The gaze and the female subject in Agnes Varda films
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Tarih
2021
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Bilgi Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu tez, sinemada kadın öznenin ataerkil eğilimlere yaratılmasına Agnes Varda filmleri üzerinden bir alternatif sunmayı amaçlamaktadır. Tezin ilk bölümü, psikanalizden ve Foucault düşüncesinden ve ikisinin kesiştiği yerde yani öznenin oluşum süreci ile ilgili bir takım fikirleri kavramsallaştırmak için gerekli olan felsefi terminolojiyi tanımlamaya odaklanmaktadır. İkinci bölüm, 1980'lerde Laura Mulvey tarafından ortaya atılan Lacancı Film Teorisindeki kavramların bir incelemesi ve edebiyat taramasından oluşmaktadır. 'Eril bakış' kavramı, Mulvey'in Görsel Zevk ve Anlatı Sineması adlı makalesinin yanı sıra, John Berger'in Görme Biçimleri ve diğer feminist eserler aracılığıyla derinlemesine incelenmiştir. Başka bir deyişle, tez önce 'erkek bakışı' nın anlaşılmasında gerekli olan felsefi terminolojiyi tanımlar, ardından film ve bakma-bakılma bağlamında çağdaş feminist düşünceye odaklanır ve son olarak, egemen ataerkil ideolojinin, 'erkek bakışı' nı kullanılarak nasıl dönüştürülebileceğini inceler. Bu son kısımda, Agnes Varda'nın kadının arzusunu ve Lacan'cı Gerçek konseptlerini filmin anlatısına dahil ederek, bu ataerkil ideolojiyi nasıl bertaraf ettiğinin üzerinde durulmuştur. Anahtar kelimeler: Psikanaliz, Eril Bakış, Agnes Varda, Lacan'cı Film Teorisi, Arzu
This thesis aims to provide an alternative to the patriarchal tendencies in the production of the female subject on film through the work of Agnes Varda. The first chapter of the thesis focuses on defining the philosophical terminology necessary to conceptualize the ideas and theories in the realm of psychoanalysis, Foucauldian thought and at their intersection in subject formation. The second chapter consists of a survey and a literary report of the concepts in Lacanian Film Theory, put forward by Laura Mulvey in the 1980s. The concept of the 'male gaze' is studied in depth via Mulvey's essay Visual Pleasure and Narrative Cinema, as well as John Berger's Ways of Seeing and other feminist literary works. In other words, the thesis first identifies the necessary terminology in the philosophical associations of the 'male gaze', then focuses on contemporary feminist thought in the context of film and the subject-object relationship between the active looker(men) and those being looked at(women). The final part of the thesis is an investigation with an aim to show how the ruling patriarchal ideology can be disarmed by employing techniques such as those used by Agnes Varda, who re-writes the structure of the female subject as a character, as the spectator and as the director/author of film by situating woman's desire and the Lacanian Real within the film narrative. Keywords: Psychoanalysis, Male Gaze, Agnes Varda, Lacanian Film Theory, Desire
This thesis aims to provide an alternative to the patriarchal tendencies in the production of the female subject on film through the work of Agnes Varda. The first chapter of the thesis focuses on defining the philosophical terminology necessary to conceptualize the ideas and theories in the realm of psychoanalysis, Foucauldian thought and at their intersection in subject formation. The second chapter consists of a survey and a literary report of the concepts in Lacanian Film Theory, put forward by Laura Mulvey in the 1980s. The concept of the 'male gaze' is studied in depth via Mulvey's essay Visual Pleasure and Narrative Cinema, as well as John Berger's Ways of Seeing and other feminist literary works. In other words, the thesis first identifies the necessary terminology in the philosophical associations of the 'male gaze', then focuses on contemporary feminist thought in the context of film and the subject-object relationship between the active looker(men) and those being looked at(women). The final part of the thesis is an investigation with an aim to show how the ruling patriarchal ideology can be disarmed by employing techniques such as those used by Agnes Varda, who re-writes the structure of the female subject as a character, as the spectator and as the director/author of film by situating woman's desire and the Lacanian Real within the film narrative. Keywords: Psychoanalysis, Male Gaze, Agnes Varda, Lacanian Film Theory, Desire
Açıklama
Lisansüstü Programlar Enstitüsü, Kültürel Çalışmalar Bilim Dalı
Anahtar Kelimeler
Felsefe, Philosophy, Psikoloji
