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1. Emin Alper'in Kurak Günler Filmine Bakhtinyen Bir Yaklaşım

Author:
Baran Barış
Publication Date:
12-2024
Content Type:
Journal Article
Journal:
AURUM Journal of Social Sciences
Institution:
Altinbas University
Abstract:
Bakhtin, çeşitli sanat dallarında oluşturulan anlatıların incelenmesi için Einstein’ın Görelilik Kuramı’ndan ödünç aldığı kronotop kavramını geliştirmiştir. Bu kavram çerçevesinde yapılan anlatı çözümlemelerinde zaman ve uzam kurucu öğe kabul edilerek birlikte ele alınmaktadır. Bakhtin’e göre zamansal ve uzamsal belirlenimler, duygu ve değerlerin izlerini taşır. Yüzyıllara bağlı olarak değişen kronotopları yazınsal metinler üzerinden sınıflandıran araştırmacı yol – karşılaşma kronotopu, şato kronotopu, kesişme kronotopu (misafir odası ve salon kronotopu, sokaklar, kentler, kırsal bölgeler ve taşra kasabaları) ve eşik (kopuş) kronotopu olmak üzere dört temel kronotop belirlemiş; on dokuzuncu yüzyıl metinlerine kadar sürdürdüğü çözümlemelerinde ulaştığı kronotop türlerinin yanı sıra farklı ülkelerin yazınsal metinlerinde ve farklı dönemlerde başka kronotopların da saptanabileceğine dikkat çekmiştir. Kronotop kavramı, günümüzde yazın dışındaki sanat dallarında üretilen anlatıların çözümlenmesinde de kullanılmaktadır. Emin Alper’in Kurak Günler (2022) filmi açılış sekansından itibaren zaman ve uzamın kurucu öğe olarak karşımıza çıktığı bir anlatı sunmaktadır. Bu yapısı, filmin kronotop kavramı çerçevesinde incelenmesine olanak sunmaktadır. Suç ile güç arasındaki ilişkiyi irdeleyen, linç kültürünü besleyen kodların nasıl yeniden üretildiğini ortaya koyan ve izlekleriyle anlatıdaki zaman ve uzam öğelerine ilişkin obruk vb. imgeler arasında doğrudan bağlantı kuran Kurak Günler filmindeki kronotopların saptanmasının ve anlatıdaki işlevlerinin çözümlenmesinin amaçlandığı bu çalışmanın araştırma soruları şöyledir: (i) Filmde hangi kronotoplar bulunmaktadır? (ii) Bu kronotoplarla Bakhtin’in belirlediği dört temel kronotop arasındaki benzerlik ve farklılıklar nelerdir? (iii) Filmde tespit edilen kronotoplar, anlatının yapılandırılmasında hangi işlevlere sahiptir? Yapılan incelemelerde filmdeki kronotopların Bakhtin’in dört temel kronotopuyla büyük ölçüde benzerlik gösterdiği tespit edilirken anlatının kronotoplarla filmin temel izlekleri arasındaki ilişkinin koşutluğu üzerinden yapılandırıldığı görülmüştür.
Topic:
Arts, Culture, Film, and Chronotope
Political Geography:
Global Focus

2. How Poster Art of the “Long 1960s” Fueled International Solidarity

Author:
Lincoln Cushing
Publication Date:
03-2023
Content Type:
Journal Article
Journal:
Brown Journal of World Affairs
Institution:
Brown Journal of World Affairs
Abstract:
With internet and cell phone connectivity enabling instant worldwide dissemination of information, many individuals presume that communication between international social justice activists during the twentieth century was tedious, insular, and ineffective. Yet analysis of the vast output of published graphics from that period reveals a different story, one of dynamic interchange and cross-national support.
Topic:
Cold War, History, Arts, Culture, Solidarity, and Internationalism
Political Geography:
Global Focus

