Tüzün, Defne
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TÜZÜN, DEFNE
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TÜZÜN, Defne
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Tüzün, DEFNE
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Dr. Öğr. Üyesi
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Radio, Television and Cinema
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| Critical Arts-South-North Cultural and Media Studies | 1 |
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| Studies in Documentary Film | 1 |
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Master Thesis Trapped Zone Belgesel Filminde Arzu Oluşumu ve Kamera(2025) İpek, Canberk Emre; Tüzün, DefneTez çalışması, Trapped Zone belgesel filminde yer alan aile arşivi görüntüleri üzerinden yönetmenin film yapma arzusunun oluşumunun izini sürerken yönetmenin çocukluğundan beri hayatında olan kameranın bilinçdışında edinmiş olabileceği farklı konumları psikanalitik olarak inceler.Master Thesis A Threat Exceeding the Diegetic Universe :the Last Horror Movie(Kadir Has Üniversitesi, 2017) Dursun, Oguzhan; Tüzün, DefneThis thesis focuses on the film - The Last Horror Movie (Julian Richards 2003) - in which the protagonist is a serial killer who is recording his murders and trying to shoot his own movie. Additional to using a variety of conventions of the horror genre the film includes “found footage” mode. What makes the film distinct from its counterparts and renders it worthy of deeper inquiry is that found footage form takes on a different function. The thesis firstly makes a detailed formal analysis of The Last Horror Movie and evaluates the movie with respect to horror genre and found footage mode. The thesis analyzes how the movie uses the patterns of horror genre and found footage strategies and with which aspects does the movie diverge from these conventions. The thesis investigates how and why the movie undermines horror codes and conventions by focusing on the narrative and narration aspects of the film and by instrumentalizing the found footage mode. in the film the facts that the protagonist avoids demonstrating killings scenes rejects to use darkness as an element of horror interrupts all the horror scenes and gives exhaustive explanations to the audience are elaborated in great detail. The film does all these depending on the reality claim of the found footage mode. By demolishing the ordinary conventions of horror genre with these strategies the film claims that it creates a horror effect which is more realistic and convincing.Master Thesis Berlin the Hyperreal and Virtual Realities of Sex in a Dark Room(Kadir Has Üniversitesi, 2017) Sen, Burak; Tüzün, DefneBerlin’s unique history as an urban epicenter for the key events of the previous centuries also witnesses an era which is known as the “Golden Twenties”. The sexually liberated atmosphere of the then Weimar Berlin is in a way being simulated inside spaces urban phenomena called the “dark room”. A popular type of accommodation in the nightlife scene of the city in 2017 which serves as an entertainment space for the people who seek to experience a sexually charged escape from the humdrumness of reality. Meanwhile the advancements for the technology of Virtual Reality are catching up with the philosophical visions for virtual realities. This thesis intends to discuss the mind’s capacity to imagine through a philosophical examination and debate on reality and whether or not there are virtual realities by opening Berlin’s dark rooms Virtual Reality technologies the history of art films and film theory to discussion. Contextualized by Jean Baudrillard the hyperreal is one of the key concepts in making clarifying and criticizing these points of discussion. Furthermore the thesis revisits ancient philosophical debates such as Plato’s allegory of the cave while making observations on the most recent examples in Virtual Reality such as Alejandro González iñárritu’s installation Carne y Arena (2017). Although this thesis intends to refrain itself from analysis on a microscopic level concepts and ideas of film theorists who worked within a psychoanalytical framework will also be revisited to be able to suggest an explanation to certain phenomena such as the dark rooms in analogy with virtual reality. The general aim will be to open points of discussion which are thought to be significant for critique of recent examples in entertainment.Book Part Master Thesis Temsiliyet Krizi: Çek Yeni Dalga Filmlerinde Sistem Karşıtı Kadınlar(Kadir Has Üniversitesi, 2015) Bayman, Selda; Tüzün, DefneBu tezde, 1962'den 1968'e kadar Çekoslovakya'da üretilmiş, Yeni Dalga sinema akımının etkilerini taşıyan ve kadın figürlerin anlatılarının merkezinde olduğu filmlerdeki kadın temsilleri, sistem karşıtı hareketler bağlamında tartışılıyor. Bu araştırmada, Çek Yeni Dalga sineması olarak tarif edilen