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Yeşim Ustaoğlu’nun Tereddüt (2016) filminde kadın bakışı aracılığıyla inşa edilen anlamın sinemasal araçlar üzerinden analizi

Yıl 2024, , 83 - 103, 28.09.2024

Beril Uğuz

https://doi.org/10.46372/arts.1498143

Öz

Sinemada kadın bakışı akademik alanyazında henüz net bir biçimde tanımlanmamış olsa da, bu kavramın kadın yönetmenin ve kadın karakterin bakışı, bakış açısı, sesi, öznelliği, duygu ve deneyimleri ile içsel dünyasına göndermede bulunduğu belirtilebilir. Bu çalışmanın amacı sinemada kadın bakışı aracılığıyla anlam inşasının araçlarını araştırarak bu kavramın tanımına katkı sunmaktır. Bu amaçla, makalede Yeşim Ustaoğlu tarafından yönetilen ve kadın karakterlerin bakış açılarına, duygularına, deneyimlerine ve içsel dünyalarına odaklanan Tereddüt (Clair Obscur, 2016) filminde ortaya çıkan kadın bakışı bütünsel bir yaklaşıma sahip olan filmsel metin analizi ile incelenmiştir. Elde edilen bulgulara göre, Tereddüt filminde kadın karakterlerin öznellikleri farklı sinematografi, kurgu ve mizansen araçları ile öncelenir. Film, içeriğindeki tematik anlatının rahatsız edici özelliği ile ana akım sinema kodlarından farklılaşır. Sonuç olarak sinemada kadın bakışı aracılığıyla anlam inşasına dair bir tanımlamadan söz edilebilir.

