ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE
Yıl: 2022 Cilt: 9 Sayı: 1 Sayfa Aralığı: 92 - 114 Metin Dili: İngilizce DOI: 10.17572/mj2022.1.92114 İndeks Tarihi: 07-10-2022
ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE
Öz: Orientalism still provides a rich literature to explore the mutually authoring power relations between the West and the East as well as the latent conceptualizations designating the Orientalist imagery. Based on a sexual difference perspective that Meyda Yeğenoğlu brings to Edward Said’s theorization of latent Orientalism, this paper examines Orientalist imagery, iconography, and gaze in the films Il Bagno Turco aka Hamam, Zenne Dancer aka Zenne, and Auf Der Anderen Seite aka Yaşamın Kıyısında. As of methodology, semiotic film analysis is implemented deploying Roland Barthes’s conceptualizations on first and second-level signification. The final analysis reveals that the visual and narrative structures of the selected films are ornated with Orientalist elements; namely, romanticism of the Oriental at the manifest level and homoeroticism of the Oriental at the latent level.
Anahtar Kelime: HAMAM, ZENNE, VE YAŞAMIN KIYISINDA FİLMLERİNDE ORYANTALİST İMGELEM VE BAKIŞ
Öz: Oryantalizm, Batı’nın ve Doğu’nun karşılıklı olarak birbirini kuran iktidar ilişkilerini ve oryantalist imgelemi belirleyen örtük kavramsallaştırmaları incelemek için hâlâ zengin bir literatür sunmaktadır. Meyda Yeğenoğlu’nun, Edward Said’in örtük oryantalizm kuramsallaştırmasına getirdiği cinsel fark perspektifini temel alan bu makale, Hamam (Il Bagno Turco), Zenne (Zenne Dancer) ve Yaşamın Kıyısında (Auf Der Anderen Seite) filmlerindeki oryantalist imgelem, ikonografi ve bakışı incelemektedir. Seçilen filmler çalışmada, Roland Barthes’ın birincil ve ikincil düzey anlamlandırma kavramları üzerinden, göstergebilimsel yöntemle analiz edilir. Analiz sonucunda, seçilen filmlerin görsel ve anlatı yapılarının oryantalist öğelerle bezendiği; açık düzeyde Doğulunun romantizmi ve örtük düzeyde Doğulunun homoerotizmi ortaya koyulur.
Anahtar Kelime: Belge Türü: Makale Makale Türü: Araştırma Makalesi Erişim Türü: Erişime Açık
- Afary, J. and Anderson, K. (2005). Foucault and the Iranian Revolution: Gender and the seductions of Islamism. Chicago and London: The University of Chicago Press.
- Akın, F., Thiel, A., Maeck, K., Özoğul, E. (Producers) and Akın, F. (Director). (2007). Auf Der Anderen Seite / Yaşamın Kıyısında. [Movie]. Germany & Turkey: Anka Film.
- Aksoy, A. and Robins, K. (2000). Thinking across spaces - Transnational television from Turkey. European Journal of Cultural Studies, 3(3), 343-365.
- Anderlini-D’Onofrio, S. (2004). Bisexual games and emotional sustainability in Ferzan Özpetek’s queer films. New Cinemas: Journal of Contemporary Film, 2(3), 163-174. doi: 10.1386/ncin.2.3.
- Bal, A. A. (2010). Oryantalist resimde bedenin kolonileştirilmesi bağlamında “Türk Hamamı” imgesi”, Çevrimiçi Tematik Türkoloji Dergisi, 2(2), 13-23.
- Bari, S. and Eaglestone, R. (2011). Orientalism. Michael Ryan (Gen. Ed.) and M. Keith Booker (Vol. Ed.), in, The encyclopedia of literary and cultural theory, Volume III (p. 756-757). UK: Blackwell Publishing.
- Barthes, R. (1972). Mythologies. (A. Lavers, Trans.). New York: The Noonday Press, Farrar, Straus & Giroux. Boone, A. J. (2014). Homoerotics of orientalism. New York: Columbia University Press.
- Boschi, E. (2015). Loose cannons unloaded - Popular music, space, and queer identities in the films of Ferzan Özpetek. Studies in European Cinema, 12(3), 246–260. doi:10.1080/17411548.2015.1094257.
- Buckland, W. (2000). The cognitive semiotics of film. Cambridge: Cambridge University Press.
- Burns, R. (2009). On the streets and on the road: Identity in transit in Turkish–German travelogues on screen. New Cinemas: Journal of Contemporary Film 7(1): 11-26. doi: 10.1386/ncin.7.1.11/1
- Büker, S. (1985). Sinema dili üzerine yazılar. Ankara: Dost.
- Diken, B. and Laustsen, C. B. (2014). Filmlerle sosyoloji. İstanbul: Metis.
- Duncan, D. (2005). Stairway to heaven: Ferzan Özpetek and the revision of Italy. New Cinemas: Journal of Contemporary Film, 3(2), 101-113. doi: 10.1386/ncin.3.2.101/1 p.112.
- Foucault, M. (1995). Discipline and punish: The birth of the prison. New York: Vintage Books.
- Germaner, S. ve İnankur, Z. (1989). Oryantalizm ve Türkiye. İstanbul: Türk Kültürüne Hizmet Vakfı Yayınları.
