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Sinemada Hatırlamanın Politikası: Gece ve Sis

Year 2015, Issue: 22, 101 - 118, 26.08.2015

Pınar Yıldız

https://doi.org/10.16878/gsuilet.96706

Abstract

Holokost ve benzeri travmaları temsil etmenin bir diğer deyişle travmayı sinema diline tercüme etmeye çalışmanın karşı karşıya kaldığı soru(n)ların peşinden gitmek, sinema perdesinde geçmişi hatırla(t)manın etik-politik boyutunu tartışmamıza imkân sunar. Alain Resnais’nin Gece ve Sis (Night and Fog, 1955) filmi, travma çalışmalarıyla film çalışmalarının kesiştiği yerde konumlanır. Auschwitz ve Birkenau toplama kamplarının siyah-beyaz arşiv görüntüleriyle günümüze dair renkli görüntülerin bir arada kullanılmasından oluşan film, soykırıma dair görüntüleri doğrudan kullanması nedeniyle temsil tartışmalarının merkezinde yer alır. Filmin biçimi, anlatının çöktüğü anlardan, sessizliklerden, boşluklardan, geleneksel anlatının başarısız olduğu karşılaşmalardan oluşur. Ancak, Gece ve Sis’in sinema tarihindeki önemini tek başına biçimsel tercihiyle açıklamak yeterli değildir. Bu biçimsel tercihin seyirciyi konumladığı etik pozisyon, Gece ve Sis’in, travmanın temsil edilebilirlilik tartışmalarındaki ayrıcalıklı yerinin en önemli nedenidir. Filmin, biçimi aracılığıyla geçmişle kurduğu ilişki, seyircisini perdede gördüklerine karşı sorumluluk almaya çağıran etik bir alan yaratır. Böylece film, “temsilin etiği” tartışmalarının referans noktası olarak sinema tarihindeki yerini alır.

anahtar kelimeler: film çalışmaları, travma çalışmaları, hafıza, temsil, post-travmatik sinema 

Keywords

film çalışmaları travma çalışmaları hafıza temsil post-travmatik sinema

References

  • ARSLAN U. Tümay (2014), “Sesler, Hayaletler, Melekler”, http://www.agos. com.tr/haber.php?seo=sesler-hayaletler-melekler&haberid=6743, 8.03.2014
  • BERGER James (1997), “Trauma and Literary Theory”, Contemporary Literature, No. 38 (3), pp. 569-582.
  • CARUTH Cathy (1995), Trauma: Explorations in Memory, USA, The Johns
  • Hopkins University Press. CARUTH Cathy (1996), Unclaimed Experience, Baltimore and London, The Johns Hopkin University Press.
  • DERRIDA Jacques (2007), Marx’ın Hayaletleri, İstanbul, Ayrıntı Yayınları.
  • ELSAESSER Thomas (2001), “Postmodernism as Mourning Works”, Screen, No. 42 (2), pp. 193- 201.
  • FELMAN Shoshana (1992), Education and Crisis, or the Vicissitudes of Listening,
  • Shoashana Felman& Dori Laub (Ed.), Testimony: Crises of Witnessing in Literature, Psychoanalysis and History (1-57), New York, Routledge. GUERIN Frances ve R. Hallas (2007), Introduction, Frances Guerin ve R. Hallas
  • (Ed.),The Image and The Witness ( 1-20). London, Wallflower Press. HEBARD Andrew (1997), “Distruptive Histories: Toward a Radical Politics of
  • Remembrance in Alain Resnais’s Night And Fog”, New German Critique, No.71, pp. 87-113. HEYWOOD Miriam (2009), “Holocaust and Image: Debates surrounding Jean
  • Luc Godard’s Histoire(s) du cinéma”, Studies in French Cinema, No.9 (3), pp. 1988–98.
  • HIRSCH Joshua (2004), After Image: Film, Trauma and Holocaust, USA, Temple University.
  • KAPLAN E. Ann (2001), “Melodrama, Cinema and Trauma”, Screen, No.42 (2), p.201-205.
  • KAPLAN E. Ann ve B. Wang (2004), “Introduction: From Traumatic Paralysis to the Force Fiedld of Modernity”, E. Ann Kaplan, B. Wang (Ed.), Trauma and Cinema (p. 1-23). Hong Kong, Hong Kong University Press.
  • GOLDBERG Amos (June, 1998), “An Interview with Professor Dominick
  • LaCapra”, http://www.yadvashem.org/odot_pdf/Microsoft%20Word%20-%20 36pdf, 10.01.2014
  • MCGOWAN Todd (2012), Gerçek Bakış, Zeynep Özen Barkot, Çev. İstanbul, Say Yayınları.
  • RADSTONE Susannah (2007), Trauma Theory, Context, Politics, Ethics, Paragraph, Vol. 30 (1), pp. 9-29.
  • SARKAR Bhaskar (2009), Mourning the Nation: Indian Cinema in the Wake of Partition, England, Duke University Press.
  • SAXTON Libby (2008), Haunted Images, London, Walflower.
  • SAXTON Libby (2011), “Night and Fog and Concentrationary Gaze”, Griselda
  • Pllock and Max Silverman (Ed.), Concentrationary Cinema (140-152). New York, Berghahn Books. SILVERMAN Max (2011), “Fearful Imagination: Night and Fog and Concentratio- nary Memory”, Griselda Pllock and Max Silverman (Ed.), Concentrationary
  • Cinema (199-214). New York, Berghahn Books. WALKER Janet (2001), “Trauma Cinema: False Memories and True Experience”, Screen, No:42 (2), pp. 211-216.
  • WILSON Emma (2005), “Materials Remains: Night and Fog”, October, No. 112, pp. 89-110.
  • YOSEF Raz (2011), The Politics of Loss and Trauma in Contemporary Israeli
  • Cinema, London, Routledge.

