Araştırma Makalesi
Yıl 2025,
Sayı: 19, 1 - 19, 26.06.2025
Öz
Polanski sineması, modern dönemin değerlerini ve kimlik paradigmalarını yansıtması açısından önemlidir. Özellikle, 1960’ların ve 1970’lerin karşı kültür ve toplumsal hareketleri atmosferinde çekilmeye başlanan Apartman Üçlemesi’nin son filmi olan Kiracı (The Tenant, 1976), Polanski’nin kendi bireysel kimlik deneyimlerini toplumsal-politik olanla birleştirmesi nedeniyle Freudian unheimliche fenomenolojisi bağlamında analiz etmeye olanak sunmaktadır. Unheimliche (tekinsiz), insanlığın modern değerler içinde yaşadığı yabancılaşmanın ilkel dönemden getirdiği korkularını nasıl tetiklediğini göstermesi açısından önemli bir fenomendir. Bu nedenle modern dönemin kimlik paradigmalarına uymayan tanımsız, belirsiz, arada kalmış olanlar - Kristevacı bir açıdan söylenirse abject (iğrenç/sefil) olanlar- düzeni tehdit edici görülmekte ve ötekileştirilmektedir. Unheimliche bu bağlamda ideolojinin işlediği yeri bize işaretler. Filmde Trelkovsky dinsel, etnik, cinsiyet, ulusal açıdan arada kalmış abject bir göçmen karakter olarak Kafkaesk absürdizm içinde mental sağlığını kaybeder. Bu amaçla, unheimliche; ötekileştirilmiş kimlik, tekinsiz ikiz (doppelgänger) ve beden-zihin bölünmesi olarak üç tematik bileşenle fenomenolojik olarak analiz edilmiştir. Polanski, auteur sinemasının kendi dili içinde yarattığı motif ve metaforları kullanıp unheimliche’i kendi kimlik mücadelesiyle birlikte ele almıştır. Böylece bireyselden toplumsala, ilkelden moderne insanın kaygılarını ve bunun ideolojik biçimlenmesini, tarihin tekrar yazılan parşömeni bir palimpsest gibi okumamızı sağlamıştır.
Anahtar Kelimeler
Kaynakça
- Ain-Krupa, J. (2010). Roman Polanski: A life in exile. ABC Clio.
- Arendt, H. (1962). The Origins of totalitarianism. Meridian Books.
- Auschwitz-Birkenau (2006, Oct 13). Human Fat Was Used to Produce Soap in Gdansk during the War. https://www.auschwitz.org/en/museum/news/human-fat-was-used-to-produce-soap-in-gdansk-during-the-war,55.html
- Bachelard, G. (1994). The poetics of space (M. Jolas, trans.). Beacon Press.
- Baecque, A. & Jousse, T. (2005). Interview with Roman Polanski. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp. 146-153). University Press of Mississippi.
- Balcerzan, E. (1995). Jak jest zrobiony Lokator?. In Bogusław Zmudziński (Ed.), Roman Polański (pp. 124–130). Wydawnictwo Dyskusyjnego Klubu Filmowego Uniwersytetu Jagiellońskiego.
- Bird, D. (2002). Roman Polanski. Pocket Essentials.
- Caputo, D. (2012). Polanski and perception: The psychology of seeing and the cinema of Roman Polanski. Intellect.
- Castle, T. (1995). The female thermometer: Eighteenth-century culture and the invention of the uncanny. Oxford University Press.
- Cavett, D. (2005). Roman Polanski. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp. 47-58). University Press of Mississippi.
- Corteggiani, B. (1992). Les Oneilles et la queue. Les Inrockuptibles, 37, 90-93.
- Everett-Heath, J. (2018). The Concise Dictionary of World Place-Names. Oxford University Press.
- Freud, S. (1919). Das Unheimliche. Gesammelte werke: XII: 229-268. Imago.
- Giesbert, F.-O. (2005). Roman’s novel. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp.102-111). University Press of Mississippi.
- Hall, M. R. (2017). Roman Polanski’s treatment of mutable identity in his film, The Tenant (1976). Cogent Social Sciences, 3(1), doi: 10.1080/23311886.2017.1299554
- Heidegger, M. (2001). Being and time (J. Macquairrie & E. Robinson, trans.). Blackwell.
- Isserman, M. & Kazin, M. (2000). America divided: The civil war of the 1960s. Oxford University Press.
