Diken, Bülent
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Diken, Bülent
D., Bulent
Bülent DIKEN
DIKEN, Bülent
Diken, BÜLENT
Bulent, Diken
Diken,B.
Diken,Bulent
D., Bülent
DIKEN, BÜLENT
Diken, B.
BÜLENT DIKEN
Diken, Bulent
B. Diken
D.,Bulent
Diken B.
Bülent Diken
D., Bulent
Bülent DIKEN
DIKEN, Bülent
Diken, BÜLENT
Bulent, Diken
Diken,B.
Diken,Bulent
D., Bülent
DIKEN, BÜLENT
Diken, B.
BÜLENT DIKEN
Diken, Bulent
B. Diken
D.,Bulent
Diken B.
Bülent Diken
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Radio, Television and Cinema
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Master Thesis Toplumsal Eleştiri Olarak Sinema ve Mizah(2023) Çam, Hazal Beril; Diken, BülentBu tez, mizahın bir toplumsal eleştiri yöntemi olarak sinemada nasıl kullanılabileceğini araştırıyor. Aynı zamanda, uygulamalı bir tez olarak bu yöntemleri yazdığım ve yönettiğim Sinek Gibi adlı kısa film üzerinden tartışıyor. Bu tartışmalar, şu sorular üzerinden yürütülüyor: (1) mizah teorileri nelerdir; (2) mizaha ideolojik yaklaşımlar nelerdir; ve (3) bu teoriler ve yaklaşımlar nasıl uygulanabilir? Bu sorulardan hareketle mizahın üç teorisi olarak üstünlük, uyumsuzluk ve rahatlama teorileri, seçili filmler aracılığıyla açıklanmış ve tartışılmıştır. Kısaca, üstünlük teorisi, insanların başkalarından üstün hissettiklerinde ortaya çıkan bir mizah çeşididir. Uyumsuzluk teorisi, beklenmedik veya çarpıcı olanla ilgilidir. Rahatlama teorisine göre ise, mizah, gerilimin serbest bırakılmasından kaynaklanır. Bu genellikle, kutsal veya tabu konuları içerir. Bunlarla beraber, yıkıcı, muhafazakar ve gayriihtiyari muhafazakar olarak kavramsallaştırılan üç ideolojik yaklaşım, filmler aracılığıyla açıklanmış ve tartışılmıştır. Kısaca, yıkıcı mizah, hegemonik güç ilişkilerine içkin olan kalıpları, normları ve değerleri sorgulamayı ve değiştirmeyi amaçlarken muhafazakar mizah, bunları korumayı hedefler. Gayriihtiyari muhafazakar mizah ise, aslında onları sorgulama niyeti taşısa da varolan güç ilişkilerini pekiştirir. Son olarak, kısa filmim 'Sinek Gibi' tezde tanıtılır ve bu mizah teorileri ve ideolojik yaklaşımlar, filmin bazı sahneleri aracılığıyla tartışılır. Tezin teorik ve pratik bileşenleri, toplumsal yapıları ve normları sorgulamak için mizahın uygun şekilde kullanmanın ne kadar önemli olduğunu vurgular. Anahtar Sözcükler: komedi, mizah, sinema, üstünlük, uyumsuzluk, rahatlama, muhafazakar, yıkıcı, gayriihtiyari muhafazakarMaster Thesis Hate Speech as an Abuse of Freedom of Speech(Kadir Has Üniversitesi, 2022) UYSAL, RAHMİ; Diken, BulentThe thesis thematises the actuality of abuse of free speech through three different – early modern, modern, and near-future – accounts of this nexus, demonstrating how the abuse continuously takes on new appearances. I initially define abuse of freedom of speech as hate speech in terms of corrupting free speech by populism through demagogy, commercialisation, and security concerns. I argue that hate speech no longer emerges in the classical form of insults and swears against particular minorities or people. Instead, it originates from demagogy, the reduction of free speech to a commodity, the psychological pressure of security politics, and the culture of fear. I name this form of hate speech the abuse of free speech. In doing this, I use mixed methods research. I firstly handle the critical film of Ken Russell's, the Devils (1971) through the textual analysis method of film studies. The Devils is interesting to reconsider in a contemporary context because of its explicit focus on the demagogic element in the nexus of parrhesia, cancellation, and self-censorship. Later, the study turns the Circle (2013), a novel by Dave Eggers, which elaborates on how the attempt at creating a transparent society causes the perversion of free speech through commercialisation. I examine the novel via literary analysis. In the next chapter, the study discusses how security concerns and fear legitimise hate speech through critical discourse analysis of former US President Donald Trump’s speeches on immigrants. To conclude, I articulate, in a prism, how populism corrupts free speech and leads to hate speech through demagogy, commercialisation