The Politics of Remembering in Cinema: Night and Fog

Year 2015, Issue: 22, 101 - 118, 26.08.2015

Pınar Yıldız

https://doi.org/10.16878/gsuilet.96706

Abstract

The Politics of Remembering in Cinema: Night and FogTracing the problems of representing the Holocoust or alike traumas, in other words, endeavoring to translate the traumas into the cinema language enables us to discuss the ethical-political dimension of reminding the past on the cinema screen. Alain Resnais’ movie Night and Fog (1955) positions in the intersection of trauma studies and film studies. The movie has been in the center of discussions on representation because of its narrative, using the real images of genocide directly while merging black and white archive images of Auschwitz and Birkenau concentration camps and contemporary colored images. The form of the movie is composed by the moments of collapse of the narrative, silences, gaps and encounters in which the traditional narrative form fails to represent. However, it is not adequate to explain Night and Fog’s significance in the cinema history only by its formal choices. The ethical position which this formal choices locate us as audiences is the main reason of this movie’s privileged status in regard to the representability of trauma in cinema. The relation of the movie with the past through its form creates an ethical realm by calling the audience to take responsibility for what he/she sees on the screen. Therefore, Night and Fog bears its status as the reference point of “representational ethics” in the history of cinema

Keywords

film studies trauma studies memory representation post-traumatic cinema

References

  • ARSLAN U. Tümay (2014), “Sesler, Hayaletler, Melekler”, http://www.agos. com.tr/haber.php?seo=sesler-hayaletler-melekler&haberid=6743, 8.03.2014
  • BERGER James (1997), “Trauma and Literary Theory”, Contemporary Literature, No. 38 (3), pp. 569-582.
  • CARUTH Cathy (1995), Trauma: Explorations in Memory, USA, The Johns
  • Hopkins University Press. CARUTH Cathy (1996), Unclaimed Experience, Baltimore and London, The Johns Hopkin University Press.
  • DERRIDA Jacques (2007), Marx’ın Hayaletleri, İstanbul, Ayrıntı Yayınları.
  • ELSAESSER Thomas (2001), “Postmodernism as Mourning Works”, Screen, No. 42 (2), pp. 193- 201.
  • FELMAN Shoshana (1992), Education and Crisis, or the Vicissitudes of Listening,
  • Shoashana Felman& Dori Laub (Ed.), Testimony: Crises of Witnessing in Literature, Psychoanalysis and History (1-57), New York, Routledge. GUERIN Frances ve R. Hallas (2007), Introduction, Frances Guerin ve R. Hallas
  • (Ed.),The Image and The Witness ( 1-20). London, Wallflower Press. HEBARD Andrew (1997), “Distruptive Histories: Toward a Radical Politics of
  • Remembrance in Alain Resnais’s Night And Fog”, New German Critique, No.71, pp. 87-113. HEYWOOD Miriam (2009), “Holocaust and Image: Debates surrounding Jean
  • Luc Godard’s Histoire(s) du cinéma”, Studies in French Cinema, No.9 (3), pp. 1988–98.
  • HIRSCH Joshua (2004), After Image: Film, Trauma and Holocaust, USA, Temple University.
  • KAPLAN E. Ann (2001), “Melodrama, Cinema and Trauma”, Screen, No.42 (2), p.201-205.
  • KAPLAN E. Ann ve B. Wang (2004), “Introduction: From Traumatic Paralysis to the Force Fiedld of Modernity”, E. Ann Kaplan, B. Wang (Ed.), Trauma and Cinema (p. 1-23). Hong Kong, Hong Kong University Press.
  • GOLDBERG Amos (June, 1998), “An Interview with Professor Dominick
  • LaCapra”, http://www.yadvashem.org/odot_pdf/Microsoft%20Word%20-%20 36pdf, 10.01.2014
  • MCGOWAN Todd (2012), Gerçek Bakış, Zeynep Özen Barkot, Çev. İstanbul, Say Yayınları.
  • RADSTONE Susannah (2007), Trauma Theory, Context, Politics, Ethics, Paragraph, Vol. 30 (1), pp. 9-29.
  • SARKAR Bhaskar (2009), Mourning the Nation: Indian Cinema in the Wake of Partition, England, Duke University Press.
  • SAXTON Libby (2008), Haunted Images, London, Walflower.
  • SAXTON Libby (2011), “Night and Fog and Concentrationary Gaze”, Griselda
  • Pllock and Max Silverman (Ed.), Concentrationary Cinema (140-152). New York, Berghahn Books. SILVERMAN Max (2011), “Fearful Imagination: Night and Fog and Concentratio- nary Memory”, Griselda Pllock and Max Silverman (Ed.), Concentrationary
  • Cinema (199-214). New York, Berghahn Books. WALKER Janet (2001), “Trauma Cinema: False Memories and True Experience”, Screen, No:42 (2), pp. 211-216.
  • WILSON Emma (2005), “Materials Remains: Night and Fog”, October, No. 112, pp. 89-110.
  • YOSEF Raz (2011), The Politics of Loss and Trauma in Contemporary Israeli
  • Cinema, London, Routledge.
There are 26 citations in total.

Details

Primary Language English
Journal Section Articles
Authors

Pınar Yıldız

Publication Date August 26, 2015
Published in Issue Year 2015 Issue: 22

Cite

APA Yıldız, P. (2015). The Politics of Remembering in Cinema: Night and Fog. Galatasaray Üniversitesi İletişim Dergisi(22), 101-118. https://doi.org/10.16878/gsuilet.96706
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