Gülşen D Akbaş - Academia.edu (original) (raw)

Thesis Chapters by Gülşen D Akbaş

CINEMA: AESTHETICS OF TIME, 2012

Papers by Gülşen D Akbaş

Italian Journal of Philosophy of Language (RIFL – Rivista Italiana di Filosofia del linguaggio), Sep 3, 2022

For decays, cinema is considered as the practice of signs and images within the trajectory of lin... more For decays, cinema is considered as the practice of signs and images within the trajectory of linguistic sign functioning. Even though deciphering cinematic art in such a framework can explain the relational dimensions of the images/shots, it can not shed light on the actual affect of the art of cinema. That is because aesthetic and analytic communication is two disparate forms of language and two different communication systems. Whereas the former relies on intuitive and disinterested relations and requires un-graspable communication, the latter requires cause and effect continuity while the meaning unfolds as the signs follow one after another, either with words or images. If we consider language as a simple sing functioning, the meaning will disclose as the conversation continues. A sentence or a word or an image would designate the following one. If we consider the aesthetic dimensions of cinema, such linguistic explanation on the language of cinema is not adequate to understand neither the imagebeing nor the affect communicated by the work. Therefore, any analytic approach borrowed from linguistics to define a work of cinematic art can not help us understand the real value and communication that is structured by the ontic principle of the cinematic art's image-being. In this paper, to un-conceal the language cinema speaks, we will look into the structure of the cinematographic-image and decipher the aesthetic communication conveyed by the image.

International Journal of Media and Communication Research - MEDIAJ, Apr 29, 2022

Steve McQueen's debut feature film, Hunger (2008), focuses on the 1981 Northern Ireland Hunger St... more Steve McQueen's debut feature film, Hunger (2008), focuses on the 1981 Northern Ireland Hunger Strike and depicts the story through the bodies of the activists imprisoned. This corporeal presentation creates a political discourse in the film: The progression of the narrative through imagery allows McQueen to show the fact of the matter rather than saying what is right or wrong. Hunger: Time Is In The Body aims to display the aestheticized corporeality of the film and argue that the film represents inner temporality and carries the marks of Deleuzian time-image. Objective corporeality as the fabric of the imagery manifests itself in the bodily resistance of the prisoners. However, this imagery does not position the picture inside the realm of realism; throughout the film, the causal chain and the spatial line that we are accustomed to in classical cinema are continually broken. The broken timeline is observable within the flow of corporeality, and the experience of dureé emerges by the density of such imagery. The spectator does not follow the narration; they follow the imagery because the timeline and the meaning are built through the bodies' attitudes. In Deleuzian terms, the film can be observed as the cinema of bodies, which is a kind of time-image, and with that, it gets separated from the classical dramatic structure. In conclusion, this article suggests that Steve McQueen places time in the body in Hunger through the critical objectivity of corporeality.

CINEMA: AESTHETICS OF TIME, 2012

Italian Journal of Philosophy of Language (RIFL – Rivista Italiana di Filosofia del linguaggio), Sep 3, 2022

For decays, cinema is considered as the practice of signs and images within the trajectory of lin... more For decays, cinema is considered as the practice of signs and images within the trajectory of linguistic sign functioning. Even though deciphering cinematic art in such a framework can explain the relational dimensions of the images/shots, it can not shed light on the actual affect of the art of cinema. That is because aesthetic and analytic communication is two disparate forms of language and two different communication systems. Whereas the former relies on intuitive and disinterested relations and requires un-graspable communication, the latter requires cause and effect continuity while the meaning unfolds as the signs follow one after another, either with words or images. If we consider language as a simple sing functioning, the meaning will disclose as the conversation continues. A sentence or a word or an image would designate the following one. If we consider the aesthetic dimensions of cinema, such linguistic explanation on the language of cinema is not adequate to understand neither the imagebeing nor the affect communicated by the work. Therefore, any analytic approach borrowed from linguistics to define a work of cinematic art can not help us understand the real value and communication that is structured by the ontic principle of the cinematic art's image-being. In this paper, to un-conceal the language cinema speaks, we will look into the structure of the cinematographic-image and decipher the aesthetic communication conveyed by the image.

International Journal of Media and Communication Research - MEDIAJ, Apr 29, 2022

Steve McQueen's debut feature film, Hunger (2008), focuses on the 1981 Northern Ireland Hunger St... more Steve McQueen's debut feature film, Hunger (2008), focuses on the 1981 Northern Ireland Hunger Strike and depicts the story through the bodies of the activists imprisoned. This corporeal presentation creates a political discourse in the film: The progression of the narrative through imagery allows McQueen to show the fact of the matter rather than saying what is right or wrong. Hunger: Time Is In The Body aims to display the aestheticized corporeality of the film and argue that the film represents inner temporality and carries the marks of Deleuzian time-image. Objective corporeality as the fabric of the imagery manifests itself in the bodily resistance of the prisoners. However, this imagery does not position the picture inside the realm of realism; throughout the film, the causal chain and the spatial line that we are accustomed to in classical cinema are continually broken. The broken timeline is observable within the flow of corporeality, and the experience of dureé emerges by the density of such imagery. The spectator does not follow the narration; they follow the imagery because the timeline and the meaning are built through the bodies' attitudes. In Deleuzian terms, the film can be observed as the cinema of bodies, which is a kind of time-image, and with that, it gets separated from the classical dramatic structure. In conclusion, this article suggests that Steve McQueen places time in the body in Hunger through the critical objectivity of corporeality.