Anahtar Kelimeler

sinema kadın bakışı yeşim ustaoğlu tereddüt kadın bakış açısı

Kaynakça

  • Akerman, C. (Director). (1975). Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles [Movie]. Paradise.
  • Atam, Z. (2010). Yeni sinemanın dört kurucu yönetmeni: Yeşim Ustaoğlu, Zeki Demirkubuz, Derviş Zaim, Nuri Bilge Ceylan (Yayımlanmamış yüksek lisans tezi). Marmara Üniversitesi, İstanbul.
  • Aslan, M. (2018). Sinemada kadın: Başka Dilde Aşk filmi üzerine bir inceleme. Selçuk iletişim, 2019, 12 (1), 199-215. https://doi.org/10.18094/josc.457945
  • Barış, B. (2019). Deleuze’ün ‘kadın-oluş’, ‘organsız beden’ ve ‘arzulayan makine’ kavramlarına feminist bir yaklaşım: Yeşim Ustaoğlu’nun Tereddüt filmi üzerinden bir çözümleme. SineFilozofi, Özel sayı 1, 536-552. https://doi.org/10.31122/sinefilozofi.515165
  • Başarır, İ. (Director). (2009). Love in Another Language [Movie]. PPR.
  • Bateman, J. E. & Wildfeuer, J. (2017). Film text analysis: New perspectives on the analysis of filmic meaning (1st edition). Routledge.
  • Box Office Turkey. (____). Tereddüt. https://boxofficeturkiye.com/film/tereddut--2013380
  • Butler, A. M. (2005). Film studies (1st edition). Pocket Essentials.
  • Büyükgöze, S. (2017). Kadınların hikâyelerine mekânsal ilişkilerinden bakmak: Nefesim Kesilene Kadar, Ana Yurdu ve Tereddüt üzerine. S. Koç Akgül & B. Küçüksaraç (Ed.), II. International communication science & media studies congress proceedings book (1st edition) (p. 17-24). Istanbul Ayvansaray University.
  • Ceyhan, M. & Sancar, M. K. (2019). Bir Yeşim Ustaoğlu Tereddüt’süzlüğü. Batman Üniversitesi yaşam bilimleri dergisi, 9(1), 31-38. https://dergipark.org.tr/tr/pub/buyasambid/issue/46778/572853
  • Citron, M. (Director). (1980). Daughter Rite [Movie]. Women Make Movies.
  • Coles, H. C. (2023). Desire in Bridgerton: Defining the female gaze (Unpublished bachelor’s thesis). Georgia Southern University, Statesboro.
  • Cooper, B. (2000). “Chick flicks” as feminist texts: The appropriation of the male gaze in Thelma & Louise. Women’s studies in communication, 23(3), 277-306. https://doi.org/10.1080/07491409.2000.11735771
  • Dadak, Z. & Kayan, M. (Director). (2013). The Blue Wave [Movie]. Bulut.
  • Daila, A. (2023, 20th May). The female gaze: Simply, what is it? Sociomix. https://www.sociomix.com/diaries/lifestyle/the-female-gaze-simply-what-is-it/1607449923
  • de Lauretis, T. (1984). Alice doesn’t - Feminism, semiotics, cinema (1th edition). Indiana University.
  • Dyer, R. (2016, 26th January). The persistence of textual analysis [Video]. https://www.kracauer-lectures.de/en/winter-2015-2016/richard-dyer/
  • Ekici, A. (2022). Women who resist to be looked at through the keyhole: Hokkabaz. ARTS, 7, 128-150. https://doi.org/10.46372/arts.1039331
  • Elpeze Ergeç, N. (2019). Feminist anlatı yaklaşımıyla Mustang filmi ve dişil dilin kurulmasında bir yöntem değerlendirilmesi; Dijital hikaye anlatım atölyesi. Sinefilozofi, 4(7), 10-27. https://doi.org/10.31122/Sinefilozofi.514971
  • Ergüven, D. G. (Director). (2015). Mustang [Movie]. Bam.
  • Esmer, P. (Director). (2017). Something Useful [Movie]. Sinefilm.
  • Esposito, V. (2021). Portrait of a Lady on Fire: A manifesto about the female gaze. World literature today. https://www.worldliteraturetoday.org/2021/summer/portrait-lady-fire-manifesto-about-female-gaze-veronica-esposito