and security concerns, and I underline the problems of populism by associating them with liberal democracy.Master Thesis Umudun Öteki Yüzü ve Limbo Filmlerinde Yabancı Figürü(2025) Tulgaroğlu, İrem; Diken, BülentBu tez, kent sosyolojisinin 'yabancı' figürüne bakışını inceleyerek, bu bakışın sinemadaki yansımasını analiz etmeyi amaçlamaktadır. Araştırma, kent sosyolojisindeki 'yabancı' figürüne dair literatürü inceleyerek mevcut çalışmaların izini sürmekte ve bu literatürü Umudun Öteki Yüzü ve Limbo filmleriyle ilişkilendirmektedir. Teorik ve ampirik boyutları birleştiren bu inceleme, filmlerin sunduğu anlatı, fikirler ve görsel imgeleri merkeze alarak bir 'çifte okuma' (double reading) yöntemi benimsemektedir. Filmler, sosyolojik teorilerle etkileşim içinde okunarak, teorik kavramların somut örneklerle görünür kılınması sağlanmış ve bu doğrultuda filmlerin teorik çerçeveler ışığında analiz edilmesi mümkün kılınmıştır. Tez, teorik temelini Georg Simmel'in kent sosyolojisindeki 'yabancı' kavramına dayandırmakta ve bu tartışmayı Zygmunt Bauman ile Richard Sennett'in yabancı kavramına ilişkin çalışmalarıyla genişletmektedir Ayrıca, Giorgio Agamben'in istisna hali, kutsal insan ve kamp kavramları da teorik çerçeveye dahil edilerek analize politik bir boyut eklenmiştir. Bu teorik yapı, yabancı figürünün sosyolojik ve politik yönlerini kapsamlı bir şekilde ele alırken, sinema anlatılarının bu figürü nasıl yansıttığını incelemeye olanak tanımaktadır. Araştırma, sosyolojik teori ve sinema anlatıları arasındaki dinamik ilişkiyi ortaya koyarak hem yabancı figürünün toplumsal boyutlarını hem de bu figürün sinemadaki yansımasını kapsamlı bir şekilde incelemektedir.Article Citation - WoS: 2Citation - Scopus: 2Terror as Potentiality - the Affective Rhythms of the Political(Routledge Journals, 2018) Diken, Bülent; Laustsen, Carsten BaggeThe paper addresses the ways in which the cultural, the affective and the political intersect, counter and/or feed upon one another in the context of contemporary terror. Initially, building upon Machiavelli and Hobbes, we deal with the political significance of terror (and the fear it provokes), emphasizing its potentiality, which inscribes future within the present. Then we turn to an analysis of terror in the prism of securitization. Terror, in this respect, amounts to de-materialization (the enemy as spectre), de-temporalization (the erasure of the temporal difference between the present and the future), and de-territorialisation the breakdown of the distinctions between inside' and outside'. Following this, we observe how these three processes are dealt with at the subjective and objective (social) levels. Regarding the first, subjective, level we differentiate three attitudes as paranoid, panic and rational. Regarding the latter, we consider terror in terms of accident, risk and catastrophe. Then, discussing the rhythmic relations between these conceptualizations and their spatio-temporal consequences, we focus on the notion of catastrophe. We end with articulating the aporias emerging in this contextMaster Thesis Türkiye Belgesel Sinemasında Çocukluk Temsili(2025) Cambazoğlu, İlke; Diken, BülentBu tez, 2000 sonrası yayımlanan ve örnek olarak seçilen 3 belgesel filmde çocukluğa dair söylemleri inceleyerek, günümüz Türkiye'sinde çocukların nasıl temsil edildiğini ele almaktadır. Teoriler ve söylem analizi kullanılarak, çocukluğun, güç ilişkileri, ekonomik sistem ve politik söylemlerle şekillenen ve sürekli değişen bir kavram olarak nasıl inşa edildiğini incelenmektedir. Tezde, Gözmece (Sevinç 2006), Küçük Kara Balıklar (Drama İstanbul Film Workshop, 2011) ve 95 cm: Mega Kentin Mini Yurttaşları (Adanalı 2019) adlı üç belgesel filmin çocukları kentsel alan, kimlik ve neoliberal ekonomi bağlamında nasıl tasvir ettiği araştırılır. Tezde kurulan teorik çerçevede, Jean Baudrillard'ın Simülakr kavramı temel alınarak çocukluğun temsili ile gerçeklik arasındaki kopukluğa ve ideolojik bir illüzyona indirgenişine işaret edilir. Ayrıca, tez, Zygmunt Bauman'ın Akışkan Modernite kavramı ve Gilles Deleuze'ün Kontrol Toplumu kavramına odaklanarak, çağdaş kapitalist sistemlerde yetişkinlerin nasıl 