Öz
Bu çalışma, Aftersun (2022) filminde hafızanın nasıl bir anlatı yöntemi olarak kullanıldığını incelemektedir. Filmde anılar, yalnızca geçmişin birer yansıması olarak değil, bireyin kimlik ve geçmişle olan ilişkisini derinlemesine sorgulama yöntemi olarak işlev görmektedir. Feminist teori ve hafıza çalışmaları perspektifinden hareketle, çalışmada filmin doğrusal olmayan, parçalı anlatı yapısının, karakterlerin iç dünyalarını nasıl açığa çıkardığı analiz edilmiştir. Filmde kullanılan görsel ve anlatısal stratejiler, hafızanın bir anlatı dili olarak işlevselleştiği anları öne çıkararak, hatırlamanın bireysel deneyim ve toplumsal kimliklerin yeniden üretiminde nasıl bir rol oynadığını ortaya koymaktadır. Aftersun, hafızayı duygusal ve seçici bir anlatı aracı olarak sunarak, geçmişle kurulan bağların ve bireyin kendini tanıma sürecinin karmaşıklığını yansıtmaktadır. Çalışmanın amacı, hafızanın sinemadaki rolünü ve bireysel deneyimlerin toplumsal kimliklerin inşasında nasıl etkili bir araç haline geldiğini analiz etmektir.
Anahtar Kelimeler
hafıza anlatı aftersun feminist teori hatırlama otobiyografik sinema görsel dil
Kaynakça
- Bordwell, D. (1985). Narrative in the fiction film. University of Wisconsin Press.
- Bordwell, D. (1997). On the history of film style. Harvard University Press.
- Boyle, C. (2012). Self-fictions and film: Varda’s transformative technology of the self in Les plages d’Agnès. Journal of French and Francophone Philosophy, 20(1), 78–90. https://doi.org/10.5195/jffp.2012.538
- Boym, S. (2001). The future of nostalgia. Basic Books.
- Chion, M. (1994). Audio-vision: Sound on screen. Columbia University Press.
- Cixous, H. (1975). The laugh of the Medusa. Signs: Journal of Women in Culture and Society, 1(4), 875–893. https://doi.org/10.1086/493306
- Cooke, J. (2020). Contemporary feminist life-writing: The new audacity. Cambridge University Press.
- De Lauretis, T. (1984). Alice doesn’t: Feminism, semiotics, cinema. Indiana University Press.
- Eakin, P. J. (2014). Breaking rules: The consequences of self-narration. Life Writing, 11(4), 403–416. https://doi.org/10.1080/14484528.2014.933763
- Effe, A., & Schmitt, A. (Eds.). (2022). Autofiction, emotions, and humour: A playfully serious affective mode. Routledge.
- Fournier, L. (2021). Autotheory as feminist practice in art, writing, and criticism. MIT Press.
- Gilmore, L. (2017). Tainted witness: Why we doubt what women say about their lives. Columbia University Press.
- Halbwachs, M. (1992). On collective memory. University of Chicago Press.
- Hirsch, M. (1997). Family frames: Photography, narrative, and postmemory. Harvard University Press.
- Hogg, J. (Director). (2019). The souvenir [Film]. Element Pictures, BBC Films.
- Hutton, R. (2017). Fragmented narratives in contemporary cinema: Exploring memory and identity. Journal of Film and Video, 69(2), 3-17.
- Kuhn, A. (2002). Family secrets: Acts of memory and imagination. Verso.
- Lanser, S. S. (1992). Fictions of authority: Women writers and narrative voice. Cornell University Press.
- Lejeune, P. (1975). The autobiographical pact. In On autobiography (pp. 3–30). University of Minnesota Press. L andsberg, A. (2004). Prosthetic memory: The transformation of American remembrance in the age of mass culture. Columbia University Press.
- Miller, N. K. (1991). Getting personal: Feminist occasions and other autobiographical acts. Routledge.
- Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-18.
- Radstone, S. (2000). Memory and methodology. History Workshop Journal, 50(1), 1-19.
- Rancière, J. (2009). The emancipation of the spectator. In The future of the image: The aesthetic of the spectator (pp. 1-12). Verso.
- Sciamma, C. (Director). (2019). Portrait of a lady on fire [Film]. Lilies Films
- Shands, K. W., Mikrut, G. G., Pattanaik, D. R., & Ferreira-Meyers, K. (Eds.). (2015). Writing the self: Essays on autobiography and autofiction. Södertörn University.
- Smith, A. (2006). The feminist memory: A narrative approach to women’s history. Feminist Studies, 32(2), 317-338.
- Smith, S., & Watson, J. (2001). Reading autobiography: A guide for interpreting life narratives. University of Minnesota Press.
- Smith, S., & Watson, J. (2010). Life writing in the long run: A Smith & Watson autobiography studies reader. University of Michigan Publishing.
- Warnapala, K. (2023). Memoir and respectable femininity: Shirani A. Bandaranayake's Hold me in contempt. Journal of South Asian Studies, 41(2), 234–251. https://doi.org/10.1080/00856401.2023.1104088
- Wells, C. (Director). (2022). Aftersun [Film]. A24.
