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The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema

Yıl 2022, Cilt 8, Sayı 2, 293 - 309, 25.08.2022
https://doi.org/10.21600/ijoks.1162561

Öz

In the 1990s, Kurds living in Mardin and the surrounding provinces were subjected to various pressures, forced migration, and negative treatment such as village evacuation. Veysi Altay's documentary "Bir" (The Well) tells the story of the disappearance of seven people, three of whom are children after they were detained in the Dargeçit district of Mardin in 1995, and the search for them by their relatives. The fact that the director, who traces the search, focuses on the struggle of the seven relatives instead of drawing attention by implying the Kurdish problem with popular political references, brought the documentary to an objective point.
In this study, based on the documentary The Well; Instead of "documentary-reality", which distances reality from fiction as much as possible, the possibilities of shooting a "real documentary" will be analyzed. In this context, the reasons for avoiding the use of metaphor, the director's limitation of his camera, and the relationship of preference with ethics will be included in the analysis.
While “The Well” has strong meanings from literature to visual arts, in the narrative it has been transformed into a setting, character, and plot that can be grasped, seen, and recorded in history by conveying the truth to witnesses; in this state, instead of losing its meaning from its "reality", it gained strength by feeding on the richness of fiction, but also gave up on poetic reality or all kinds of abstract meanings.
This study will examine the effects of the director's direct involvement in the narrative on ethical values and its contribution to the reality of the film, as well as investigate the limits of the construction of "truth" in the post-truth period with a documentary film.
The fact that the director renounces his power over the film and turns into the eye that is "attracted" and "witnessed" from time to time, rather than "shooting" the film, will be examined ethically with the method of discourse analysis.
The aim of the study is to present an example of whether the creation of documentary cinema in search of reality and its way of influencing the masses are in conflict with ethical principles.

