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SENSORY ETHNOGRAPHIC PRACTICES IN TURKEY: LIFE ON THEIR BACKS (2004) AND LAST SEASON SHAWAKS (2009)

Year 2025, Volume: 15 Issue: 3, 939 - 954, 01.07.2025

Ekin Pınar

https://doi.org/10.7456/tojdac.1674088

Abstract

This article explores documentary film production in Turkey, focusing on sensory ethnographic cinema, an artistic approach that highlights local cultural practices through the lens of the body, senses, and emotions. While not explicitly categorized as sensory ethnography, certain Turkish documentaries such as Life on Their Backs (Yeşim Ustaoğlu, 2004) and Last Season Shawaks (Kazım Öz, 2009) embody similar artistic elements. By highlighting the key characteristics of these two films -such as immersing the audience in a ‘being there’ experience, their expansive views including non-human aspects, and their distinct regional focus- the article suggests that the geographical scope of sensory etnography extends beyond the works produced by the Sensory Ethnography Lab where this genre originated. Accordingly, the article conducts a comparative analysis of Life on Their Backs, Last Season Shawaks, and Sensory Ethnography Lab’s Sweetgrass (Lucien Castaing-Taylor and Ilisa Barbash, 2009) within the theoretical frameworks of new materialism and actor-network theories.

