TRAUMATIC SEXUALITY IN SAMARIA

Çağdaş ulusötesi sinemanın en çok takdir edilen Güney Koreli yönetmenlerinden biri olan Kim Ki-duk, kurmaca filmlerinde, genellikle, hem kendileri travmatik olan hem de buna mukabil başka travmatik hadiselere neden olan yasayı ihlal edici edimlere odaklanır. Bir başka deyişle, Kim Ki-duk'un kurmaca filmleri ihlal ve travmaya bir paranın iki yüzü olarak yaklaşır. Kim Ki-duk, sabit bir ahlaki duruşu empoze eden yönetmenlerden biri değildir. Mevcut sosyokültürel yasaklarla örtüşen ya da örtüşmeyen edimleri onaylamak ya da yermek suretiyle belirli olaylar karşısında belirli tavırlar öneren bir anlatım tarzını benimsemez. Travmatik sonuçları olan ihlalleri basitçe yermek ya da travma yaratan hadiseleri yerip yasa ihlallerini övmek adına ikisi arasındaki rabıtayı koparmak yerine, Kim Ki-duk, ihlal ve travmayı, tek taraflı bir ahlak anlayışını bozuntuya uğratacak şekilde iç içe geçmiş fenomenler olarak algılar. Yasadan sapmanın bir yandan konvansiyonel olmayan (bedensel/psişik) tecrübelere zemin hazırladığı; öte yandan şiddeti, duygusal yıkımı, suçluluk hissini, (öz-)cezalandırmayı ve intikamı beraberinde getirdiği kurmaca dünyalar sergilemeye çabaladığı izlenimi verir. Bu makale, önceki satırlarda belirtilen çıkarımları takip ederek, Kim Ki-duk'un Samaria (Fedakar Kız, 2004) filminde kadın fahişeliğinin resmedilişini irdelemektedir. Psikanalizin ve postyapısalcı düşüncenin bazı kuramsal araçları ödünç alınarak, filmin seyirciyi, sapkıntravmatik kadın cinselliği bağlamında yasa ile ihlal arasındaki ilişkiye yönelik genelgeçer ahlaki cevaplara ulaşmakta başarısızlığa uğradığı bir sınırda dolaştırdığını göstermek amaçlanmaktadır.

Fedakar Kız Filminde Travmatik Cinsellik

In his fictional films, Kim Ki-duk, one of the most acclaimed South Korean directors of contemporary transnational cinema, usually focuses on transgressive deeds that are themselves traumatic and cause other traumatic events in turn. In other words, Kim Ki-duk's narrative films represent transgression and trauma as two sides of the same coin. Kim Ki-duk is not the kind of director who adopts a stable moral stance. Suggesting certain attitudes towards certain occasions by confirming some deeds while disconfirming others that are in accord or discord with the current sociocultural prohibitions is a style of narrating he does not embrace. Rather than simply condemning subversions that have traumatic consequences, rather than rendering subversion and trauma as mutually exclusive for praising subversions and condemning trauma-inducing events, Kim Ki-duk perceives them always as interpenetrating phenomena that trouble unilateral morality. It seems that he tends to display fictitious worlds in which deviation from the law, on the one hand, paves the way for unconventional (bodily/psychic) experiences, and, on the other, entails violence, emotional breakdown, guiltiness, (self-) punishment and vengeance. Along these lines of thought, this paper discusses the depiction of female prostitution in Kim Ki-duk's Samaria (Samaritan Girl, 2004). By borrowing some tools from psychoanalysis and poststructuralism, the paper shows that the film, in the context of deviant-traumatic female sexuality, leads its audience to a margin where they find themselves unable to reach generic moral answers regarding the relationship between the law and transgression.

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