Kaynakça

  • Adalı B. (1986). Belgesel Sinema, İstanbul: Hil Yayınları.
  • Altay, D. (2005). “Küresel Köyün Medyatik Mimarı: Marshall McLuhan”, Kadife Karanlık, Ed. Nurdoğan Rigel, İstanbul: Su Yayınevi
  • Armağan, İ. (1992). Sanat Toplumbilimi Demokrasi Kültürüne Giriş, İzmir: İleri Kitabevi
  • Babayiğit, M. V. (2020). Expressions of Determination, Success, Diligence, Stability and Laziness in Kurdish, Turkish and English Proverbs. International Journal of Kurdish Studies 6 (2), 244 – 257, DOI: https://doi.org/10.21600/ijoks. 760441
  • Babayiğit, M. V. (2021a). Semantic and Modal Analysis of Some Verbs in Kurdish, Turkish and English. International Journal of Kurdish Studies 7 (1), 123-139, https://doi.org/10.21600/ijoks. 850817
  • Babayiğit, M. V. (2021b). Semantic Comparison of Some kinds of Adjectives: Samples from Kurdish, English and Turkish. In Balcı, T., Öztürk, O. & Aksöz, M. (Eds). Schriften Zur Sprache und Literatur V, (5th ed., pp. 67-75). Istanbul, Turkey: Çizgi Press.
  • Barthes, R. (1998). Roland Barthes. Çev: Sema Rifat, İstanbul: Yapı Kredi Kültür Sanat Yayıncılık.
  • Baudrillard, J. (2011). Kusursuz Cinayet, Çev: Necmettin Sevil, İstanbul: Ayrıntı Yayınları.
  • Bennett, B. (2010). Framing terror: Cinema, docudrama and the ‘War on Terror’, Studies in Documentary Film, 4:3, 209-225
  • Brandstetter, G. (2015). Poetics of Dance: Body, Image, and Space in the Historical AvantGardes, New York: Oxford University Press.
  • Crawford, N. (2013). Theology as Improvisation: A Study in the Musical Nature of Theological Thinking, Leiden, Brill.
  • Çam, M.E & Kuşku, M & Akşit, M.A. & Şaylıgil, Ö. (Bilgilendirme (Aydınlatma) ve (Rıza (Onam) Formu ve Genel Hukuk Boyutu, 2011 746535 (dergipark.org.tr)
  • Deleuze, G. (2014). Hareket-İmge. Çev: S. Özdemir, İstanbul: Norgunk Yayınları.
  • Derrida, J. (2012). Platon’un Eczanesi, Çev: Zeynep Direk, İstanbul: Pinhan Yayıncılık.
  • Dural, M. ve Öğüz, T. (2015). Türk Özel Hukuku, C.II, Kişiler Hukuku, İstanbul.
  • Elmacı, T. (2011). “Belgeselde Çoğalan İmge Buharlaşan Anlam”, Belgesel Sinema 2009 – 2010, Ed. Hakan Aytekin, İstanbul: BSB Yayınları
  • Emerson, M. R. vd. (2008). Bütün Yönleriyle Alan Çalışması, Çev: A. Erkan Koca, Ankara: Birleşik Yayınları.
  • Heidegger, M. (2010). “Metafizik ve Sanat Yapıtının Kaynağı”, Çev: Metin Bal, Doğu Batı: Heidegger, Ankara: Doğu Batı Yayınları.
  • Işıkman, N. G. (2009). Ötekini Belgelemek; Belgesel Sinemada Kültürel Temsiller. Doktora Tezi. İstanbul: Marmara Üniversitesi Sosyal Bilimler Enstitüsü.
  • İnsan Hakları Derneği (İHD) Köy Korucuları Özel Raporu (2009). https://www.ihd.org.tr/images/pdf/ocak_1990_mart_2009_koy_koruculari_ozel_raporu.pdf
  • Karacan, H., & Babayiğit, M. V. (2017). Türk ve Kürt Dillerinin Sentaks (Sözdizimsel) Karşılaştırması. Tiydem Yayıncılık, Editör: Hasan Karacan, Basım sayısı, 3, 7-31.
  • Kovacs, A. B. (2007). Screening Modernism European Art Cinema 1950-1980. Chicago and London: The University of Chicago Press.
  • Lakoff, G. ve Johnson, M. (2015). Metaforlar, Hayat, Anlam ve Dil, Çev: Gökhan Y. Demir, İstanbul: İthaki Yayınları.
  • Lakoff, G. ve Johnson, M. (2010). Metaforlar, Hayat, Anlam ve Dil. Çev: Gökhan Y. Demir, 2. bs. İstanbul: Paradigma Yayıncılık.
  • McCling, C. (2005). The Political Documetary in America Today. Cineaste, 30(3), 29–36
  • McLane, B. A. (2012). A New History of Documentary Film. Continuum Press London
  • Messiri, A. M. (1997). “Daha Kapsamlı ve Açıklayıcı Bir Sekülarizm Paradigmasına Doğru: Modernite, İçkinlik ve Çözülme İlişkisi Üzerine Bir Çalışma”, Çev: Metin Eker, Divan.
  • Metz, C. (1988). Sinemada Anlam Üstüne Denemeler, Çev: Oğuz Adanır, İzmir.
  • Miller. J. H. (1995). Topographies, California. Stanford University Press.
  • Nişanyan, S. (2002). Sözlerin Soyağacı Çağdaş Türkçenin Etimolojik Sözlüğü, İstanbul: Adam Yayınları.
  • Nişanyan, S. (2004). Sözlerin Soyağacı. İstanbul: Adam Yayınları.
  • Nichanian, M. (2011). Edebiyat ve Felaket. Çev: A. Sönmezay, İstanbul: İletişim Yayınları.
  • Sert, S. (2021). Gazete Duvar https://www.gazeteduvar.com.tr/can-candan-toplumun-bagimsiz-gazetecilik-bagimsiz-sanat-gibi-bagimsiz-belgesel-sinemaya-ihtiyaci-var-haber-1508466 Onaran, O. (1985). "İlk Kuramcıları", Sinema Kuramları, (Der: S. Büker- O. Onaran), Dost Kitapevi.
  • Öztürk, G. (2019). Sinemadan Televizyona, Belgesel Filmde Değişen Anlatı Yapısı: Can Dündar ve Tolga Örnek’in Belgesel Filmleri. Doktora Tezi, İstanbul: İstanbul Üniversitesi, Sosyal Bilimler Enstitüsü.
  • Paschke, M. (1990). Medienrecht, Heidelberg 2009, Rn.935; RICKER, Reinhart: Rechte und Pflichten der Medien unter Berücksichtigung des Rechtsschutzes des einzelnen, NJW
  • Pezzella, M. (2006). Sinemada Estetik. Çev: Fisun Demir, Ankara: Dost Kitabevi.
  • Pryluck, C. (1988). Ultimately we are all outsiders: The ethics of documentary filming. In A. Rosenthal (Ed.), New challenges for documentary (pp. 255–268). Berkeley: University of California Press.
  • Rotha, P. (2000). Belgesel Sinema, Çev: İbrahim Şener, İstanbul: İzdişüm Yayınları.
  • Russell, B. (1994). Felsefe Sorunları. İstanbul: Kabalcı Yayınevi
  • Sözen, M. (2008). "Anlatı Mesafesi, Anlatı Perspektifi Kavramları, Sinematografik Anlatı ve Örnek Çözümlemeler". Zonguldak Karaelmas Üniversitesi Sosyal Bilimler Dergisi, Cilt 4, Sayı 8.
  • Torun, H. (2019). Belgesel Sinema Dili ve Savaş. Karadeniz Uluslararası BilimselDergi, 144 - 158.
  • Ulaş, S.E. (2002). Felsefe Sözlüğü, Ankara: Bilim ve Sanat Yayınları.
  • Ulutaş, S. (2016). Sinemada Gerçeklik ve Estetik İlişkisi Bağlamında Dekadan Bakış Açısı ve Çirkin 303633 (dergipark.org.tr)
  • Williams, L. (1993). Mirrors without memories: truth, history and the new documentary. Film Quarterly, 46(3), 9-21
  • Yalın, C. O. ve Güngör, A. (2016). Sinema-Gerçek: Hakikatin Sineması ya da Sinemanın Hakikati. Z. Özarslan içinde, Sinema Kuramları 2:Beyazperdeyi Aydınlatan Kuramlar, İstanbul: Su Yayınları

