Malabou’nun Plastisite ve Yeni Yaralılar Yaklaşımı BağlamındaThe Father Filmi

Bu çalışma, çağdaş nörofelsefeci Catherine Malabou’nun “plasitisite” kavramının odağında, The Father (2021) filmini incelemektedir. Bakıma ihtiyaç duyan bir Alzheimer hastasının, bakım hizmeti almasını sağlama sürecinde kızı ile olan ilişkisini konu alan The Father filminin başkarakteri Anthony, çalışmada Malabou’nun plastisitesinin yıkıcı niteliğinin sonucunda ortaya çıktığını savunduğu ve belli beyin patolojilerine sahip insanlara yönelik geliştirdiği “yeni yaralı” yaklaşımı çerçevesinde incelenmiştir. Çalışmada, seyirciyi, sinemanın olanakları sayesinde film karakterinin zihnine alan The Father filminin felsefi önerilerin somutlaştırması bağlamında sinema felsefesine katkısı irdelenmiştir. Bunun yanında, filmin seyircisine bir Alzheimer hastasına ait fenomenal deneyimi deneyimletme olanağına sahip olduğu ve Malabou’ya göre “düşünülemez ve temsil edilemez” olan yeni yaralılık durumunun bu sayede düşünülmesi ve deneyimlemesine olanak sağladığı tespit edilmiştir. Ek olarak filmin özgün anlatı stilinin, seyirciye yaşattığı deneyim hissi ile onların Malabouyen anlamda“plastik seyircilere” dönüşmesini sağlama potansiyelinin yüksek olduğu belirlenmiştir. Bu sayede film çalışmalarına Malabou’dan esinlenerek “elastik seyirci” ve “plastik seyirci” kavramları sunulmuş ve aralarındaki farkların altı çizilmiştir.

The Father Movie in the Context of Malabou’s Plasticity and The New Wounded Approach

This study investigates The Father (2021) movie within the focus of the contemporary neurophilosopher Catherine Malabou’s “plasticity” concept. The main character Anthony of The Father movie, which is about the relationship of an Alzheimer’s patient in need of nursing care and his daughter, in the course of providing the necessary nursing care service, is analyzed in this study within the frame of “the new wounded” approach, a term developed for people who have certain brain pathology where Malabou argues that it emerges as a result of plasticity’s disruptive characteristics. In this study, The Father movie, which takes the viewer into the character’s mind through the means of cinema, is analyzed in terms of its contributions to the philosophy of film in view of embodying philosophical propositions. Furthermore, it is established that the movie enables the viewer to experience the phenomenal experiences of an Alzheimer’s patient and, according to Malabou, thus enables the viewer to think and encounter the case of the new wounded which is “unthinkable and unrepresentable”. Moreover, it is ascertained that the movie’s authentic style, through its sense of experience on the viewers, holds great potential in turning them to “plastic viewers” in Malabouien terms. Accordingly, inspiring from Malabou, the terms “elastic viewer” and “plastic viewer” are introduced and the differences between them are underlined.