- Jackson, R. (1981). Fantasy: The literature of subversion. Methuen
- Jacobs, B. (2001). The dentist of Auschwitz: A memoir. University Press of Kentucky.
- Jameson, F. (1991). Postmodernism, or The Cultural Logic of Late Capitalism. Verso.
- Jentsch, E. (1906a). Zur psychologie des unheimlichen. Psychiatrisch-Neurologische Wochenschrift, 9 (22): 195-198.
- Jentsch, E. (1906b). Zur psychologie des unheimlichen. Psychiatrisch-Neurologische Wochenschrift, 8 (23): 203-205.
- Kosinski, J. (1995). The painted bird. Grove Press.
- Kristeva J. (1982). Powers and horror: An essay on abjection (Roudiez L. S., trans.). Columbia University Press.
- Kristeva, J. (1991). Strangers to ourselves. Columbia University Press.
- Leal, A. B. (2021). The Spaces of the transnational in the cinema of Roman Polanski. [Unpublished doctoral dissertation]. Universidad de Zaragoza, Spain.
- Marciniak, K. (2000). Cinematic exile: Performing the foreign body on screening Roman Polanski’s The Tenant. Camera Obscura, 15 (1), 1-43. https://doi.org/10.1215/02705346-15-1_43-1
- Mazierska, E. (2007). Roman Polanski: The cinema of a cultural traveller. I.B.Tauris.
- Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, trans.). Routledge.
- Moore, W. M. (2011). Free France's lion: The life of Philippe Leclerc, de Gaulle's greatest general. Casemate.
- Ngai, S. (2005). Ugly feelings. Harvard University Press
- Polanski, R. (Director). (1976). The Tenant [Film]. France: Marianne Productions
- Polanski, R. (2005). Script. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp. 3-7). University Press of Mississippi.
- Primomo, J. W. (2020). Architect of death at Auschwitz: A biography of Rudolf Hoss. McFarland.
- Rank, O. (1971). The double: A psychoanalytic study. The University of North Carolina Press.
- Remler, P. (2006). Egyptian mythology a to z. Facts on File.
- Royle, N. (2003). The Uncanny. Routledge.
- Scandola, A. (2001). Il fantasma e la fanciulla: Tre film di Roman Polanski. Cierre Edizioni.
- Scandola, A. (2003). Roman Polanski. Il Castoro Cinema.
- Schelling, F. W. J. (1996). Philosophie der mythologie: In drei vorlesungsnachschriften. Wilhelm Fink.
- Schlipphacke, H. (2015). The place and time of the uncanny. Pacific Coast Philology, 50(2), 163-172. https://doi.org/10.5325/pacicoasphil.50.2.0163
- Scherrer, M. (2018). ‘Uncanny’: Das unheimliche in mensch-maschine-beziehungen an den hybriden grenzen des humanen. In S. Schenk & M. Karcher (Eds.), Überschreitungslogiken und die Grenzen des Humanen: (Neuro-)Enhancement – Kybernetik – Transhumanismus (pp.155–170). Martin-Luther-Universität Halle-Wittenberg. https://doi.org/10.25656/01:16105
- Simmel, G. (1971). On Individuality and social forms: Selected writings. University of Chicago Press.
- Sindel, M. (2021, Dec 5). The Tenant - Kiracı film okuması fragman [Video]. YouTube. behttps://www.youtube.com/watch?v=CTkcSex61Gg
- Sturm, R. (2005). Depth isn't important to me. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp.171-174). University Press of Mississippi.
- Sweets, J. (1994). Choices in Vichy France: The French under Nazi occupation. Oxford University Press.
- Tombul, I. (2024). The Uncanny Otherness in Polanski's Apartment Trilogy. In E. A. Seçmen (Ed.), Analyzing Ideology and Narratology in Film Series, Sequels, and Trilogies (pp.153-175). IGI Global, DOI:10.4018/979-8-3693-7416-0
- Vachaud, L. (2005). Ben-Hur’s riding crop. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp.158-168). University Press of Mississippi.
- Weitzman, K. (1984). Greek mythology in Byzantine art. Princeton University Press.
- Wexman, V. W. (1985) Roman Polanski. Twayne Publishers.
- Wittkowsky, V. (2021). The Phantasmagoric dispositif – an Approach to uncanniness [Unpublished Master Thesis]. Universität für künstlerische und industrielle Gestaltung Linz Institut für Medien Interface Cultures, Austria.