The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema

Yıl 2022, Cilt 8, Sayı 2, 293 - 309, 25.08.2022
https://doi.org/10.21600/ijoks.1162561

Öz

In the 1990s, Kurds living in Mardin and the surrounding provinces were subjected to various pressures, forced migration, and negative treatment such as village evacuation. Veysi Altay's documentary "Bir" (The Well) tells the story of the disappearance of seven people, three of whom are children after they were detained in the Dargeçit district of Mardin in 1995, and the search for them by their relatives. The fact that the director, who traces the search, focuses on the struggle of the seven relatives instead of drawing attention by implying the Kurdish problem with popular political references, brought the documentary to an objective point.
In this study, based on the documentary The Well; Instead of "documentary-reality", which distances reality from fiction as much as possible, the possibilities of shooting a "real documentary" will be analyzed. In this context, the reasons for avoiding the use of metaphor, the director's limitation of his camera, and the relationship of preference with ethics will be included in the analysis.
While “The Well” has strong meanings from literature to visual arts, in the narrative it has been transformed into a setting, character, and plot that can be grasped, seen, and recorded in history by conveying the truth to witnesses; in this state, instead of losing its meaning from its "reality", it gained strength by feeding on the richness of fiction, but also gave up on poetic reality or all kinds of abstract meanings.
This study will examine the effects of the director's direct involvement in the narrative on ethical values and its contribution to the reality of the film, as well as investigate the limits of the construction of "truth" in the post-truth period with a documentary film.
The fact that the director renounces his power over the film and turns into the eye that is "attracted" and "witnessed" from time to time, rather than "shooting" the film, will be examined ethically with the method of discourse analysis.
The aim of the study is to present an example of whether the creation of documentary cinema in search of reality and its way of influencing the masses are in conflict with ethical principles.