PDF

___

Ashby, F. G. (2015). An introduction to fMRI. In An introduction to model-based cognitive neuroscience (pp. 91-112). Springer, New York, NY.
Başlarken (2020) Phainomeia Dergisi 1. Sayı Önsöz, Phainomenia Dergisi, sayı 1, s. 7-10
Berlucchi, G., & Buchtel, H. A. (2009). Neuronal plasticity: historical roots and evolution of meaning. Experimental brain research, 192(3), 307-319.
Bickle, J. and Mandik, P.: (2001), The Philosophy of Neuroscience, Stanford Encyclopedia of Philosophy.
Brook, A., & Mandik, P. (2007). The philosophy and neuroscience movement. Analyse & Kritik, 29(1), 3-23.
Centonze D, Siracusano A, Calabresi P, Bernardi G (2004) The project for a scientific psychology (1895): a Freudian anticipation of LTP-memory connection theory. Brain Res Rev 46:310–314
Churchland, P. S., & Sejnowski, T. J. (1994). The computational brain. MIT press.
Churchland, P. S., (2020). Nörofelsefe. (Özge Yılmaz çev.).İstanbul: Alfa Yayınları
Costandi, M. (2016). Neuroplasticity. MIt Press.
Crockett, C. (2018). Derrida after the End of Writing: Political Theology and New Materialism. Fordham University Press.
Dalton, B. (2019). What should we do with plasticity? An interview with Catherine Malabou. Paragraph, 42(2), 238-254.
De Brigard, F., & Sinnott-Armstrong, W. (Eds.). (2022). Neuroscience and Philosophy. MIT Press.
Deleuze, G., (2000). The Brain Is the Screen An Interview with Gilles Deleuze Flaxman, G. (Ed)The brain is the screen: Deleuze and the philosophy of cinema. U of Minnesota Press.
Deleuze, G., & McMuhan, M. (1998). The Brain Is the Screen: Interview with Gilles Deleuze on” The Time-Image”. Discourse, 20(3), 47-55.
Deleuze, G. (2021). Sinema 2: Zaman-İmge (Burcu yalım, Emre Koyuncu çev.). İstanbul: Nogunk Yayıncılık.
Demir, M. (2016). Hegel’in Bir Geleceği Var Mı?: Catherine Malabou’nun Plastik Hegelciliği. Felsefi Düşün Dergisi, 6, 47-79.
Gold, I., & Roskies, A. L. (2008). Philosophy of neuroscience. In The Oxford handbook of philosophy of biology.
Heidegger, M. (2021). Varlık ve Zaman. (Çev. Kaan. H. Ökten). İstanbul: Alfa Yayıncılık.
James W (1890) Principles of psychology, 2 vols. MacMillan, London
Kelly, K. (1998). The third culture. Science, 279(5353), 992-993.
Larsen, S. N. (2013). The plasticity of the brain—An analysis of the contemporary taste for and limits to neuroplasticity. The Comparative Law Journal of the Pacific.
Malabou, C. (2000). The future of Hegel: Plasticity, temporality, dialectic. Hypatia, 15(4), 196- 220.
Malabou, C. (2012). The new wounded: From neurosis to brain damage (pp. 1-20). New York: Fordham University Press.
Malabou, C. (2016). Beynimizle Ne Yapmalıyız. (Çev. Semih Karlıtekin), İstanbul: Küre.
Malabou, C., & Vahanian, N. (2008). A conversation with Catherine Malabou. Journal for Cultural and Religious Theory, 9(1), 1-13.
Malabou, Catherine: The Ontology of the Accident: An Essay on Destructive Plasticity, Çev. Carolyn Shread, Cambridge, Polity Press, 2012.
Markram, H., Gerstner, W., & Sjöström, P. J. (2011). A history of spike-timing-dependent plasticity. Frontiers in synaptic neuroscience, 3, 4.
Martinon, J. (2007). On Futurity: Malabou, Nancy and Derrida. Springer.
Mateos-Aparicio, P., & Rodríguez-Moreno, A. (2019). The impact of studying brain plasticity. Frontiers in cellular neuroscience, 13, 66.
Northoff, G.: (2003), Philosophy of the Brain. The Brain Problem, John Benjamins Publisher, New York.
Northoff, G. (2004). What is neurophilosophy? A methodological account. Journal for general philosophy of science, 35(1), 91-127.
Özbulduk Kılıç, I. “Bir Sinematik Tarihsel Deneyimin Olanağı: Özgürlük Rüzgârı” Ken Loach Filmlerinde Mücadelenin Arkeolojisi içinde, Serdar Öztürk (Der.) Ankara: Ütopya Yayınları
Öztürk, S. (2018). Sinema Felsefesine Giriş: Film- Yapımı Felsefe, Ankara: Ütopya Yayınları
Pisters, p. (2011). Plasticity and the Neuro-Image: A Response to Catherine Malabou’s What Should We Do with Our Brain?. https://www.patriciapisters.com/blog/events/79- plasticity-and-the-neuro-image. Erişim Tarihi 18.02.2022.
Pisters, P. (2012). The neuro-image: A Deleuzian film-philosophy of digital screen culture. Stanford University Press.
Tyrer, B. (2016). 2Trauma without a subject: On Malabou, psychoanalysis and Amour. In Psychoanalysis and the Unrepresentable (pp. 38-56). Routledge.
Schraube, E. (2014). First-person perspective. In Encyclopedia of critical psychology (pp. 733- 736). Springer.
Sejnowski, T. J., & Churchland, P. S. (1992). The computational brain. Cambridge, MA: MIT press.
Snow, C. P. (2012). The two cultures. Cambridge University Press.
Uzbay, T. (2018). Nörobilimin Geleceği, Psikeart Dergisi, sayı 60, s. 24-29