- Zilcosky, J. (2016). Uncanny encounters: Literature, psychoanalysis, and the end of alterity. Northwestern University Press.
Yıl 2025,
Sayı: 19, 1 - 19, 26.06.2025
Öz
Polanski's cinema is important in reflecting the values and identity paradigms of the modern period. Since Polanski combines identity experiences with the socio-political, The Tenant (1976), the last film of the Apartment Trilogy, which was shot in the atmosphere of the counterculture movements of the 1960s-1970s, offers to analyze in the context of Freudian unheimliche phenomenology. Unheimlich explains how the alienation humanity experiences in the modern period triggers the fears it brings from the primitive period. For this reason, those who are undefined and in-between, who do not fit the identity paradigms of the modern period - in Kristevaian perspective, those who are abject - are seen as threatening the order and are marginalized. Unheimlich marks the place where ideology operates. In the film, Trelkovsky, as an abject immigrant character torn between religion, ethnicity, gender, and nationality, loses his mental health in Kafkaesque absurdism. Unheimlich was analyzed phenomenologically with three thematic components: otherized identity, the idea of double (doppelgänger), and body-mind division. Polanski has enabled us to read human anxieties and their ideological formation, from individual to social, from primitive to modern, like a palimpsest, the rewritten parchment of history.
Anahtar Kelimeler
Kaynakça
- Ain-Krupa, J. (2010). Roman Polanski: A life in exile. ABC Clio.
- Arendt, H. (1962). The Origins of totalitarianism. Meridian Books.
- Auschwitz-Birkenau (2006, Oct 13). Human Fat Was Used to Produce Soap in Gdansk during the War. https://www.auschwitz.org/en/museum/news/human-fat-was-used-to-produce-soap-in-gdansk-during-the-war,55.html
- Bachelard, G. (1994). The poetics of space (M. Jolas, trans.). Beacon Press.
- Baecque, A. & Jousse, T. (2005). Interview with Roman Polanski. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp. 146-153). University Press of Mississippi.
- Balcerzan, E. (1995). Jak jest zrobiony Lokator?. In Bogusław Zmudziński (Ed.), Roman Polański (pp. 124–130). Wydawnictwo Dyskusyjnego Klubu Filmowego Uniwersytetu Jagiellońskiego.
- Bird, D. (2002). Roman Polanski. Pocket Essentials.
- Caputo, D. (2012). Polanski and perception: The psychology of seeing and the cinema of Roman Polanski. Intellect.
- Castle, T. (1995). The female thermometer: Eighteenth-century culture and the invention of the uncanny. Oxford University Press.
- Cavett, D. (2005). Roman Polanski. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp. 47-58). University Press of Mississippi.
- Corteggiani, B. (1992). Les Oneilles et la queue. Les Inrockuptibles, 37, 90-93.
- Everett-Heath, J. (2018). The Concise Dictionary of World Place-Names. Oxford University Press.
- Freud, S. (1919). Das Unheimliche. Gesammelte werke: XII: 229-268. Imago.
- Giesbert, F.-O. (2005). Roman’s novel. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp.102-111). University Press of Mississippi.
- Hall, M. R. (2017). Roman Polanski’s treatment of mutable identity in his film, The Tenant (1976). Cogent Social Sciences, 3(1), doi: 10.1080/23311886.2017.1299554
- Heidegger, M. (2001). Being and time (J. Macquairrie & E. Robinson, trans.). Blackwell.
- Isserman, M. & Kazin, M. (2000). America divided: The civil war of the 1960s. Oxford University Press.
- Jackson, R. (1981). Fantasy: The literature of subversion. Methuen
- Jacobs, B. (2001). The dentist of Auschwitz: A memoir. University Press of Kentucky.
- Jameson, F. (1991). Postmodernism, or The Cultural Logic of Late Capitalism. Verso.
- Jentsch, E. (1906a). Zur psychologie des unheimlichen. Psychiatrisch-Neurologische Wochenschrift, 9 (22): 195-198.
- Jentsch, E. (1906b). Zur psychologie des unheimlichen. Psychiatrisch-Neurologische Wochenschrift, 8 (23): 203-205.
- Kosinski, J. (1995). The painted bird. Grove Press.
- Kristeva J. (1982). Powers and horror: An essay on abjection (Roudiez L. S., trans.). Columbia University Press.