'çocuklaştırıldığını'; belirsizlik, güvensizlik ve bedensel tehlikenin modern öznenin günlük deneyimi haline geldiği bir dönemde çocukluğun nasıl inşa edildiğini araştırır. Giorgio Agamben'in 'kapsayıcı dışlama' kavramı, 'kamp' mantığıyla organize edilen şehirdeki çocukluk tasvirlerini anlamak için tezde kullanılır. Ayrıca, oyun kavramı incelenirken normatif çocukluğa karşı bir direniş biçimi ve egemen söylemde yarık açabilecek bir potansiyel güç ve eylem olarak ele alınır. Çocukluğu değişen güç dinamikleri ve toplumsal yapılar içinde konumlandıran bu tez, temsillerin geniş çaplı toplumsal anlatıları nasıl yansıttığını ve 'normatif çocukluk' mitine meydan okuyan çocukluk hallerini nasıl açığa çıkardığını ortaya koymayı amaçlamaktadır. Sonuç olarak, tez, Türkiye'de çağdaş sosyal, kültürel ve politik bağlamlarda çocukların temsillerinin ve konumlarının nasıl inşa edildiğini, tartışıldığını ve yeniden yapılandırıldığını daha derinlemesine anlamaya katkı sağlamaktadır.Master Thesis State of Exception in South Korean Monster Cinema: Biopolitics and Monsters in the Host (2006) and Train To Busan (2016)(Kadir Has Üniversitesi, 2022) EKİN, RANA; Bülent DikenIn this thesis, I study the relationship between monsters and biopolitics in contemporary South Korean monster cinema with the films The Host (2006) and Train to Busan (2016). I examine monsters regarding sociology, culture, and political philosophy. Fear, desire, anxiety, and fantasy are practically incorporated into the monster's body, giving them life and strange independence (Cohen 1996, 4). Monsters emerge, they create crises where the social and political order is suspended. Grounding on Michael Foucault’s concept of biopolitics, political regulations oppressing bodies and controlling populations (Foucault 1978, 140) and Carl Schmitt's concepts of state of emergency and sovereign, one “who decides on the exception” (Schmitt 1985, 5), Agamben goes deeply into the homo sacer’s bare life in politics which is related to the monsters. Homo sacer, although the literal meaning is “sacred man”, is defined to be a human who can be killed but not sacrificed that has a bare life who lives in the zone of indistinction (Agamben 1998, 8). Homo sacers can be anybody exposed to biopolitics of the sovereign in modern politics. The water monster represents a Leviathan, strong sate, of Thomas Hobbes (1998), in The Host and zombies are the homo sacer in Train to Busan. These two hybrid film monsters, the sealand beast and the living dead, not only support the narrative but also support the concepts regarding the sovereignty of Agamben. A state of emergency is not declared because monsters emerge, monsters emerge because there is always a state of emergency for the sake of the sovereign.Article Citation - Scopus: 1Flattery, Truth-Telling, and Social Theory(SAGE Publications Ltd, 2025) Diken, BülentThis article deals with the ‘problem’ of flattery (kolakeia) as a specific form of activity, contrasted to parrhesia. Who is the flatterer? In which ethical-political contexts does the flatterer act? With what cultural, social, and political consequences? Discussing such questions, the article revitalizes the concept of flattery, showing its enduring constitutive role in social life. I start with giving an account of flattery in ancient literature, focusing on Aristotle, Plato, and Aristophanes. Then I move to early modernity and discuss Machiavelli’s and Castiglione’s approach to flattery. Finally, I turn to flattery in late modernity. This analysis is coupled with a discussion of de Certeau’s concept of ‘tactics’ and the concept of ‘profanation’ in Spinoza and Agamben – concepts that are apparently comparable to flattery but are very different. To end with, the article synthesizes its arguments and relates different styles of flattery to each other systematically, discussing some practical-political consequences of flattery. © 2025 Elsevier B.V., All rights reserved.Article Citation - WoS: 4Citation - Scopus: 2The Collector's World(Routledge Journals, Taylor & Francıs Ltd, 2020) Diken, Bülent; Laustsen, Carsten BaggeThe article discusses the figure of the collector. We start with positioning the collector in relation