  • Forster, S. (2018, 12th June). Yes, there’s such a thing as a ‘female gaze.’ But it’s not what you think. Medium. https://medium.com/truly-social/yes-theres-such-a-thing-as-a-female-gaze-but-it-s-not-what-you-think-d27be6fc2fed
  • French, L. (2021). The female gaze in documentary film - An international perspective (1st edition). Palgrave Macmillan.
  • IMDb. (____a). Clair Obscur awards. https://www.imdb.com/title/tt4373956/awards/?ref_=tt_awd
  • IMDb. (____b). Yeşim Ustaoğlu biography. https://www.imdb.com/name/nm0882445/bio/?ref_=nm_ov_bio_sm
  • Ince, K. (2017). The body and the screen - Female subjectivities in contemporary women’s cinema (1st edition). Bloomsbury.
  • İnceoğlu, İ. (2015). Beyaz perdede kadın anlatısı: Mavi Dalga filminin feminist incelemesi. Fe dergi, 7(2), 87-94. https://doi.org/10.1501/Fe0001_0000000145
  • Kolker, R. P. (2006). Film, form and culture (4th edition). Routledge.
  • Kuhn, A. (1994). Women’s pictures, feminism and cinema (2nd edition). Verso.
  • Malone, A. (2018). The female gaze - Essential movies made by women (1st edition). Mango.
  • Mascelli, J. V. (1998). The five c’s of cinematography - Motion picture filming techniques (1st edition). Silmean James.
  • Mercado, G. (2011). The filmmaker’s eye - Learning (and breaking) the rules of cinematic composition (1st edition). Elsevier.
  • Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-19. https://doi.org/10.1093/screen/16.3.6
  • Öneren Özbek, M. (2021). The face of the other in Yeşim Ustaoğlu’s films (1999-2016): An alternative reading through Levinas’s concept of responsibility. Sinecine, 12(2), 207-230. https://doi.org/10.32001/sinecine.862086
  • Özdemir, B. G. (2019). İşe Yarar Bir Şey filminin kadın karakterlerine ve ölüm olgusuna feminist film kuramı çerçevesinde anamorfotik bakış. Sinefilozofi, Özel sayı (1), 493-517. https://doi.org/10.31122/sinefilozofi.493317
  • Öztürk, S. R. (2004). Sinemanın dişil yüzü: Türkiye’de kadın yönetmenler (1st edition). Om.
  • Potter, S. (Director). (1979). Thriller [Movie]. Arts Council of Great Britain.
  • Rainer, Y. (Director). (1972). Lives of Performers [Movie]. Zeitgeist.
  • Sciamma, C. (Director). (2019). Portrait of a Lady on Fire [Movie]. Lilies.
  • Scott, R. (Director). (1991). Thelma & Louise [Movie]. Pathé.
  • Smelik, A. (1998). And the mirror cracked - Feminist cinema and film theory (1st edition). MacMillan.
  • Tanrıöver, H. U. (2016). Women as film directors in Turkish cinema. European journal of women’s studies, 25(4), 321-335. https://doi.org/10.1177/1350506816649985
  • Toprak, M. (2013). Filmin dili: Kurgu (2nd edition). Kalkedon.
  • Ustaoğlu, Y. (Director). (1994). Trace [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (1998). Journey to the Sun [Movie]. İFR.
  • Ustaoğlu, Y. (Director). (2003). Waiting for the Clouds [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (2008). Pandora’s Box [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (2011). Somewhere In-Between [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (2016). Clair Obscur [Movie]. Ustaoğlu.
  • Wittig, M. (1980). The straight mind. Feminist issues, 1(1), 102-111. https://doi.org/10.1007/BF02685561