Kaynakça

  • Adalı B. (1986). Belgesel Sinema, İstanbul: Hil Yayınları.
  • Altay, D. (2005). “Küresel Köyün Medyatik Mimarı: Marshall McLuhan”, Kadife Karanlık, Ed. Nurdoğan Rigel, İstanbul: Su Yayınevi
  • Armağan, İ. (1992). Sanat Toplumbilimi Demokrasi Kültürüne Giriş, İzmir: İleri Kitabevi
  • Babayiğit, M. V. (2020). Expressions of Determination, Success, Diligence, Stability and Laziness in Kurdish, Turkish and English Proverbs. International Journal of Kurdish Studies 6 (2), 244 – 257, DOI: https://doi.org/10.21600/ijoks. 760441
  • Babayiğit, M. V. (2021a). Semantic and Modal Analysis of Some Verbs in Kurdish, Turkish and English. International Journal of Kurdish Studies 7 (1), 123-139, https://doi.org/10.21600/ijoks. 850817
  • Babayiğit, M. V. (2021b). Semantic Comparison of Some kinds of Adjectives: Samples from Kurdish, English and Turkish. In Balcı, T., Öztürk, O. & Aksöz, M. (Eds). Schriften Zur Sprache und Literatur V, (5th ed., pp. 67-75). Istanbul, Turkey: Çizgi Press.
  • Barthes, R. (1998). Roland Barthes. Çev: Sema Rifat, İstanbul: Yapı Kredi Kültür Sanat Yayıncılık.
  • Baudrillard, J. (2011). Kusursuz Cinayet, Çev: Necmettin Sevil, İstanbul: Ayrıntı Yayınları.
  • Bennett, B. (2010). Framing terror: Cinema, docudrama and the ‘War on Terror’, Studies in Documentary Film, 4:3, 209-225
  • Brandstetter, G. (2015). Poetics of Dance: Body, Image, and Space in the Historical AvantGardes, New York: Oxford University Press.
  • Crawford, N. (2013). Theology as Improvisation: A Study in the Musical Nature of Theological Thinking, Leiden, Brill.
  • Çam, M.E & Kuşku, M & Akşit, M.A. & Şaylıgil, Ö. (Bilgilendirme (Aydınlatma) ve (Rıza (Onam) Formu ve Genel Hukuk Boyutu, 2011 746535 (dergipark.org.tr)
  • Deleuze, G. (2014). Hareket-İmge. Çev: S. Özdemir, İstanbul: Norgunk Yayınları.
  • Derrida, J. (2012). Platon’un Eczanesi, Çev: Zeynep Direk, İstanbul: Pinhan Yayıncılık.
  • Dural, M. ve Öğüz, T. (2015). Türk Özel Hukuku, C.II, Kişiler Hukuku, İstanbul.
  • Elmacı, T. (2011). “Belgeselde Çoğalan İmge Buharlaşan Anlam”, Belgesel Sinema 2009 – 2010, Ed. Hakan Aytekin, İstanbul: BSB Yayınları
  • Emerson, M. R. vd. (2008). Bütün Yönleriyle Alan Çalışması, Çev: A. Erkan Koca, Ankara: Birleşik Yayınları.
  • Heidegger, M. (2010). “Metafizik ve Sanat Yapıtının Kaynağı”, Çev: Metin Bal, Doğu Batı: Heidegger, Ankara: Doğu Batı Yayınları.
  • Işıkman, N. G. (2009). Ötekini Belgelemek; Belgesel Sinemada Kültürel Temsiller. Doktora Tezi. İstanbul: Marmara Üniversitesi Sosyal Bilimler Enstitüsü.
  • İnsan Hakları Derneği (İHD) Köy Korucuları Özel Raporu (2009). https://www.ihd.org.tr/images/pdf/ocak_1990_mart_2009_koy_koruculari_ozel_raporu.pdf
  • Karacan, H., & Babayiğit, M. V. (2017). Türk ve Kürt Dillerinin Sentaks (Sözdizimsel) Karşılaştırması. Tiydem Yayıncılık, Editör: Hasan Karacan, Basım sayısı, 3, 7-31.
  • Kovacs, A. B. (2007). Screening Modernism European Art Cinema 1950-1980. Chicago and London: The University of Chicago Press.
