with a richly layered experience.

Keywords

cinema animated documentary ryan phenomenal consciousness

References

  • Ahuvia, A. (2001). Traditional, interpretive, and reception-based content analyses: Improving the ability of content analysis to address issues of pragmatic and theoretical concern. Social indicators research, 54(2), 139-172. https://doi.org/10.1023/A:1011087813505
  • Alıcı, T. (2014). Gerçek bir yanılsama: Bilinç (1. baskı). Metis.
  • Arısoy, E. ve Rouyandozagh, Y. D. (2024). At the intersection of cinema and architecture: An exploration of how architectural space transforms into a subject of social resistance in the film Leila’s Brothers. Sinefilozofi dergisi, 9(18), 181-197. https://doi.org/10.31122/sinefilozofi.1439525
  • Block, N. (2002). Concepts of consciousness. D. J. Chalmers (Ed.), Philosophy of mind: Classical and contemporary readings (1. baskı) (s. 206-226). Oxford University.
  • Carroll, N. (2016). Sanat felsefesi: çağdaş bir giriş (1. baskı) (Çev. G. K. Tirkeş). Ütopya.
  • Chalmers, D. (1995). Facing up to the problem of consciousness. Journal of consciousness studies, 2(3), 200-219. https://philpapers.org/rec/CHAFUT
  • Damasio, A. (2020). Zihindeki benlik (1. baskı) (Çev. E. Akman). ODTÜ.
  • Diken Yücel, D., (2017). Thesus’un sinemadaki distopik yolculuğu ve dönüşümü üzerine. SineFilozofi dergisi, 2(3), 137-155. https://dergipark.org.tr/tr/download/article-file/347983
  • Drisko, J. W. ve Maschi, T. (2015). Content analysis (1. baskı). Oxford University.
  • Ehrlich, N. (2013). Animated documentaries: Aesthetics, politics and viewer engagement. Suzanne Buchan (Ed.), Pervasive animation (1. baskı) (248-271). Routledge.
  • Ehrlich, N. E. (2015). Animated realities: From animated documentaries to documentary animation (Doktora tezi). Edinburgh Üniversitesi, Edinburgh.
  • Flaherty, R. J. (Yönetmen). (1926). Moana [Film]. Paramount Pictures.
  • Folman, A. (Yönetmen). (2008). Waltz with Bashir [Film]. Sony Pictures Classics.
  • Fore, S. (2007) Romancing the rotoscope: self-reflexivity and the reality effect in the animations of Jeff Scher. Animation, 2(2), 111-127. https://doi.org/10.1177/1746847707078273
  • Fore, S. (2011). Reenacting Ryan: The fantasmatic and the animated documentary. Animation, 6(3), 277-292. https://doi.org/10.1177/1746847711416561
  • Glynne, A. (2021). Yaşamdan çizgilerle: animasyon belgesel. B. Winston (Ed.), Belgesel sinema kitabı (1. baskı) (s. 159-164). Ayrıntı.
  • Grierson, J. (1966). Grierson on documentary (1. baskı). University of California.
  • Haines, T. ve James, J. (Yönetmen). (1999). Walking with dinosaurs [TV Belgesel]. BBC.
  • Hann, J. S. (2012). A case for the animated documentary (Doktora tezi). Montana Eyalet Üniversitesi, Bozeman.
  • Hardy, F. (1966). Introduction. Grierson on documentary (2. baskı) (s. 13-39). University of California.
  • Hubley, J. ve Hubley, F. (Yönetmen). (1959). Moonbird [Film]. Hubley.
  • Hubley, J. ve Hubley, F. (Yönetmen). (1974). Cockaboody [Film]. Hubley.
  • Jay, M. (2012). Deneyim şarkıları: Evrensel bir tema üzerine modern çeşitlemeler (1. baskı) (Çev. B. Engin). Metis.
  • Kraemer, J. A. (2015). Waltz with Bashir (2008): Trauma and representation in the animated documentary. Journal of film and video, 67(3-4), 57-68. https://doi.org/10.5406/jfilmvideo.67.3-4.0057
  • Kinoshita, R. (Yönetmen). (1978). Pica don [Film]. Lotus.
  • Landreth, C. (Yönetmen). (2004). Ryan [Film]. Copperheart.
  • Lye, L. (Yönetmen). (1937). Trade tattoo [Film]. GPO.