An analysis of the meaning constructed by woman gaze through cinematic instruments in Yeşim Ustaoğlu’s film Clair Obscur (2016)

Yıl 2024, , 83 - 103, 28.09.2024

Beril Uğuz

https://doi.org/10.46372/arts.1498143

Öz

Although the woman gaze concept in cinema has not yet been clearly defined in the academic literature, it refers to the gaze, perspective, voice, subjectivity, experiences, and inner world of the woman director and the woman character. The aim of this study is to contribute to the definition of this concept by investigating the tools through which meaning is constructed via the woman gaze in cinema. To this end, the film Clair Obscur (Tereddüt, 2016), directed by Yeşim Ustaoğlu, which focuses on the viewpoints, and experiences of women characters, is examined through textual film analysis with a holistic approach. According to the findings, in Clair Obscur, the subjectivities of women characters are prioritized through different cinematographic, editing, and mise-en-scène tools. The film distinguishes itself from mainstream cinema codes with its disturbing thematic narrative. Consequently a definition for the construction of meaning through the woman gaze in cinema can be mentioned.

Anahtar Kelimeler

cinema woman gaze yeşim ustaoğlu clair obscur woman viewpoint

Kaynakça

  • Akerman, C. (Director). (1975). Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles [Movie]. Paradise.
  • Atam, Z. (2010). Yeni sinemanın dört kurucu yönetmeni: Yeşim Ustaoğlu, Zeki Demirkubuz, Derviş Zaim, Nuri Bilge Ceylan (Yayımlanmamış yüksek lisans tezi). Marmara Üniversitesi, İstanbul.
  • Aslan, M. (2018). Sinemada kadın: Başka Dilde Aşk filmi üzerine bir inceleme. Selçuk iletişim, 2019, 12 (1), 199-215. https://doi.org/10.18094/josc.457945
  • Barış, B. (2019). Deleuze’ün ‘kadın-oluş’, ‘organsız beden’ ve ‘arzulayan makine’ kavramlarına feminist bir yaklaşım: Yeşim Ustaoğlu’nun Tereddüt filmi üzerinden bir çözümleme. SineFilozofi, Özel sayı 1, 536-552. https://doi.org/10.31122/sinefilozofi.515165
  • Başarır, İ. (Director). (2009). Love in Another Language [Movie]. PPR.
  • Bateman, J. E. & Wildfeuer, J. (2017). Film text analysis: New perspectives on the analysis of filmic meaning (1st edition). Routledge.
  • Box Office Turkey. (____). Tereddüt. https://boxofficeturkiye.com/film/tereddut--2013380
  • Butler, A. M. (2005). Film studies (1st edition). Pocket Essentials.
  • Büyükgöze, S. (2017). Kadınların hikâyelerine mekânsal ilişkilerinden bakmak: Nefesim Kesilene Kadar, Ana Yurdu ve Tereddüt üzerine. S. Koç Akgül & B. Küçüksaraç (Ed.), II. International communication science & media studies congress proceedings book (1st edition) (p. 17-24). Istanbul Ayvansaray University.
  • Ceyhan, M. & Sancar, M. K. (2019). Bir Yeşim Ustaoğlu Tereddüt’süzlüğü. Batman Üniversitesi yaşam bilimleri dergisi, 9(1), 31-38. https://dergipark.org.tr/tr/pub/buyasambid/issue/46778/572853
  • Citron, M. (Director). (1980). Daughter Rite [Movie]. Women Make Movies.
  • Coles, H. C. (2023). Desire in Bridgerton: Defining the female gaze (Unpublished bachelor’s thesis). Georgia Southern University, Statesboro.
  • Cooper, B. (2000). “Chick flicks” as feminist texts: The appropriation of the male gaze in Thelma & Louise. Women’s studies in communication, 23(3), 277-306. https://doi.org/10.1080/07491409.2000.11735771
  • Dadak, Z. & Kayan, M. (Director). (2013). The Blue Wave [Movie]. Bulut.
  • Daila, A. (2023, 20th May). The female gaze: Simply, what is it? Sociomix. https://www.sociomix.com/diaries/lifestyle/the-female-gaze-simply-what-is-it/1607449923
  • de Lauretis, T. (1984). Alice doesn’t - Feminism, semiotics, cinema (1th edition). Indiana University.
  • Dyer, R. (2016, 26th January). The persistence of textual analysis [Video]. https://www.kracauer-lectures.de/en/winter-2015-2016/richard-dyer/
  • Ekici, A. (2022). Women who resist to be looked at through the keyhole: Hokkabaz. ARTS, 7, 128-150. https://doi.org/10.46372/arts.1039331
  • Elpeze Ergeç, N. (2019). Feminist anlatı yaklaşımıyla Mustang filmi ve dişil dilin kurulmasında bir yöntem değerlendirilmesi; Dijital hikaye anlatım atölyesi. Sinefilozofi, 4(7), 10-27. https://doi.org/10.31122/Sinefilozofi.514971
