DOMESTİK ETNOGRAFİ ÖRNEĞİ OLARAK BEN UÇTUM SEN KALDIN

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Date

2015

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Hacettepe Üniversitesi İletişim Fakültesi

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Abstract

In what ways does documentary camera with its unique capacity to disentangle reality penetrate and reconstruct history? At the intersections of history and memory and of family and self, how do documentary narratives crafted through the pursuit of personal life stories, longed family members, and childhood recollections contest hegemonic ideologies about identity? This article focuses on I Flew You Stayed (2012) by Mizgin Müjde Arslan as a reflexive narrative of tracing longed family members and occult life stories. As Arslan searches for her family history to fill out painful gaps in her life journey through documentary practice, she ends up uncovering a restless history construed by ideologies that silence counter-hegemonic voices in unique ways.
Belgesel kameranın gerçekliği yeniden yaratmada ve tarihi yeniden yazmadaki özgün kapasitesi nedir? Tarih ve belleğin, aile ve bireyin kesişim noktalarında, kişisel hayat hikâyelerinin peşine düşen belgesel kamera egemen ideolojileri bükebilir mi? Bu makale, Mizgin Müjde Arslan’ın Ben Uçtum Sen Kaldın (Ez Firiyam Tu Mayi Li Cih) filmine kendi-dönüşlü bir anlatı olarak odaklanmaktadır. Ben Uçtum Sen Kaldın’da Arslan aile tarihindeki boşlukları doldurmaya çalışırken karşıt sesleri bastıran huzursuz bir tarihi yeniden keşfetmektedir.

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Documentary cinema, Identity, Memory, Domestic ethnography, Belgesel sinema, Kimlik, Bellek, Domestik etnografi

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Volume

2

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1

Start Page

338

End Page

346