  • Majeed, T. (2020). Psychorealism in scene: Artistic imagery of subjective psyche and emotions in Ryan (2004). Studies in Indian place names, 40(10), 1219-1231. https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3703440
  • McCay, W. (Yönetmen). (1918). The sinking of the Lusitania [Film]. Jewel.
  • Mick, D. ve Buhl, C. (1992). A meaning-based model of advertising experiences. Journal of consumer research, 19(4), 317-338. https://doi.org/10.1086/209305
  • Mills, R. (2010). A comparative analysis of the contemporary documentary films Ryan and Waltz with Bashir as animated representations of autobiographical reality (Yüksek lisans tezi). Witwatersrand Üniversitesi, Johannesburg.
  • Morgen, B. (Yönetmen). (2007). Chicago 10 [Film]. Roadside.
  • Nagel, T. (1974). What is it like to be a bat? The philosophical review, 83(4), 435-456. https://doi.org/10.2307/2183914
  • Nichols, B. (2008). Documentary reenactment and the fantasmatic subject. Critical inquiry, 35(1), 72-89. https://doi.org/10.1086/595629
  • Özkan, B. (2019). Nörofelsefe ve bilinç: Bilinç-kimlik etkileşiminin nörofelsefe açısından tanımlanması (1. baskı). Ginko.
  • Patrick, E. (2004). Representing reality: Structural/conceptual design in non-fiction animation. Animac magazine, 3, 36-47. https://doi.org/10.2307/j.ctv32bm1p2
  • Pearson, R. (1996). Early cinema. G. Nowell-Smith (Ed.), The Oxford history of world cinema (1. baskı) (s. 13-42). Oxford University.
  • Pikkov, Ü. (2010). Animasophy: Theoretical writings on the animated film (1. baskı) (Çev. E. Näripea). Estonian Academy of Arts.
  • Porter, E. S. (Yönetmen). (1901). The execution of Czolgosz with panorama of Auburn prison [Film]. Edison.
  • Revonsuo, A. (2017). Bilinç: Öznelliğin bilimi (1. baskı) (Çev. S. Değirmenci). Küre.
  • Roe, A. H. (2013). Animated documentary (1. baskı). Palgrave Macmillan.
  • Roe, A. H. (2016). Against animated documentary? International journal of film and media arts, 1(1), 20-27. https://revistas.ulusofona.pt/index.php/ijfma/article/view/5433
  • Rosen, P. (1993). Document and documentary: On the persistence of historical concepts. M. Renov (Ed.), Theorizing documentary (1. baskı) (s. 58-89). Routledge.
  • Scott, L. (1994). Images in advertising: The need for a theory of visual rhetoric. Journal of consumer research, 21(1), 252-273. https://doi.org/10.1086/209396
  • Spiggle, S. (1994). Analysis and interpretation of qualitative data in consumer research. Journal of consumer research, 21(3), 491-503. https://doi.org/10.1086/209413
  • Strøm, G. (2001). The animated documentary. Norsk medietidsskrift, 8(2), 51-65. https://doi.org/10.18261/issn0805-9535-2001-02-04
  • Torey, Z. L. (2019). Bilinçli zihin (1. baskı) (Çev. A. Bucak). Pan.
  • Türk Dil Kurumu. (2024). Zihin. https://sozluk.gov.tr
  • Velmans, M. (2009). Understanding consciousness (2. baskı). Routledge.
  • Ward, P. (2011). Animating with facts: The performative process of documentary animation. Animation, 6(3), 294-305. https://doi.org/10.1177/1746847711420555
  • Wells, P. (2002) Animation: Genre and authorship (1. baskı). Wallflower.
There are 51 citations in total.

Details

Primary Language Turkish
Subjects Art Theory
Journal Section Research Articles
Authors

Işkın Özbulduk Kılıç 0000-0003-4801-7381

Publication Date February 27, 2025
Submission Date September 14, 2024
Acceptance Date January 15, 2025
Published in Issue Year 2025Issue: 13

Cite

APA Özbulduk Kılıç, I. (2025). Bilinci canlandırmak: Animasyon belgesellerde fenomenal bilincin somutlaştırılması. ARTS: Artuklu Sanat Ve Beşeri Bilimler Dergisi(13), 53-78. https://doi.org/10.46372/arts.1550255
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