Keywords

Actor-network theory art cinema sensory ethnographic film new materialism

References

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  • Akınhay, O. (2009). Kazım Öz'ün Fırtına'sı: Üniversiteli gençlere bilinç aşılamak. M. Arslan (Ed.), Kürt sineması: Yurtsuzluk, ölüm ve sınır, (s. 288-297). Agora kitaplığı.
  • Balsom, E. and Peleg, H. (2016). Introduction: The documentary attitude. E. Balsom and H. Peleg (Ed.), Documentary across disciplines, (p. 10-19). The MIT Press.
  • Banks, M. ve Murphy, H., ed. (1997). Rethinking visual anthropology. Yale University Press.
  • Başçı, P. (2015). Gender and memory in the films of Tomris Giritlioğlu and Yeşim Ustaoğlu. Perspectives on Turkey, 53, 137–171.
  • Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press.
  • Bogost, I. Alien phenomenology‚ or what it’s like to be a thing. University of Minnesota Press.
  • Bowens, M. (2018). “The flesh of the perceptible”: The new materialism of Leviathan. Film-Philosophy, 22(3), 428-447.
  • Candan, C (2016). Kurdish documentaries in Turkey: An historical overview. S. Koçer ve C. Candan (Ed.), Kurdish documentary cinema in Turkey: The politics and aesthetics of identity and resistance, (s. 1-32). Cambridge Scholars Publishing.
  • Castaing-Taylor, L. (1996). Iconophobia: How anthropology lost it at the movies. Transition, 69(1), 64-88.
  • Castaing-Taylor, L. Ve Barbash, I. (2009). Sweetgrass. [Film]. USA: Harvard Sensory Ethnography Lab.
  • Çiçek, Ö. (2011). The fictive archive: Kurdish filmmaking in Turkey. Alphaville: Journal of Film and Screen Media, 1, 1-18.
  • Çiftçi, A. (2009). Kazım Öz sineması: Konuşmak, hatırlamak. M. Arslan (Ed.), Kürt sineması: Yurtsuzluk, ölüm ve sınır, (s. 267-287). Agora kitaplığı.
  • Daldal, A. (2021). 1990’ların yeni bağımsız Türk sineması’nda emekçi öznenin kayboluşu: küreselleşme ve festivalizm. Kültür ve İletişim, 24 (47), 159-189.
  • Doane. M. A. (2007). Introduction: indexicality, trace and sign. Differences: A Journal of Feminist Cultural Studies, 18(1), 1-6.
  • Enwezor, O. (2008). Archive fever: Photography between history and the monument. O. Enwezor (Ed.). Archive fever: Uses of the document in contemporary art, (p. 10-51). Steidl Publishers.
  • Fabian, J. (2014). Time and the other: How anthropology makes its object. Columbia University Press.
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  • Ginsburg, F. (1994). Culture/Media: a (mild) polemic. Anthropology Today, 10(2), 5-15.
  • Göktürk, D. (2002). Anyone at home? Itinerant identities in European cinema of the 1990s. Framework: The Journal of Cinema and Media, 43(2), 201-212.
  • Gürkan, H. (2020). The status of women as subject in the films of contemporary turkish female directors. Contemporary Southeastern Europe, 7(2), 62-79.
  • Griffiths, A. (1999). 'To the world the world we show': Early travelogues as filmed ethnography. Film History, 11(3), 282-307.
  • Grimshaw. A. (2011). The bellwether ewe: Recent developments in ethnographic filmmaking and the aesthetics of anthropological inquiry. Cultural Anthropology, 26(2), 247-262.
  • Grusin, R. (2015). Introduction. R. Grusin (Ed.) The nonhuman turn, (s. xii-xxvii). University of Minnesota Press.
  • Gunning, T. (2007). Moving away from the index: Cinema and the impression of reality, Differences: A Journal of Feminist Cultural Studies, 18(1), 29-52.
  • Heider, K. G. (2006). Ethnographic Film. University of Texas Press.
  • Hepburn, S. J. (2016). Ethnography and Harvard’s Sensory Ethnography Laboratory. The Senses and Society, 11(2), 232-236.
  • Hird, M. ve Roberts, C. (2011). Feminism theorises the nonhuman. Feminist Theory, 12(2), 109-117.
  • İlbuğa, E. U. (2018). Yeşim Ustaoğlu sinemasında kadın karakterlerin özgürlük arayışları. Selçuk İletişim, 11(2), 292-320.
  • Iordanova, D. (2008). Intercultural cinema and Balkan hushed histories. New Review of Film and Television Studies, 6(1), 5-18.
  • Koçer, S. (2014). Kurdish cinema as a transnational discourse genre: Cinematic visibility, cultural resilience, and political agency. International Journal of Middle East Studies, 46, 473-488.
  • Koçer, S. (2013). Making transnational publics: Circuits of censorship and technologies of publicity in Kurdish media circulation. American Ethnologist, 40(4), 721-733.