  • Ergüven, D. G. (Director). (2015). Mustang [Movie]. Bam.
  • Esmer, P. (Director). (2017). Something Useful [Movie]. Sinefilm.
  • Esposito, V. (2021). Portrait of a Lady on Fire: A manifesto about the female gaze. World literature today. https://www.worldliteraturetoday.org/2021/summer/portrait-lady-fire-manifesto-about-female-gaze-veronica-esposito
  • Forster, S. (2018, 12th June). Yes, there’s such a thing as a ‘female gaze.’ But it’s not what you think. Medium. https://medium.com/truly-social/yes-theres-such-a-thing-as-a-female-gaze-but-it-s-not-what-you-think-d27be6fc2fed
  • French, L. (2021). The female gaze in documentary film - An international perspective (1st edition). Palgrave Macmillan.
  • IMDb. (____a). Clair Obscur awards. https://www.imdb.com/title/tt4373956/awards/?ref_=tt_awd
  • IMDb. (____b). Yeşim Ustaoğlu biography. https://www.imdb.com/name/nm0882445/bio/?ref_=nm_ov_bio_sm
  • Ince, K. (2017). The body and the screen - Female subjectivities in contemporary women’s cinema (1st edition). Bloomsbury.
  • İnceoğlu, İ. (2015). Beyaz perdede kadın anlatısı: Mavi Dalga filminin feminist incelemesi. Fe dergi, 7(2), 87-94. https://doi.org/10.1501/Fe0001_0000000145
  • Kolker, R. P. (2006). Film, form and culture (4th edition). Routledge.
  • Kuhn, A. (1994). Women’s pictures, feminism and cinema (2nd edition). Verso.
  • Malone, A. (2018). The female gaze - Essential movies made by women (1st edition). Mango.
  • Mascelli, J. V. (1998). The five c’s of cinematography - Motion picture filming techniques (1st edition). Silmean James.
  • Mercado, G. (2011). The filmmaker’s eye - Learning (and breaking) the rules of cinematic composition (1st edition). Elsevier.
  • Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-19. https://doi.org/10.1093/screen/16.3.6
  • Öneren Özbek, M. (2021). The face of the other in Yeşim Ustaoğlu’s films (1999-2016): An alternative reading through Levinas’s concept of responsibility. Sinecine, 12(2), 207-230. https://doi.org/10.32001/sinecine.862086
  • Özdemir, B. G. (2019). İşe Yarar Bir Şey filminin kadın karakterlerine ve ölüm olgusuna feminist film kuramı çerçevesinde anamorfotik bakış. Sinefilozofi, Özel sayı (1), 493-517. https://doi.org/10.31122/sinefilozofi.493317
  • Öztürk, S. R. (2004). Sinemanın dişil yüzü: Türkiye’de kadın yönetmenler (1st edition). Om.
  • Potter, S. (Director). (1979). Thriller [Movie]. Arts Council of Great Britain.
  • Rainer, Y. (Director). (1972). Lives of Performers [Movie]. Zeitgeist.
  • Sciamma, C. (Director). (2019). Portrait of a Lady on Fire [Movie]. Lilies.
  • Scott, R. (Director). (1991). Thelma & Louise [Movie]. Pathé.
  • Smelik, A. (1998). And the mirror cracked - Feminist cinema and film theory (1st edition). MacMillan.
  • Tanrıöver, H. U. (2016). Women as film directors in Turkish cinema. European journal of women’s studies, 25(4), 321-335. https://doi.org/10.1177/1350506816649985
  • Toprak, M. (2013). Filmin dili: Kurgu (2nd edition). Kalkedon.
  • Ustaoğlu, Y. (Director). (1994). Trace [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (1998). Journey to the Sun [Movie]. İFR.
  • Ustaoğlu, Y. (Director). (2003). Waiting for the Clouds [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (2008). Pandora’s Box [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (2011). Somewhere In-Between [Movie]. Ustaoğlu.
  • Ustaoğlu, Y. (Director). (2016). Clair Obscur [Movie]. Ustaoğlu.
  • Wittig, M. (1980). The straight mind. Feminist issues, 1(1), 102-111. https://doi.org/10.1007/BF02685561
Toplam 51 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Sanat Tarihi, Teori ve Eleştiri (Diğer)
Bölüm Makale
Yazarlar

Beril Uğuz 0000-0001-5928-1343

Erken Görünüm Tarihi 11 Eylül 2024
Yayımlanma Tarihi 28 Eylül 2024
Gönderilme Tarihi 8 Haziran 2024
Kabul Tarihi 5 Eylül 2024
Yayımlandığı Sayı Yıl 2024

Kaynak Göster

APA Uğuz, B. (2024). An analysis of the meaning constructed by woman gaze through cinematic instruments in Yeşim Ustaoğlu’s film Clair Obscur (2016). ARTS: Artuklu Sanat Ve Beşeri Bilimler Dergisi(12), 83-103. https://doi.org/10.46372/arts.1498143

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