- Girelli, E. (2007). Transnational orientalism: Ferzan Özpetek’s Turkish dream in Hamam (1997) New Cinemas: Journal of Contemporary Film, 5(1), 23-38. doi: 10.1386/ncin.5.1.23/1.
- Güngör, F. S. (2011). Oryantalizm ve Amerika Birleşik Devletleri’nin Ortadoğu’ya bakışının sinemaya yansımaları. PhD Thesis, Hacettepe University, Institute of Social Sciences, Turkey.
- Kahraman, H. B. (2002). İçselleştirilmiş, açık ve gizli oryantalizm ve Kemalizm, Doğu Batı, 20, 153-178.
- Keyman, F. E. (2002). Globalleşme, oryantalizm ve öteki sorunu: 11 Eylül sonrası dünya ve adalet. Doğu Batı, 20, 11-32.
- Kırel, S. (2010). Kültürel çalışmalar ve sinema. İstanbul: Kırmızı Kedi. Loomba, A. (2015). Colonialism postcolonialism. London: Routledge.
- Mardin, Ş. (2002). Oryantalizmin hasıraltı ettikleri. Doğu Batı, 20, 111-115.
- Mulvey, L. (2009). Visual pleasure and narrative cinema. Leo Braudy and Marshall Cohen (Eds.), in, Film theory and criticism: Introductory readings (711-722). Oxford: Oxford University Press.
- Özselçuk, E. (2014). Unsettling the metaphor: The failure of liberal hybridity in Fatih Akin’s Crossing The Bridge. New Cinemas: Journal of Contemporary Film, 12(3), 173-189. doi: 10.1386/ncin.12.3.173_1.
- Pasin, B. (2016). A critical reading of the Ottoman-Turkish hamam as a representational space of sexuality. METU JFA, 33(2), 121-138.
- Reyhanoglu, B. (Producer) and Alper, C. And Binay, M. (Directors). (2012). Zenne Dancer / Zenne. [Movie]. Turkey: CAM Films.
- Risi, M. and Tedesco, M. (Producer) and Özpetek, F. (Director). (1997). Il Bagno Turco / Hamam. [Movie]. Italy: Sorpasso Film.
- Said, E. W. (1979). Orientalism. New York: Vintage.
- Sambuco, P. (2016). Food consumption in Ferzan Ozpetek’s Hamam and Luca Guadagnino’s Io sono l’amore: A gender issue. Quaderni d’italianistica, 37(2), 173–190.
- Singh, R. and Ladsaria, S. K. (2017). Reading ‘studium’ and ‘punctum’ in Steve McCurry and Raghu Rai’s photography. Trames, 21(71/66), 1, 33–50.
- Yeğenoğlu, M. (1998). Colonial fantasies: Towards a feminist reading of Orientalism. Cambridge: Cambridge University Press.
| APA | Özarslan Z, PEKER DAGLI S (2022). ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. , 92 - 114. 10.17572/mj2022.1.92114 |
| Chicago | Özarslan Zeynep,PEKER DAGLI SANEM ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. (2022): 92 - 114. 10.17572/mj2022.1.92114 |
| MLA | Özarslan Zeynep,PEKER DAGLI SANEM ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. , 2022, ss.92 - 114. 10.17572/mj2022.1.92114 |
| AMA | Özarslan Z,PEKER DAGLI S ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. . 2022; 92 - 114. 10.17572/mj2022.1.92114 |
| Vancouver | Özarslan Z,PEKER DAGLI S ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. . 2022; 92 - 114. 10.17572/mj2022.1.92114 |
| IEEE | Özarslan Z,PEKER DAGLI S "ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE." , ss.92 - 114, 2022. 10.17572/mj2022.1.92114 |
| ISNAD | Özarslan, Zeynep - PEKER DAGLI, SANEM. "ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE". (2022), 92-114. https://doi.org/10.17572/mj2022.1.92114 |
| APA | Özarslan Z, PEKER DAGLI S (2022). ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. Moment Dergi, 9(1), 92 - 114. 10.17572/mj2022.1.92114 |
| Chicago | Özarslan Zeynep,PEKER DAGLI SANEM ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. Moment Dergi 9, no.1 (2022): 92 - 114. 10.17572/mj2022.1.92114 |
| MLA | Özarslan Zeynep,PEKER DAGLI SANEM ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. Moment Dergi, vol.9, no.1, 2022, ss.92 - 114. 10.17572/mj2022.1.92114 |
| AMA | Özarslan Z,PEKER DAGLI S ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. Moment Dergi. 2022; 9(1): 92 - 114. 10.17572/mj2022.1.92114 |
| Vancouver | Özarslan Z,PEKER DAGLI S ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE. Moment Dergi. 2022; 9(1): 92 - 114. 10.17572/mj2022.1.92114 |
| IEEE | Özarslan Z,PEKER DAGLI S "ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE." Moment Dergi, 9, ss.92 - 114, 2022. 10.17572/mj2022.1.92114 |
| ISNAD | Özarslan, Zeynep - PEKER DAGLI, SANEM. "ORIENTALIST IMAGERY AND GAZE IN THE FILMS IL BAGNO TURCO, ZENNE DANCER, AND AUF DER ANDEREN SEITE". Moment Dergi 9/1 (2022), 92-114. https://doi.org/10.17572/mj2022.1.92114 |