  • Koçer, S. ve Candan, C (2016). Introduction. S. Koçer ve C. Candan (Ed.), Kurdish documentary cinema in Turkey: The politics and aesthetics of identity and resistance, (s. viii-xiii). Cambridge Scholars Publishing.
  • Koçer, Z. ve Göztepe, M. O. (2017). Representing ethnicity in cinema during Turkey’s Kurdish initiative: a critical analysis of my Marlon and Brando (Karabey, 2008), The Storm (Öz, 2008) and Future Lasts Forever (Alper, 2011). Alphaville: Journal of Film and Screen Media, 13, 54–68.
  • Kurtuluş Korkman, Z. (2018). Clair obscur/Tereddüt by Yeşim Ustaoğlu. Journal of Middle East Women's Studies, 14(2), 230-232.
  • Laplantne, F. (2015). The life of the senses: Introduction to a modal anthropology, çev. J. Furniss. Routledge.
  • Latour, Bruno. (2005). Reassembling the social: An introduction to actor-network-theory. Oxford University Press.
  • Lee, T. (2019). Beyond the ethico‐aesthetic: Toward a re‐valuation of the Sensory Ethnography Lab. Visual Anthropology Review, 35(2), 138-147.
  • Lind, M. and Steyerl, H., ed. (2008). The greenroom: Reconsidering the documentary and contemporary art #1. Sternberg Press.
  • MacDonald, S. (2013). American ethnographic film and personal documentary: The Cambridge turn. University of California Press.
  • MacDonald, S. (2015). Avant-doc: Intersections of documentary and avant-garde cinema. Oxford University Press.
  • MacDonald, S. (2019). The sublimity of document: Cinema as diorama (Avant-doc 2). Oxford Univerity Press.
  • MacDougall, D. (2005). The corporeal image: Film, ethnography and the senses. Princeton University Press.
  • MacDougall, D. (1999). The visual in anthropology. M. Banks ve H. Morphy (Ed.) Rethinking Visual Anthropology, (s. 276-295). Yale University Press.
  • Magagnoli, P. (2015). Documents of utopia: The politics of experimental documentary. Wallflower Press.
  • Marcus, G. E. (2023). The modernist sensibility in recent ethnographic writing and the cinematic metaphor of montage. L. Devereaux ve R. Hillman (Ed.), Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography, (s. 35-55). Univeristy of California Press.
  • Marcus, S., Love, H., Best, S. (2016). Building a better description. Representations, 135, 1-21.
  • Massey, D. (2001). Space, place, and gender. University of Minnesota Press.
  • Mersin, S. (2010). Azınlık filmleri: Tarihin yeniden inşası ve kolektif bellek. Sinecine, 1(2), 5-29.
  • Minh-ha, Trinh T. (1991a). The totalizing quest of meaning. When the Moon Waxes Red: Representation, Gender, and Cultural Politics, (s. 29-50). Routledge.
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  • Monceau, N. ve Ustaoğlu, Y. (2001). Confronting Turkey's social realities: An interview with Yesim Ustaoğlu. Cinéaste, 26(3), 28-30.
  • Nakamura, K. (2013). Making sense of sensory ethnography: The sensual and the multisensory. American Anthropologist, 115(1), 132-144.
  • Nash, M. (2004). Experiments with truth: The documentary turn. M. Nash (Ed.), Experiments with truth, (p. 15-21). Philadelphia Fabric Workshop and Museum.
  • Nash, M. (2008). Reality in the age of aesthetics. Frieze, 114, 118-125.
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  • Öneren Özbek, M. (2021). The face of the other in Yeşim Ustaoğlu's films (1999-2016): An alternative reading through Levinas's concept of responsibility. Sinecine, 12(2), 207- 230.
  • Öztürk, S. R. (2010). Hard to bear: Women’s burdens in the cinema of Yeşim Ustaoğlu. F. Laviosa (Ed.), Visions of struggle in women’s filmmaking in the Mediterranean, (s. 149-166). Palgrave Macmillan.
  • Pink, S. (2009). Doing sensory ethnography. Sage.
  • Pink, S. (2006). The future of visual anthropology: Engaging the senses. Routledge.
  • Pratt, M. L. (1985). Scratches on the face of the country; or what Mr. Barrow saw in the land of the bushmen. Critical Inquiry 12(1), 119-143.
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  • Rifkin, M. (2017). Beyond settler time: Temporal sovereignty and indigenous self-determination. Duke University Press.
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TÜRKİYE’DE DUYUSAL ETNOGRAFİK SİNEMA PRATİKLERİ: SIRTLARINDAKI HAYAT (2004) VE SON MEVSİM ŞAVAKLAR (2009)

