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    The representation of collective traumas in essay films: a question of ethics and aesthetics
    (İstanbul Bilgi Üniversitesi, 2020) Erdede, Ruken Doğu; Çiçekoğlu, Feride
    ABSTRACT: The main purpose of this research is to analyze the various representations of collective traumas in essay films in the context of the film form and ethics. It focuses on three essay films: ABC Africa (Abbas Kiarostami, 2001), Cameraperson (Kirsten Johnson, 2015) and The Pearl Button (Patricio Guzman, 2015). My starting point is that ethics and aesthetics are inextricably related. On this basis, the thesis demonstrates the audio-visual ethical propositions enabled by the film form and the films’ aesthetic choices. This research aims to answer the following questions: How does the intellectual root of the essay film which carry the legacy of critical thought and its formal style which diverge from conventional cinema effect the ways in which they represent collective traumas? How does the formalistic divergences in the essay films’ aesthetic choices form ethical indexes? The thesis takes issue with the directors’ subjectivity in terms of accepting responsibility of their aesthetic choices. In doing so, it aims to contribute to existing discussions in the literature on the reconsideration of film studies on the auteur and the genre based discussions in the context of the question of ethics. In this framework, the various points of analyses include the positioning of the director in the image ecology of films as a subject, the relationship between the director and the film subjects, and the anti-methodical, fragmented and the nonlinear narrative style. The positioning of the director as subject in the film blurs the conventional distinction between the director and film subjects and subverts the authoritative, objective and all-knowing authorial positions. In addition, the essay film problematizes the cinematic representations of collective traumas by exemplifying self-reflexive filmmaking practice. The anti-methodical, fragmented and nonlinear narratives of essay films point at the incomprehensibility of collective traumas. These qualities are significant in all three films in different ways. As such, these three films put forward audio-visual ethical propositions which enrich the relationship between films and ethics.