Eken, Bülent
Loading...
Name Variants
Eken, Bülent
B.,Eken
B. Eken
Bülent, Eken
Eken, Bulent
B.,Eken
B. Eken
Bulent, Eken
B.,Eken
B. Eken
Bülent, Eken
Eken, Bulent
B.,Eken
B. Eken
Bulent, Eken
Job Title
Öğr. Gör.
Email Address
Bulent.eken@khas.edu.tr
ORCID ID
Scopus Author ID
Turkish CoHE Profile ID
Google Scholar ID
WoS Researcher ID
Scholarly Output
5
Articles
3
Citation Count
0
Supervised Theses
2
5 results
Scholarly Output Search Results
Now showing 1 - 5 of 5
Master Thesis Varligin İçkinliginden Tureyen Hayat Fikri: Abbas Kiarostami Nuri Bilge Ceylan Zeki Demirkubuz Sinemalarina Bakis(Kadir Has Üniversitesi, 2012) Gezer, Serdar; Eken, BulentSon donem Turk Sinemasina bakildiginda filmlerde ve karakterlerde askin bir hayat tasarimindan dogan acilar istiraplar kendini gostermektedir. olum ve ayrilikacilarinin karakterlere ve oradan da seyirciye gectigi bu sinemalarin onculleri Nuri Bilge Ceylan ve Zeki Demirkubuz sinemalaridir. Diger yandan Ceylan.in veDemirkubuz.un etkilendigi yonetmen olan Abbas Kiarostami sinemasinda ickin bir hayat tasarimindan kaynakli surur gorulmektedir. Bu tezde Kiarostami sinemasinin hayat dolu olabilmesinin sebepleri Spinoza.nin ickin metafizik hayat tasarimitemelinde arastirilmis ve Kiarostami sinemasinin Ceylan ve Demirkubuz sinemasindan nasil farklilasabildigi incelenmistir.Article Citation Count: 16The Politics of the Gezi Park Resistance: Against Memory and Identity(Duke Univ Press, 2014) Eken, Bülent[Abstract Not Available]Master Thesis İstikrar Kısa Filminin Biçimci Düzeneği ve Güzelin Metafiziği(Kadir Has Üniversitesi, 2014) Berberoğlu, Serkan; Eken, BülentFilmin Dünya tasvirinde Hakikat (İrade) müzikle, sanat eserinin ortaya çıkışı diğer biçimsel öğelerle (renk ve kurgu), fenomenler dünyası da içerikle eşlenmiştir. Daha geniş bir ifadeyle, İstikrar, Hakikatin (İradenin) kendisinin bir sureti olan müziğin metafiziğini -tıpkı İradenin Dünyanın çekirdeği olması gibi- kendi çekirdeğine yerleştiren, diğer biçimsel öğeler (renk ve kurgu) ve bu öğelerin içerikle olan ilişkileri aracılığıyla da sanatı, sanat eserinin ortaya çıkışını, yani sürecin kendisini nesneleştiren bir filmdirArticle Citation Count: 0Wallace Stevens's Poetics of the Other(Walter De Gruyter Gmbh, 2017) Eken, BülentThis article reveals a central yet hitherto unsuspected meditation in Wallace Stevens on the problem of the other person in relation to the concept of the other construed by Gilles Deleuze as the "expression of a possible world" (1990: 308). It demonstrates that, seen from this perspective, the figure of subjectivity appears to be a rhetorical means in the service of a poetics centered on the other. In readings of Stevens, it traces the way in which he thinks through the question of the other and detects two main forms in which this is registered in the poems: the other is either associated with 'possibility', an occasion of euphoric affects, or with the foreclosure of a more fundamental reality, an 'outside', of which the other is merely a phenomenal representative and which occasions poignant affects. The reading of Stevens's late poem "Prologues to What Is Possible" shows that these two poles in relation to the other are juxtaposed in a paradigmatic manner.Article Citation Count: 1Versions of Minor Literature: Two Contemporary Cases From(İmge Kitabevi Yayınları, 2016) Eken, BülentThe concept of “collective enunciation,” which Deleuze and Guattari propose in delineating their idea of minor literature/cinema, remains regrettably underdeveloped for the purpose of exploring the political investment of a given film. In the context of cinema, the concept designates the possibility of attaining a collective voice in film under a set of negative conditions, such as the crisis of a private poetics and the objective disintegration of the category of the “people,” through the transformation of both parties involved in these conditions, the author and real characters as her people. In this way, it becomes possible to imagine the political dimension of a film in such a way that goes beyond the merely thematic treatment of political issues. In the end, this refers to the politics of what is called minor cinema. This paper reflects on the place of such a politics in the cinema of two contemporary Turkish cinematographers, Zeki Demirkubuz and Nuri Bilge Ceylan, who are rarely imagined as political filmmakers. It proposes a theoretical framework which enables reading their films as two different aesthetic responses formulated within cinema against the fragmentation of what made the classical political cinema possible: the “people.” For this purpose, it is necessary to show that Gilles Deleuze’s concept of “missing people” or “minorities,” which made modern political cinema possible according to Deleuze, is not restricted to the historical period chosen by him. The paper demonstrates that an analysis of certain aspects of Ceylan’s and Demirkubuz’s films, such as real characters, formation in series, national allegory, autobiography, interiors and outdoor landscapes, warrants an understanding of the work of these two authors as instances of a second generation, minor political cinema.