akımın etkilerini taşıyan filmlerdeki kadın figürleri performansları, ve hem filmlerin anlatısı, hem anlatım biçimleri bakımından üstlendikleri fonksiyonlar bağlamında incelenmiştir. Tezde, bu figürlerin, Çekoslovakya'da vatandaşların özgürlük ve eşitlik haklarını sınırlandıran sisteme karşı bir reform hareketi ve liberalleşme sürecini temsil ettikleri savı araştırılmıştır. Michel Foucault'nun özne ve iktidar ilişkisi ve 'biyo-iktidar' kavramı ile Judith Butler'ın 'performatif' kimlik kavramı bağlamında, Věra Chytilová'nın Bir Torba Dolusu Pire (Pytel Blech, 1962), Farklı Bir Şeyler (O něčem jiném, 1963) ve Miloš Forman'ın Bir Sarışının Aşkları (Lásky jedné plavovlásky, 1965) filmlerini inceleyen bu tezde, kadın figürlerin, ülkede yaşanan demokratikleşme ve liberalleşme sürecini temsil ediyor olabileceği önermesi tartışılmıştır. Bu tez özellikle, Chytilová'nın Papatyalar (Sedmikrásky, 1966) filminin detaylı formal analizi yaparak, filmin ana karakterleri olan Marie I ve Marie II'nin toplumsal kuralları nasıl ihlal ettiklerini ve filmin biçiminin de bu kural bozucu tutumu nasıl desteklediği göstererek, bu figürlerin, Çekoslovakya'da liberalleşme sürecini imleyen Prag Baharı'nın gelişini haber veren papatyalar olduğu iddiasını yapıyor.Master Thesis 'pro-filmic Thought' in Time-Image: 'lectosigns and 'sub-reality in 'mirror (1975)(Kadir Has Üniversitesi, 2021) Karyağdı, Mustafa Ozan; Tüzün, DefneWhen discussing cinema as a 'pre-linguistic' system of images and signs, audiovisual thinking gains another dimension as a 'pre-verbal' act of creation that lays the groundwork for a new kind of thinking. It attributes that a film could capture the unutterable through the peculiar cinematic expression beyond the 'rational monotony' and 'given codes in language'. Following the interrelated relationships, I problematize the notion of cinema-thinking that has critical distinctions in kind between filmmaking and spectatorship. Bergsonian method of intuition was approved to address this problem of irreducibility within the process of inter-exchange. That is in-between 'pre-determinant response' and 'pro-filmic thought' in spectatorial activities, moreover on the filmmaker side, cinematographic thinking of engendering movement/duration blocks through the strategic and intuitive way of thinking. Through Deleuzian taxonomy of images and signs, I specify the pure virtual domain called 'lectosigns' in Mirror (Tarkovsky, 1975), in which the spectator actively reads the images to engender autonomous thoughts proceeding beyond the narrative; to reconnect the collapsed images with actual life. In this concern, I trace Mirror back to its production process with the help of the diaries of Tarkovsky to unveil his strategic and intuitive thinking of cinematographic ideas. On the production side, strategic and intuitive thinking to actualize virtual cinematographic ideas following the unique potentialities of the medium as well as pre-determinant response and pro-filmic thought to reconnect images with the whole in spectatorial activities. As a result of the analysis of Mirror, the concept of 'sub-reality' manifests itself referring to the subdued realities by the oppressive ideologies that could be 'sealed' in time and 'rescued' by active cinematic 'lectorship' in a different space-time by the spectators through 'pro-filmic thinking' within the domain of lectosigns, in which cinema and philosophy collaborate. Wenn man das Kino als ein „präverbales" System von Bildern und Zeichen diskutiert, ist die Schaffung eines audiovisuellen Denkens aufgrund der wechselseitigen Beziehungen zwischen der Zuschauerschaft und des Filmemachens problematisch. Ich problematisiere den Begriff des Kino-Denkens, der eine kritische Unterscheidung zwischen dem Filmemachen und dem Zuschauen vornimmt. Diese Studie ist grundlegend darauf ausgerichtet, dieses Problem anzugehen. Das heißt, zwischen „vorbestimmter Reaktion" und „pro-filmischem Denke"' in der Zuschauertätigkeit, darüber hinaus auf der Seite des Filmemachers, kinematographisches Denken des Erzeugens von Bewegungs- /Dauerblöcken durch die strategische und intuitive Denkweise. Um die Implikationen beider Prozesse in Bezug auf das Kino-Denken zu untersuchen, verwende ich die Bergsonische Methode der Intuition. Mittels der Deleuz'schen Taxonomie von Bildern und Zeichen spezifiziere ich den rein virtuellen Bereich, der in Tarkowskijs „Der Spiegel" (1975) „lectosigns" genannt wird, in dem der Zuschauer aktiv die Bilder liest, um ein Denken jenseits der Erzählung zu schaffen, um die kollabierten Bilder wieder mit dem Leben selbst zu verbinden. In diesem Anliegen verfolge ich „Der Spiegel" mit Hilfe von Tarkowskijs Tagebüchern bis zu seinem Produktionsprozess zurück, um sein strategisches und intuitives Denken von kinematographischen Ideen aufzudecken. Somit möchte ich die Unreduzierbarkeit der unterschiedlichen Arten des Kino-Denkens in