to a lack, emphasizing that collecting is not about aesthetic beauty, pleasure or even perfectness, but primarily about filling a gap. The collection itself is merely a by-product of the desire to collect. Discussing how this desire is socially mediated, we move on to contextualizing the collector in relation to the distinction between the useful and the useless. We stress, in this context, that collecting is an inoperative praxis. This is followed by a discussion of the collector's psychopathology in terms of affects and interpassivity. Finally, we turn to the history of the collector and to collecting as a field in sociological terms, and end with articulating a typology of the collector.Master Thesis Cultural Heritage - Its Digital Preservations, and Collateral Damage(Kadir Has Üniversitesi, 2022) Kahraman, Baran; Bülent DikenThe fundamental goal of this thesis is to examine the relationship between cultural heritage and 3D visualizations of them, stretching and challenging the definition of simulacra in order to better understand what role the concept of digital preservation plays in contemporary cultural heritage preservation practices. At the basis of my argument is the allegation that digitalization of cultural heritage preservation shares with virtual reality a new mode of production, a rhetorical position employed to specific, cultural, and symbolical ends. The purpose of this connection is two-fold: first, I examine 3D visualization in cultural heritage preservation apart from CGI or CAD, which only mimics the computational creation; this position investigates and questions how capturing reality in 3D within all dimensions (only appearances) brings a new dissolution of heritage that we can put any material object or site in any scale into Virtual Reality or reproduce it up to 3mm accurate representation. Second, I make a conceptual analogy of the Baudrillardian perspective of digital imagery to criticize the virtual solutions to preserve cultural heritages. I also describe that those solutions might open more expansive windows to a new visual culture, a new production pipeline within the Deleuzian perspective. Situating the digital blueprints of cultural heritage under the banners of their most repeated utilities and functions (immersion, dissemination of knowledge, human-computer interaction), the thesis uses case studies to illuminate and illustrate the digitalization of preservation in which digital reproduction technologies have virtually constitute the shape of the cultural heritage in the last couple of years. It also creates a creative visual study to provide the necessary demonstration of theoretical argument and the digitalization process itself in order to express the new territorial practices of cultural heritage under the transmission to the digital infrastructures.Article Flattery and the Misanthrope(Wiley, 2025) Diken, Bulent; Akcali, Elif; Tuzun, DefneMolière's Alceste is often discussed with reference to his misanthropic personality, but what he aspires to doing, truth-telling, has received relatively less attention. This is curious especially if we consider that Alceste defines flattery, the opposite of truth-telling, as his main adversary. Indeed, it is Alceste's hatred of flattery that explains his misanthropy, not the other way around. We will first discuss the significance of flattery. Then, we trace the consequences of this idea in the play drawing on Aristophanes, Plato, and Aristotle where they define flattery as a relation to untruth and in opposition to friendship. In Plato's Gorgias, however, a second sense of flattery transpires: distorting ideas and practices through instrumental use. We ask what a reflection on flattery in these two interrelated senses can contribute to our understanding of Molière's comedy. What frames our discussion is the relation between Alceste and Philinte (as a stand-in for the social), on the one hand, and the relation between Alceste and Célimène (as a stand-in for seduction) on the other. Alceste cuts an abject figure in relation to both Philinte and Célimène. We end with a discussion of how Alceste can, for all his abjection, continue to fascinate us.