  • Lakoff, G. ve Johnson, M. (2015). Metaforlar, Hayat, Anlam ve Dil, Çev: Gökhan Y. Demir, İstanbul: İthaki Yayınları.
  • Lakoff, G. ve Johnson, M. (2010). Metaforlar, Hayat, Anlam ve Dil. Çev: Gökhan Y. Demir, 2. bs. İstanbul: Paradigma Yayıncılık.
  • McCling, C. (2005). The Political Documetary in America Today. Cineaste, 30(3), 29–36
  • McLane, B. A. (2012). A New History of Documentary Film. Continuum Press London
  • Messiri, A. M. (1997). “Daha Kapsamlı ve Açıklayıcı Bir Sekülarizm Paradigmasına Doğru: Modernite, İçkinlik ve Çözülme İlişkisi Üzerine Bir Çalışma”, Çev: Metin Eker, Divan.
  • Metz, C. (1988). Sinemada Anlam Üstüne Denemeler, Çev: Oğuz Adanır, İzmir.
  • Miller. J. H. (1995). Topographies, California. Stanford University Press.
  • Nişanyan, S. (2002). Sözlerin Soyağacı Çağdaş Türkçenin Etimolojik Sözlüğü, İstanbul: Adam Yayınları.
  • Nişanyan, S. (2004). Sözlerin Soyağacı. İstanbul: Adam Yayınları.
  • Nichanian, M. (2011). Edebiyat ve Felaket. Çev: A. Sönmezay, İstanbul: İletişim Yayınları.
  • Sert, S. (2021). Gazete Duvar https://www.gazeteduvar.com.tr/can-candan-toplumun-bagimsiz-gazetecilik-bagimsiz-sanat-gibi-bagimsiz-belgesel-sinemaya-ihtiyaci-var-haber-1508466 Onaran, O. (1985). "İlk Kuramcıları", Sinema Kuramları, (Der: S. Büker- O. Onaran), Dost Kitapevi.
  • Öztürk, G. (2019). Sinemadan Televizyona, Belgesel Filmde Değişen Anlatı Yapısı: Can Dündar ve Tolga Örnek’in Belgesel Filmleri. Doktora Tezi, İstanbul: İstanbul Üniversitesi, Sosyal Bilimler Enstitüsü.
  • Paschke, M. (1990). Medienrecht, Heidelberg 2009, Rn.935; RICKER, Reinhart: Rechte und Pflichten der Medien unter Berücksichtigung des Rechtsschutzes des einzelnen, NJW
  • Pezzella, M. (2006). Sinemada Estetik. Çev: Fisun Demir, Ankara: Dost Kitabevi.
  • Pryluck, C. (1988). Ultimately we are all outsiders: The ethics of documentary filming. In A. Rosenthal (Ed.), New challenges for documentary (pp. 255–268). Berkeley: University of California Press.
  • Rotha, P. (2000). Belgesel Sinema, Çev: İbrahim Şener, İstanbul: İzdişüm Yayınları.
  • Russell, B. (1994). Felsefe Sorunları. İstanbul: Kabalcı Yayınevi
  • Sözen, M. (2008). "Anlatı Mesafesi, Anlatı Perspektifi Kavramları, Sinematografik Anlatı ve Örnek Çözümlemeler". Zonguldak Karaelmas Üniversitesi Sosyal Bilimler Dergisi, Cilt 4, Sayı 8.
  • Torun, H. (2019). Belgesel Sinema Dili ve Savaş. Karadeniz Uluslararası BilimselDergi, 144 - 158.
  • Ulaş, S.E. (2002). Felsefe Sözlüğü, Ankara: Bilim ve Sanat Yayınları.
  • Ulutaş, S. (2016). Sinemada Gerçeklik ve Estetik İlişkisi Bağlamında Dekadan Bakış Açısı ve Çirkin 303633 (dergipark.org.tr)
  • Williams, L. (1993). Mirrors without memories: truth, history and the new documentary. Film Quarterly, 46(3), 9-21
  • Yalın, C. O. ve Güngör, A. (2016). Sinema-Gerçek: Hakikatin Sineması ya da Sinemanın Hakikati. Z. Özarslan içinde, Sinema Kuramları 2:Beyazperdeyi Aydınlatan Kuramlar, İstanbul: Su Yayınları

