In this article, Reha Erdem’s film Big Big World is discussed in light of Abra-ham and Torok’s concepts of “crypt” and “hauntology” along with Deleuze and Guattari’s concept of “affect.” It is suggested that not only this film but also film in general is structured on mechanisms of haunting and that the film’s capacity of creating affect is dependent on the strong ties it estab-lishes with hauntology.
📌 3 Key Takeaways
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Objective & Hypothesis:In this article, Reha Erdem’s film Big Big World is discussed in light of Abra-ham and Torok’s concepts of “crypt” and “hauntology” along with Deleuze and Guattari’s concept of “affect.” It is suggested that not only this film but also film in general is structured on mechanisms of haunting and that the film’s capacity of creating affect is dependent on the strong ties it estab-lishes with hauntology.
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Key Findings & Data:In this article, Reha Erdem’s film Big Big World is discussed in light of Abra-ham and Torok’s concepts of “crypt” and “hauntology” along with Deleuze and Guattari’s concept of “affect.” It is suggested that not only this film but also film in general is structured on mechanisms of haunting and that the film’s capacity of creating affect is dependent on the strong ties it estab-lishes with hauntology.
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Conclusion & Impact:In this article, Reha Erdem’s film Big Big World is discussed in light of Abra-ham and Torok’s concepts of “crypt” and “hauntology” along with Deleuze and Guattari’s concept of “affect.” It is suggested that not only this film but also film in general is structured on mechanisms of haunting and that the film’s capacity of creating affect is dependent on the strong ties it estab-lishes with hauntology.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Crypt · affect · hayaletbilim
Abstract
In this article, Reha Erdem’s film Big Big World is discussed in light of Abra-ham and Torok’s concepts of “crypt” and “hauntology” along with Deleuze and Guattari’s concept of “affect.” It is suggested that not only this film but also film in general is structured on mechanisms of haunting and that the film’s capacity of creating affect is dependent on the strong ties it estab-lishes with hauntology.
Özet
Bu makalede psikanalist Abraham ve Torok’un “lahit” ya da hayaletbilim kavramları ile Deleuze ve Guattari’nin “affect” kavramının ışığı altında Reha Erdem’in Koca Dünya adlı filmi incelenmektedir. Sadece adı geçen filmin değil ama filmin genel anlamda hortlama, hayaletimsi geri-dönüş-lerden oluştuğu tartışılmakta ve filmin “affect” yaratabilme gücünün ha-yaletbilimle kurduğu sağlam ilişkiler sayesinde gerçekleştiği önerilmek-tedir.
Abraham, N. & Torok, M. (1986). The Wolf Man’s Magic Word (İng. çev. N. Rand). Minneapolis: The University of Minnesota. Abraham, N. & Torok, M. (1994). The Shell and the Kernel (İng. çev. N. Rand). Chicago: University of Chicago. Aracagök, Z. (2009). Desonance: Desonating (with) Deleuze. Saarbrüc- ken: VDM Verlag. Aracagök, Z. (2012). Desonance. Parallax, 18(1), 33-46.
Aracagök, Z. (2015). “Klinik ve Kritik Sapkınlık”, Atopolojik Sapmalar: Deleuze ve Guattari, Istanbul: Kült Neşriyat. Aracagök, Z. (2017a). Kavramsız Negativite: Adorno+Hayat+Deleuze. İstanbul:
Sub Press.
Aracagök, Z. (2017b). Ulus Baker ve De-zistans. Birikim, 339, s. 50-60.
Deleuze, G. (2003). The Logic of Sense (İng. çev. M. Lester & C. Stivale). C. Boundas (Ed.). London: Continuum. Deleuze, G. & Guattari, F. (1987). A Thousand Plateaus (İng. çev. B. Massumi). Minneapolis: University of Minnesota. Erdem, R. (Yönetmen). (2016). Koca Dünya [Film]. Türkiye: Atlantik. Virilio, P. (1994). The Vision Machine (İng. çev. J. Rose). Bloomington: Indiana University Press.