Year 2025, Volume: 15 Issue: 3, 939 - 954, 01.07.2025

Ekin Pınar

https://doi.org/10.7456/tojdac.1674088

Abstract

Bu makale yerel bir kültürün pratiklerini beden, duyu ve duygulara vurgu yaparak aktaran sanatsal bir biçim olan duyusal etnografik film kavramını Türkiye’deki belgesel sinema üretimi üzerinden incelemektedir. Kendilerini duyusal etnografik olarak tanımlamasalar da Türkiye’de üretilmiş Sırtlarındaki Hayat (Yeşim Ustaoğlu, 2004) ve Demsala Dawî Şewaxan (Son Mevsim Şavaklar, Kazım Öz, 2009) gibi bazı belgesel sinema örnekleri de benzer sanatsal eğilimler sergilemeleri bakımından bu kategoriye yakınlık gösterirler. Makale bu iki örneğin duyusal etnografik film kategorisine giren özelliklerini (seyircide oradaymış hissi uyandırmaları, insan-olmayanı da içeren geniş perspektifleri, belirli bir yerelliği ele alışları) incelemek yoluyla bu kategorinin coğrafi sınırlarının çıkış yaptığı Duyusal Etnografya Lab’ının üretimiyle sınırlı kalmadığını savunmaktadır. Bu amaçla, makale, Sırtlarındaki Hayat ve Demsala Dawî Şewaxan’ı, Duyusal Etnografi Lab’ında üretilmiş olan Sweetgrass (Lucien Castaing-Taylor ve Ilisa Barbash, 2009)’la beraber ele alır ve karşılaştırmalı olarak ve yeni maddecilik ve aktör-ağ teorilerinin teorik çerçevesinden yararlanarak analiz eder.