Ayrıntılar

Birincil Dil Türkçe
Konular Sosyal
Bölüm Makaleler
Yazarlar

Şenay TANRIVERMİŞ> (Sorumlu Yazar)
Nişantaşı Üniversitesi, İktisadi, İdari ve Sosyal Bilimler Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
0000-0003-1311-9767
Türkiye

Yayımlanma Tarihi 25 Ağustos 2022
Gönderilme Tarihi 15 Ağustos 2022
Kabul Tarihi 23 Ağustos 2022
Yayınlandığı Sayı Yıl 2022, Cilt 8, Sayı 2

Kaynak Göster

Bibtex @araştırma makalesi { ijoks1162561, journal = {International Journal of Kurdish Studies}, issn = {2149-2751}, eissn = {2149-2751}, address = {}, publisher = {Hasan KARACAN}, year = {2022}, volume = {8}, number = {2}, pages = {293 - 309}, doi = {10.21600/ijoks.1162561}, title = {The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema}, key = {cite}, author = {Tanrıvermiş, Şenay} }
APA Tanrıvermiş, Ş. (2022). The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema . International Journal of Kurdish Studies , 8 (2) , 293-309 . DOI: 10.21600/ijoks.1162561
MLA Tanrıvermiş, Ş. "The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema" . International Journal of Kurdish Studies 8 (2022 ): 293-309 <http://www.ijoks.com/tr/pub/issue/72162/1162561>
Chicago Tanrıvermiş, Ş. "The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema". International Journal of Kurdish Studies 8 (2022 ): 293-309
RIS TY - JOUR T1 - The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema AU - ŞenayTanrıvermiş Y1 - 2022 PY - 2022 N1 - doi: 10.21600/ijoks.1162561 DO - 10.21600/ijoks.1162561 T2 - International Journal of Kurdish Studies JF - Journal JO - JOR SP - 293 EP - 309 VL - 8 IS - 2 SN - 2149-2751-2149-2751 M3 - doi: 10.21600/ijoks.1162561 UR - https://doi.org/10.21600/ijoks.1162561 Y2 - 2022 ER -
EndNote %0 International Journal of Kurdish Studies The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema %A Şenay Tanrıvermiş %T The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema %D 2022 %J International Journal of Kurdish Studies %P 2149-2751-2149-2751 %V 8 %N 2 %R doi: 10.21600/ijoks.1162561 %U 10.21600/ijoks.1162561
ISNAD Tanrıvermiş, Şenay . "The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema". International Journal of Kurdish Studies 8 / 2 (Ağustos 2022): 293-309 . https://doi.org/10.21600/ijoks.1162561
AMA Tanrıvermiş Ş. The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema. Kurdish Studies. 2022; 8(2): 293-309.
Vancouver Tanrıvermiş Ş. The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema. International Journal of Kurdish Studies. 2022; 8(2): 293-309.
IEEE Ş. Tanrıvermiş , "The Use of Metaphor in the Construction of the Representation of Reality with Ethical Principles on the Example of the Movie 'The Well' in Documentary Cinema", International Journal of Kurdish Studies, c. 8, sayı. 2, ss. 293-309, Ağu. 2022, doi:10.21600/ijoks.1162561


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