DECEIT, DESIRE, AND THE FILMS OF ZEKİ DEMİRKUBUZ

This article analyses four films by Zeki Demirkubuz, Kor (Ember, 2016), İtiraf(Confession, 2001), Masumiyet (Innocence, 1997), and Kader (Destiny, 2006),which deal with the themes of unrequited love, jealousy, and betrayal. Analysisreveals the dynamics of desire in these four films. Kor and İtiraf, both of whichdepict the sad plight of jealous husbands who agonize over their wives’ infidelity,illustrate Rene Girard’s theory of triangular desire by introducing a third personin the genesis and perpetuation of the subject’s desire. Masumiyet and Kader,on the other hand, are interpreted as modern takes on the theme of courtlylove, in which the lover elevates the beloved to the status of sublime object.Masumiyet and Kader are analysed through the lens of Lacanian psychoanalysis,particularly in relation to Lacan’s and Zizek’s writings on the anamorphic gazeand masochistic contract present in courtly love. The article shows that all fourfilms demystify the concept of romantic love, thereby demonstrating Lacan’scontention that a spontaneous, unmediated and harmonious sexual relationshipbetween a man and a woman is impossible.

ZEKİ DEMİRKUBUZ FİLMLERİNDE ARZU VE İHANET

Bu makale, Zeki Demirkubuz’un karşılıksız aşk, kıskançlık ve ihanet temalarını ele alan filmlerinden Kor (2016), İtiraf, (2001), Masumiyet (1997) ve Kader (2006) üzerine odaklanarak bu filmlerde işleyen arzu dinamiklerini aydınlatmayı amaçlamaktadır. Öncelikle karısının kendisini aldattığı şüphesiyle kıvranan erkeklerin dramlarını konu alan Kor ve İtiraf filmlerinin Rene Girard’ın üçgen arzu kuramına uygun düşecek şekilde, arzunun doğuşunda ve sürdürülmesinde üçüncü şahısların oynadığı aktif rolü ortaya serdiği gösterilecektir. Masumiyet ve Kader’de resmedilen ilişki, aşığın sevdiği kadını yüce bir nesne konumuna yükselttiği şövalye aşkının modern bir versiyonu olarak yorumlanacaktır. Masumiyet ve Kader, Lacancı psikanaliz ışığında, bilhassa Lacan’ın ve Zizek’in şövalye aşkında işleyen anamorfik bakış ve mazoşizm dinamiğine dair yazdıklarından yararlanmak suretiyle incelenecektir. Sonuç olarak bu makalenin amacı, yukarıda adı geçen filmlerin romantik aşk kavramının büyüsünü bozarak Lacan’ın kadınla erkek arasında kendiliğinden, dolayımsız ve dengeli bir cinsel ilişkinin mümkün olmadığına dair tezini kanıtladığını göstermektir.

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