beiden Prozessen aufzeigen, kinematografische Ideen mit ihrem einzigartigen Akt des kreativen Denkens als strategisch und intuitiv, wie auch die vorgegebene Reaktion und das pro-filmische Denken in den Aktivitäten des Zuschauers. Als Ergebnis der Analyse von „Der Spiegel" manifestiert sich das Konzept der „Sub-Realität", das sich auf die unterdrückten Realitäten durch die unterdrückenden Ideologien bezieht, die in der Zeit „versiegelt" und durch aktives filmisches „Lektorat" in einer anderen Raum Zeit durch die Zuschauer „gerettet" werden könnten, durch „pro-filmisches Denken" im Bereich der „lectosigns". Mit anderen Worten: Das Kino als „vorsprachliches" System des audiovisuellen Ausdrucks kann die Aphasie, in der die Freiheit des Sprechens kaum gewährleistet ist, als Akt der Freiheit des Denkens eigenwillig überwinden.Article [safe] in a Narcissistic Closure(2022) Tüzün, DefneThis article offers an in depth formal analysis of the film Safe (Todd Haynes: 1995) By attending to Julia Kristeva’s concept of abjection as the earliest attempts to demarcate a space in the common, indistinguishable territory of the mother-child dyad and as an endeavor to overcome spatial ambivalence, this analysis focuses on the topography of the pre-symbolic. The study deals primarily with the film’s protagonist, Carol’s abjection, as evidenced by her relation to corporeality and to spatiality. Carol goes through a crisis in life and suffers from an undiagnosed illness. As the film progresses, she goes to a healing facility out in the desert, where she seeks treatment for her disease, here, but gradually regresses to a narcissistic phase. The semi-religious philosophy of this facility leads her to isolate herself from society and negates her integration into the socio-symbolic network. This self-indulgence and self-love finally causes her to be trapped in a narcissistic closure. This article discusses this narcissistic closure through the visual and audio analysis of the film.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.Article Garden of Ambivalence The Topology of the Mother-child Dyad in Grey Gardens(Univ Pittsburgh, Univ Library System, 2012) Tuzun, DefneThe Maysles brothers' 1975 documentary, Grey Gardens, portrays the lives of Edith Bouvier Beale and her daughter, Edith, known as Little Edie, the aunt and first cousin, respectively, of Jacqueline Bouvier Kennedy Onassis. As their identical names imply, the Beales share a symbiotic relationship which is reflected in every aspect of their We. This article argues that Grey Gardens calls for Julia Kristeva 's insistence on abjection as a crucial struggle with spatial ambivalence (inside/outside uncertainty) and an attempt to mark out a space in the undifferentiated field of the mother-child symbiosis. In Powers of Hoffor, Kristeva (1982) states. abjection preserves what existed in the archaism of pre-objectal relationship (p. 10). Grey Gardens portrays the topology of the mother-child dyad. which pertains to a particular spatio-temporality: where this primordial relationship is concerned object and subject crumble, and the distinction between past and present is irrelevant.Master Thesis 1990 sonrasi Hollywood korku sinemasinda mise-en-abyme(Kadir Has Üniversitesi, 2017) Yaman, Sevin; Tüzün, Defne1990 sonrasi Hollywood Korku Sinemasi'nin giderek kan kaybettigi ve cekilen filmlerin birbirinin tekrari hâline geldigi soylenmektedir. ''Metakorku'' olarak siniflandirilan bu filmlerin kendi yapilarina referans vererek tur kodlarini aynaladiklari gorulmektedir. Wes Craven John Carpenter ve Drew Goddard gibi yonetmenlerin filmlerinde ise bu konvansiyonlar sadece ifsa edilmek kalmaz ayni zamanda ihlâl de edilerek yeni bir soylem arayisina girilir. Korku Sinemasi'nin temsil krizini vurgulayan bu filmler diger bir yandan filmin sundugu gercek ve kurmaca arasindaki sinirin da bulaniklasmasini saglamaktadir. Filmin kendi farkindaligina varmasinin dolayisiyla kendi temsil sorununu yansitmasinin ve kendini yansitmasinin mise-en-abyme stratejisi ile desteklendigi gorulmektedir. Bu arastirmada New Nightmare (Wes Craven 1994) in the Mouth of Madness (John Carpenter 1994) ve The Cabin in the Woods (Drew Goddard 2012) filmlerinin formal analizi yapilarak 1990 sonrasi Hollywood Korku Sinemasi'nda mise-en-abyme anlatim stratejisinin nasil olusturuldugu ve neye hizmet ettigi arastirilmaktadir. Korku sinemasinin konvansiyonlarini nasil ifsa edip sonrasinda cignedigi ve bu kendini aynalayan orneklerinin nasil bir egilime isaret ettigine deginilmekle birlikte ortaya cikan temsil krizinin ayni zamanda anlatim bicimi ve endustri acisindan nasil bir imkân olarak degerlendirilebilecegi gibi sorularin cevabi aranmaktadir. Filmlerin analizi sonucunda mise- en-abyme anlatim stratejisinin kendi temsil sorunundan yola cikarak yeni bir anlatim biciminin kapisini actigi gozlemlenmistir.
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