Keywords

Aktör-ağ teorisi Duyusal Etnografik Film sanat sinema yeni maddecilik

References

  • Akçali, E. (2019). Essayistic tendencies in contemporary Kurdish filmmaking in Turkey. Journal of Film and Video, 71(1), 20-34.
  • Akınhay, O. (2009). Kazım Öz'ün Fırtına'sı: Üniversiteli gençlere bilinç aşılamak. M. Arslan (Ed.), Kürt sineması: Yurtsuzluk, ölüm ve sınır, (s. 288-297). Agora kitaplığı.
  • Balsom, E. and Peleg, H. (2016). Introduction: The documentary attitude. E. Balsom and H. Peleg (Ed.), Documentary across disciplines, (p. 10-19). The MIT Press.
  • Banks, M. ve Murphy, H., ed. (1997). Rethinking visual anthropology. Yale University Press.
  • Başçı, P. (2015). Gender and memory in the films of Tomris Giritlioğlu and Yeşim Ustaoğlu. Perspectives on Turkey, 53, 137–171.
  • Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press.
  • Bogost, I. Alien phenomenology‚ or what it’s like to be a thing. University of Minnesota Press.
  • Bowens, M. (2018). “The flesh of the perceptible”: The new materialism of Leviathan. Film-Philosophy, 22(3), 428-447.
  • Candan, C (2016). Kurdish documentaries in Turkey: An historical overview. S. Koçer ve C. Candan (Ed.), Kurdish documentary cinema in Turkey: The politics and aesthetics of identity and resistance, (s. 1-32). Cambridge Scholars Publishing.
  • Castaing-Taylor, L. (1996). Iconophobia: How anthropology lost it at the movies. Transition, 69(1), 64-88.
  • Castaing-Taylor, L. Ve Barbash, I. (2009). Sweetgrass. [Film]. USA: Harvard Sensory Ethnography Lab.
  • Çiçek, Ö. (2011). The fictive archive: Kurdish filmmaking in Turkey. Alphaville: Journal of Film and Screen Media, 1, 1-18.
  • Çiftçi, A. (2009). Kazım Öz sineması: Konuşmak, hatırlamak. M. Arslan (Ed.), Kürt sineması: Yurtsuzluk, ölüm ve sınır, (s. 267-287). Agora kitaplığı.
  • Daldal, A. (2021). 1990’ların yeni bağımsız Türk sineması’nda emekçi öznenin kayboluşu: küreselleşme ve festivalizm. Kültür ve İletişim, 24 (47), 159-189.
  • Doane. M. A. (2007). Introduction: indexicality, trace and sign. Differences: A Journal of Feminist Cultural Studies, 18(1), 1-6.
  • Enwezor, O. (2008). Archive fever: Photography between history and the monument. O. Enwezor (Ed.). Archive fever: Uses of the document in contemporary art, (p. 10-51). Steidl Publishers.
  • Fabian, J. (2014). Time and the other: How anthropology makes its object. Columbia University Press.
  • Foster, H. (2014). An archival impulse. October, 110, 3-22.
  • Foster, F. (2017). Real fictions: Alternatives to alternative facts,” Artforum International. https://www.artforum.com/inprint/issue=201704&id=67192.
  • Friedman, P. K. (2020). Defining ethnographic film. P. Vannini (Ed.), The Routledge International Handbook of Ethnographic Film and Video, (s. 15-29). Routledge.
  • Ginsburg, F. (2018). Decolonizing documentary on-screen and off: Sensory ethnography and the aesthetics of accountability. Film Quarterly, 72(1), s. 39–49.
  • Ginsburg, F. (1994). Culture/Media: a (mild) polemic. Anthropology Today, 10(2), 5-15.
  • Göktürk, D. (2002). Anyone at home? Itinerant identities in European cinema of the 1990s. Framework: The Journal of Cinema and Media, 43(2), 201-212.
  • Gürkan, H. (2020). The status of women as subject in the films of contemporary turkish female directors. Contemporary Southeastern Europe, 7(2), 62-79.
  • Griffiths, A. (1999). 'To the world the world we show': Early travelogues as filmed ethnography. Film History, 11(3), 282-307.
  • Grimshaw. A. (2011). The bellwether ewe: Recent developments in ethnographic filmmaking and the aesthetics of anthropological inquiry. Cultural Anthropology, 26(2), 247-262.
  • Grusin, R. (2015). Introduction. R. Grusin (Ed.) The nonhuman turn, (s. xii-xxvii). University of Minnesota Press.
  • Gunning, T. (2007). Moving away from the index: Cinema and the impression of reality, Differences: A Journal of Feminist Cultural Studies, 18(1), 29-52.
  • Heider, K. G. (2006). Ethnographic Film. University of Texas Press.
  • Hepburn, S. J. (2016). Ethnography and Harvard’s Sensory Ethnography Laboratory. The Senses and Society, 11(2), 232-236.
  • Hird, M. ve Roberts, C. (2011). Feminism theorises the nonhuman. Feminist Theory, 12(2), 109-117.
  • İlbuğa, E. U. (2018). Yeşim Ustaoğlu sinemasında kadın karakterlerin özgürlük arayışları. Selçuk İletişim, 11(2), 292-320.
  • Iordanova, D. (2008). Intercultural cinema and Balkan hushed histories. New Review of Film and Television Studies, 6(1), 5-18.
  • Koçer, S. (2014). Kurdish cinema as a transnational discourse genre: Cinematic visibility, cultural resilience, and political agency. International Journal of Middle East Studies, 46, 473-488.
  • Koçer, S. (2013). Making transnational publics: Circuits of censorship and technologies of publicity in Kurdish media circulation. American Ethnologist, 40(4), 721-733.
  • Koçer, S. ve Candan, C (2016). Introduction. S. Koçer ve C. Candan (Ed.), Kurdish documentary cinema in Turkey: The politics and aesthetics of identity and resistance, (s. viii-xiii). Cambridge Scholars Publishing.
  • Koçer, Z. ve Göztepe, M. O. (2017). Representing ethnicity in cinema during Turkey’s Kurdish initiative: a critical analysis of my Marlon and Brando (Karabey, 2008), The Storm (Öz, 2008) and Future Lasts Forever (Alper, 2011). Alphaville: Journal of Film and Screen Media, 13, 54–68.