Öz
This study examines how memory functions as a narrative device in the film Aftersun, where memories are portrayed not merely as tools of recollection but as a means for characters to question their identity and connection to the past. Through visual and narrative strategies, the film presents memories as a narrative language that explores self-identity and relationships. Drawing from feminist theory and memory studies, this research analyzes the film's narrative structure, arguing that remembrance is employed as a method for reconstructing ties to the past and understanding one's self. Aftersun transforms memory into a non-linear, fragmented, and emotional narrative device, offering the audience a deeper insight into the characters’ inner worlds. The purpose of this study is to uncover how memory serves as an effective tool in cinema for reproducing individual experiences and social identities.
Anahtar Kelimeler
memory narrative aftersun feminist theory remembrance autobiographical cinema visual language
Kaynakça
- Bordwell, D. (1985). Narrative in the fiction film. University of Wisconsin Press.
- Bordwell, D. (1997). On the history of film style. Harvard University Press.
- Boyle, C. (2012). Self-fictions and film: Varda’s transformative technology of the self in Les plages d’Agnès. Journal of French and Francophone Philosophy, 20(1), 78–90. https://doi.org/10.5195/jffp.2012.538
- Boym, S. (2001). The future of nostalgia. Basic Books.
- Chion, M. (1994). Audio-vision: Sound on screen. Columbia University Press.
- Cixous, H. (1975). The laugh of the Medusa. Signs: Journal of Women in Culture and Society, 1(4), 875–893. https://doi.org/10.1086/493306
- Cooke, J. (2020). Contemporary feminist life-writing: The new audacity. Cambridge University Press.
- De Lauretis, T. (1984). Alice doesn’t: Feminism, semiotics, cinema. Indiana University Press.
- Eakin, P. J. (2014). Breaking rules: The consequences of self-narration. Life Writing, 11(4), 403–416. https://doi.org/10.1080/14484528.2014.933763
- Effe, A., & Schmitt, A. (Eds.). (2022). Autofiction, emotions, and humour: A playfully serious affective mode. Routledge.
- Fournier, L. (2021). Autotheory as feminist practice in art, writing, and criticism. MIT Press.
- Gilmore, L. (2017). Tainted witness: Why we doubt what women say about their lives. Columbia University Press.
- Halbwachs, M. (1992). On collective memory. University of Chicago Press.
- Hirsch, M. (1997). Family frames: Photography, narrative, and postmemory. Harvard University Press.
- Hogg, J. (Director). (2019). The souvenir [Film]. Element Pictures, BBC Films.
- Hutton, R. (2017). Fragmented narratives in contemporary cinema: Exploring memory and identity. Journal of Film and Video, 69(2), 3-17.
- Kuhn, A. (2002). Family secrets: Acts of memory and imagination. Verso.
- Lanser, S. S. (1992). Fictions of authority: Women writers and narrative voice. Cornell University Press.
- Lejeune, P. (1975). The autobiographical pact. In On autobiography (pp. 3–30). University of Minnesota Press. L andsberg, A. (2004). Prosthetic memory: The transformation of American remembrance in the age of mass culture. Columbia University Press.
- Miller, N. K. (1991). Getting personal: Feminist occasions and other autobiographical acts. Routledge.
- Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-18.
- Radstone, S. (2000). Memory and methodology. History Workshop Journal, 50(1), 1-19.
- Rancière, J. (2009). The emancipation of the spectator. In The future of the image: The aesthetic of the spectator (pp. 1-12). Verso.
- Sciamma, C. (Director). (2019). Portrait of a lady on fire [Film]. Lilies Films
- Shands, K. W., Mikrut, G. G., Pattanaik, D. R., & Ferreira-Meyers, K. (Eds.). (2015). Writing the self: Essays on autobiography and autofiction. Södertörn University.
- Smith, A. (2006). The feminist memory: A narrative approach to women’s history. Feminist Studies, 32(2), 317-338.
- Smith, S., & Watson, J. (2001). Reading autobiography: A guide for interpreting life narratives. University of Minnesota Press.
- Smith, S., & Watson, J. (2010). Life writing in the long run: A Smith & Watson autobiography studies reader. University of Michigan Publishing.
- Warnapala, K. (2023). Memoir and respectable femininity: Shirani A. Bandaranayake's Hold me in contempt. Journal of South Asian Studies, 41(2), 234–251. https://doi.org/10.1080/00856401.2023.1104088
- Wells, C. (Director). (2022). Aftersun [Film]. A24.
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Konular | Sinema Sosyolojisi |
| Bölüm | Araştırma Makalesi |
| Yazarlar | |
| Yayımlanma Tarihi | 20 Haziran 2025 |
| Gönderilme Tarihi | 14 Kasım 2024 |
| Kabul Tarihi | 19 Şubat 2025 |
| Yayımlandığı Sayı | Yıl 2025 Cilt: 8 Sayı: 1 |