- Kristeva, J. (1991). Strangers to ourselves. Columbia University Press.
- Leal, A. B. (2021). The Spaces of the transnational in the cinema of Roman Polanski. [Unpublished doctoral dissertation]. Universidad de Zaragoza, Spain.
- Marciniak, K. (2000). Cinematic exile: Performing the foreign body on screening Roman Polanski’s The Tenant. Camera Obscura, 15 (1), 1-43. https://doi.org/10.1215/02705346-15-1_43-1
- Mazierska, E. (2007). Roman Polanski: The cinema of a cultural traveller. I.B.Tauris.
- Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, trans.). Routledge.
- Moore, W. M. (2011). Free France's lion: The life of Philippe Leclerc, de Gaulle's greatest general. Casemate.
- Ngai, S. (2005). Ugly feelings. Harvard University Press
- Polanski, R. (Director). (1976). The Tenant [Film]. France: Marianne Productions
- Polanski, R. (2005). Script. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp. 3-7). University Press of Mississippi.
- Primomo, J. W. (2020). Architect of death at Auschwitz: A biography of Rudolf Hoss. McFarland.
- Rank, O. (1971). The double: A psychoanalytic study. The University of North Carolina Press.
- Remler, P. (2006). Egyptian mythology a to z. Facts on File.
- Royle, N. (2003). The Uncanny. Routledge.
- Scandola, A. (2001). Il fantasma e la fanciulla: Tre film di Roman Polanski. Cierre Edizioni.
- Scandola, A. (2003). Roman Polanski. Il Castoro Cinema.
- Schelling, F. W. J. (1996). Philosophie der mythologie: In drei vorlesungsnachschriften. Wilhelm Fink.
- Schlipphacke, H. (2015). The place and time of the uncanny. Pacific Coast Philology, 50(2), 163-172. https://doi.org/10.5325/pacicoasphil.50.2.0163
- Scherrer, M. (2018). ‘Uncanny’: Das unheimliche in mensch-maschine-beziehungen an den hybriden grenzen des humanen. In S. Schenk & M. Karcher (Eds.), Überschreitungslogiken und die Grenzen des Humanen: (Neuro-)Enhancement – Kybernetik – Transhumanismus (pp.155–170). Martin-Luther-Universität Halle-Wittenberg. https://doi.org/10.25656/01:16105
- Simmel, G. (1971). On Individuality and social forms: Selected writings. University of Chicago Press.
- Sindel, M. (2021, Dec 5). The Tenant - Kiracı film okuması fragman [Video]. YouTube. behttps://www.youtube.com/watch?v=CTkcSex61Gg
- Sturm, R. (2005). Depth isn't important to me. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp.171-174). University Press of Mississippi.
- Sweets, J. (1994). Choices in Vichy France: The French under Nazi occupation. Oxford University Press.
- Tombul, I. (2024). The Uncanny Otherness in Polanski's Apartment Trilogy. In E. A. Seçmen (Ed.), Analyzing Ideology and Narratology in Film Series, Sequels, and Trilogies (pp.153-175). IGI Global, DOI:10.4018/979-8-3693-7416-0
- Vachaud, L. (2005). Ben-Hur’s riding crop. In Paul Cronin (Ed.), Roman Polanski: Interviews (pp.158-168). University Press of Mississippi.
- Weitzman, K. (1984). Greek mythology in Byzantine art. Princeton University Press.
- Wexman, V. W. (1985) Roman Polanski. Twayne Publishers.
- Wittkowsky, V. (2021). The Phantasmagoric dispositif – an Approach to uncanniness [Unpublished Master Thesis]. Universität für künstlerische und industrielle Gestaltung Linz Institut für Medien Interface Cultures, Austria.
- Zilcosky, J. (2016). Uncanny encounters: Literature, psychoanalysis, and the end of alterity. Northwestern University Press.
Toplam 52 adet kaynakça vardır.
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Konular | Film Eleştirisi |
| Bölüm | Makaleler |
| Yazarlar | |
| Erken Görünüm Tarihi | 26 Haziran 2025 |
| Yayımlanma Tarihi | 26 Haziran 2025 |
| Gönderilme Tarihi | 29 Nisan 2024 |
| Kabul Tarihi | 21 Ekim 2024 |
| Yayımlandığı Sayı | Yıl 2025 Sayı: 19 |
