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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1104
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235
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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 muhafazakarArticle 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.Master Thesis The Mask and the Social Actors Social, Political, Aesthetic and Cultural Functions of the Mask(Kadir Has Üniversitesi, 2022) ALTUNKAYA, HALİL; Bülent DikenThe mask, which dates back to the earliest periods of human history, is an object that has found a place in our lives over time, except for mythical ceremonies and special days. Even though humanity has partially severed its ties with primitive mythical ceremonies, the mask preserves its place and importance in our lives as it was on the first day. The mask appears as a multidimensional and comprehensive field of study. This multidimensionality and comprehensiveness complicate the limitations of research. In this study, it has tried to reveal the usage areas of the mask and the meanings it creates under different topics. The aim of the study is to reveal the common points that emerge as a result of different usage areas and to try to understand whether the mask actually creates an area where one can escape from social reality as a result of these common points. The examples selected and analyzed in this study have been kept wide and aim to reveal that the mask actually takes place in every moment of our lives and shapes our lives in a wide field of study ranging from cinema to carnival, from daily life to politics. The culturally different uses of the mask were excluded on the grounds that it would both decontextualize the subject and not serve the study. Due to the literature and examples used, the use of masks in Europe and there has been effective in determining the universe of the thesis. In this thesis, it is aimed to reveal the use of mask and mask in which situations and for what purpose, by using the general scanning method. The selected examples have been preferred in terms of the use of masks and the intensity and causality of the meanings attributed to it historically and currently.Article Citation - WoS: 2Neo-Despotism as Anti-Despotism(Sage Publications, 2021) Diken, BülentI treat despotism as a virtual concept. Thus it is necessary to expose its actualizations even when it appears as its opposite, refusing to recognize itself as despotism. I define despotism initially as arbitrary rule, in terms of a monstrous transgression of the law. But since the monster is grounded in its very formlessness, it cannot be demonstrated. However, one can always try to de-monstrate it through disagreements. In doing this, I deal with despotism not as a solipsistic undertaking but as part of a constellation that always already contains two other elements: economy and voluntary servitude. I give three different – ancient, early modern and late modern – accounts of this nexus, demonstrating how despotism continuously takes on new appearances. I conclude, in a counter-classical prism, how the classical nexus has evolved in modernity while the focus gradually shifted towards another triangulation: neo-despotism, use and dissent.Master 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 Representations of Everyday Life in İnci Eviner’s We, Elsewhere: Comedy, Use and Free Will(Routledge, 2021) Tuncer, Ezgi; Diken, Bülentİnci Eviner's installation We, Elsewhere 1 for the Turkey Pavilion 2 at the 58th Venice Art Biennial offers a spectacle of the incomplete, in which the objects, videos and their characters, and sounds in the piece, along with the exhibition space itself, consist all of halves, missing something. It is designed as a non-place in the midst of nowhere, which appears as a liminal space of exception, in which the inside and outside become indistinct. In this respect, the role of the large ramp, which transgresses the public-private divide, is particularly remarkable for it both connects and disconnects the place in relation to the outside, incarnating a paradoxical form of inclusionary exclusion. One cannot avoid noticing the ramp on entering the pavilion: cut horizontally and vertically, the spaces between left void, it is a cross-sectional space experienced through its corridors, area closed off by metal bars, a semi-closed room and viewing area arranged on stairs. However, its interior is rendered visible through the cross-sections of buildings and the subterranean. We bear witness to the events inside it, and, ceasing to be spectators, participate in the installation. Through this displacement, we also move from a representational space to a lived space.Book Part Citation - Scopus: 1“is Something Funny, Asshole?": Joker’s Nihilist Violence(De Gruyter, 2022) Diken, B.; Laustsen, C.B.Joker is a film that explores the forms of nihilism and their intertwinement in contemporary society. Thus, it can be viewed as a piece of theorizing and social diagnosis.We start with looking at the Joker’s violence.Why is it nihilistic and what sort of nihilism is that? But we can also see the Joker’s violence as an act of anti-nihilism, as a way of challenging society’s inherent nihilism. We discuss this in the following section. Is the Joker a revolutionary that criticizes society and opens up for a space for a new politics? In the third section, the article focuses on the film not as a narrative but as form: is it a comedy of pain or an attempt at overcoming nihilism? And, finally, by way of a conclusion, we ask what we should do with the Joker’s obscene laughter. The pivotal intuition in our discussion is that the concept of nihilism is a central and necessary tool for a diagnosis of our political predicament and a way to rethink the possibility of a radical emancipatory act within it today. © 2022 Walter de Gruyter GmbH, Berlin/Boston.Master 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.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 context