  • Kurtuluş Korkman, Z. (2018). Clair obscur/Tereddüt by Yeşim Ustaoğlu. Journal of Middle East Women's Studies, 14(2), 230-232.
  • Laplantne, F. (2015). The life of the senses: Introduction to a modal anthropology, çev. J. Furniss. Routledge.
  • Latour, Bruno. (2005). Reassembling the social: An introduction to actor-network-theory. Oxford University Press.
  • Lee, T. (2019). Beyond the ethico‐aesthetic: Toward a re‐valuation of the Sensory Ethnography Lab. Visual Anthropology Review, 35(2), 138-147.
  • Lind, M. and Steyerl, H., ed. (2008). The greenroom: Reconsidering the documentary and contemporary art #1. Sternberg Press.
  • MacDonald, S. (2013). American ethnographic film and personal documentary: The Cambridge turn. University of California Press.
  • MacDonald, S. (2015). Avant-doc: Intersections of documentary and avant-garde cinema. Oxford University Press.
  • MacDonald, S. (2019). The sublimity of document: Cinema as diorama (Avant-doc 2). Oxford Univerity Press.
  • MacDougall, D. (2005). The corporeal image: Film, ethnography and the senses. Princeton University Press.
  • MacDougall, D. (1999). The visual in anthropology. M. Banks ve H. Morphy (Ed.) Rethinking Visual Anthropology, (s. 276-295). Yale University Press.
  • Magagnoli, P. (2015). Documents of utopia: The politics of experimental documentary. Wallflower Press.
  • Marcus, G. E. (2023). The modernist sensibility in recent ethnographic writing and the cinematic metaphor of montage. L. Devereaux ve R. Hillman (Ed.), Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography, (s. 35-55). Univeristy of California Press.
  • Marcus, S., Love, H., Best, S. (2016). Building a better description. Representations, 135, 1-21.
  • Massey, D. (2001). Space, place, and gender. University of Minnesota Press.
  • Mersin, S. (2010). Azınlık filmleri: Tarihin yeniden inşası ve kolektif bellek. Sinecine, 1(2), 5-29.
  • Minh-ha, Trinh T. (1991a). The totalizing quest of meaning. When the Moon Waxes Red: Representation, Gender, and Cultural Politics, (s. 29-50). Routledge.
  • Minh-ha, Trinh T. (1991b). Mechanical eye, electronic ear, and the lure of authenticity. When the Moon Waxes Red: Representation, Gender, and Cultural Politics, (s. 53-62). Routledge.
  • Monceau, N. ve Ustaoğlu, Y. (2001). Confronting Turkey's social realities: An interview with Yesim Ustaoğlu. Cinéaste, 26(3), 28-30.
  • Nakamura, K. (2013). Making sense of sensory ethnography: The sensual and the multisensory. American Anthropologist, 115(1), 132-144.
  • Nash, M. (2004). Experiments with truth: The documentary turn. M. Nash (Ed.), Experiments with truth, (p. 15-21). Philadelphia Fabric Workshop and Museum.
  • Nash, M. (2008). Reality in the age of aesthetics. Frieze, 114, 118-125.
  • Öz, K. (Yönetmen). (2009). Demsala Dawî Şewaxan. [Film]. Türkiye: Mezopotamya Film Yapım.
  • Öneren Özbek, M. (2021). The face of the other in Yeşim Ustaoğlu's films (1999-2016): An alternative reading through Levinas's concept of responsibility. Sinecine, 12(2), 207- 230.
  • Öztürk, S. R. (2010). Hard to bear: Women’s burdens in the cinema of Yeşim Ustaoğlu. F. Laviosa (Ed.), Visions of struggle in women’s filmmaking in the Mediterranean, (s. 149-166). Palgrave Macmillan.
  • Pink, S. (2009). Doing sensory ethnography. Sage.
  • Pink, S. (2006). The future of visual anthropology: Engaging the senses. Routledge.
  • Pratt, M. L. (1985). Scratches on the face of the country; or what Mr. Barrow saw in the land of the bushmen. Critical Inquiry 12(1), 119-143.
  • Rangan, P. (2017). Immediations: The humanitarian impulse in documentary. Duke University Press.
  • Ratner, M. (2010). Once grazing, now gone: Sweetgrass. Film Quarterly 63(3), 23-27.
  • Rifkin, M. (2017). Beyond settler time: Temporal sovereignty and indigenous self-determination. Duke University Press.
  • Ruby, J. (2000). Picturing Culture: Explorations of Film & Anthropology. The University of Chicago Press.
  • Russell, C. (1999). Experimental ethnography: The work of film in the age of video. Duke University Press.
  • Salman, S. (2019). Yeşim Ustaoğlu sinemasında aile: Araf ve Tereddüt filmlerinin analizi. Selçuk İletişim, 12 (1), 351-367.
  • Sensory Ethnography Lab websitesi. https://sel.fas.harvard.edu
  • Skoller, J. (2005). Shadows, specters, shards: Making history in avant-garde film. University of Minnesota Press.
  • Smaill, B. (2014). Documentary film and animal modernity in Raw Herring and Sweetgrass. Australian Humanities Review, 57, 61-80.
  • Spray, S. (2020). Filming the other. P. Vannini (Ed.), The Routledge International Handbook of Ethnographic Film and Video, (s. 40-48). Routledge.
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There are 87 citations in total.

Details

Primary Language English
Subjects Photography, Video and Lens-Based Practice, Video Art, Art History, Theory and Criticism (Other), Documentary Film - Political Cinema
Journal Section RESEARCH ARTICLES
Authors

Ekin Pınar 0000-0002-8367-1234

Early Pub Date June 30, 2025
Publication Date July 1, 2025
Submission Date April 11, 2025
Acceptance Date June 30, 2025
Published in Issue Year 2025 Volume: 15 Issue: 3

Cite

APA Pınar, E. (2025). SENSORY ETHNOGRAPHIC PRACTICES IN TURKEY: LIFE ON THEIR BACKS (2004) AND LAST SEASON SHAWAKS (2009). Turkish Online Journal of Design Art and Communication, 15(3), 939-954. https://doi.org/10.7456/tojdac.1674088
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