3. Fotoğraf Disiplininde Sokak Fotoğrafçılığı Kavramının Ayrımı ve Algılanması

Author:
Gökçin Çubukçu and Ertan Güler
Publication Date:
12-2023
Content Type:
Journal Article
Journal:
AURUM Journal of Social Sciences
Institution:
Altinbas University
Abstract:
Bu çalışmanın amacında öncelikle, fotoğraf sanatının evrimini anlamaya yönelik bir temel oluşturma hedeflenmektedir. Ayrıca, fotoğrafın gücünü ve etkisini açıklamaya çalışmaktadır. Ardından, sokak fotoğrafçılığı ve belgesel fotoğraf arasındaki farklar saptanarak tanıklık işlevinin nasıl kullanıldığının daha iyi kavramasına yardımcı olmayı hedeflemektedir. Sokak fotoğrafçılığına daha yakından ve ayrıntılı bakarak, okuyucuların bu konu hakkında daha geniş bir geniş bir perspektif kazanmaları amaçlanmaktadır. Yöntem olarak; araştırmaya sokak fotoğrafçılığı konusunu anlamak ve analiz etmek amacıyla kapsamlı bir literatür taramasıyla başlanmıştır. Araştırmanın temel argümanlarını desteklemek amacıyla örneklem oluşturulmuş ve fotoğrafçıların eserleri, deneyimleri ve yaklaşımlarına yer verilmiştir. Yarı yapılandırılmış mülâkat aracılığıyla sokak fotoğrafçısının içgörülerine ulaşılmaya çalışılmıştır. Tüm verilerin değerlendirilmesi üzerinden yürütülen bu çalışmada nitel araştırma yöntemlerinden betimleyici analiz yöntemi kullanılmıştır. Bulgular: Sokak fotoğrafçılığının günümüzde sanat ve görsel iletişim kültürü içindeki önemi artmış olsa da bu alanın belgesel fotoğrafçılıkla sürekli olarak karıştırılması, internet üzerinde yanıltıcı ve sığ yaklaşımlarla sıklıkla çevrelenmesi, her iki disiplinin özgün niteliklerinin göz ardı edilmesine ve sokak fotoğrafı kavramının özünün ve niteliğinin gölgelenmesine sebep olmaktadır. Fotoğrafçıların yaşamı ve çalışmalarının elealınmasıyla farklı perspektifler ortaya koyulmuştur. Sokak fotoğrafçılığı etrafında etkileşim ve öğrenme fırsatlarını artırmak amacıyla festivaller, bienaller, trienaller, atölyeler, konferanslar, paneller ve seminerler düzenlenerek bu alandaki bilgi paylaşımı artırılabilir. Böylece sokak fotoğrafçılığı Türkiye’de daha geniş kitlelere tanıtılabilir, geliştirilebilir ve bu alandaki yetenekler keşfedilebilir. Sonuç olarak, bu araştırma sokak fotoğrafçılığının temel konseptlerini ve önemini ele alarak, bu özel fotoğraf türünün Türkiye’deki sınırlı bilgi kaynağına ve sağlıklı tetkiklerin bulunmadığına değinmiş ve gelecekteki potansiyelini vurgulayarak daha fazla araştırmanın gerekliliğini göstermiştir. Bu durum aynı zamanda bu alana yeni başlayan fotoğrafçılar için de bilgi eksikliğini ortadan kaldıracaktır.
Topic:
Arts, Discipline, Photography, and Perception
Political Geography:
Turkey and Global Focus

4. Design to Live: Everyday Inventions from a Refugee Camp

Publication Date:
04-2022
Content Type:
Video
Institution:
MIT Center for International Studies
Abstract:
Panel discussion with experts :: Part of the Myron Weiner Seminar Series on International Migration Panelists: Azra Akšamija, an artist and architectural historian, is Director and Founder of the MIT Future Heritage Lab (FHL) and Associate Professor in the MIT Department of Architecture and the Program in Art, Culture, and Technology. Raafat Majzoub, an architect, artist, and writer, is Director of The Khan: The Arab Association for Prototyping Cultural Practices and Editor-in-Chief of the Dongola Architecture Series. Melina Philippou, an architect and urbanist, is Program Director of the MIT Future Heritage Lab, founder of Trapezui: Marble Objecthoods and Associate at the Department of City Planning, Ministry of Interior in Cyprus. Moderator: John Tirman is the executive director and a principal research scientist at MIT's Center for International Studies. Tirman is author, or coauthor and editor, of fourteen books on international affairs, including, Dream Chasers: Immigration and the American Backlash (MIT Press, 2015) and The Deaths of Others: The Fate of Civilians in America’s Wars (Oxford University Press, 2011). About the book, Design to Live: Everyday Inventions from a Refugee Camp: The power of art and design to create a life worth living: designs, inventions, and artworks from the Azraq Refugee Camp in Jordan. This book shows how refugees use art and design to transform their living environments, restoring humanity within circumstances that seem aimed at depriving them of it. Featuring more than twenty projects created by Syrian refugees at the Azraq Refugee Camp in Jordan, Design to Live offers a new way of understanding design as a subversive worldmaking practice and as tool for reclaiming agency in conditions of forced displacement. The projects—including a vertical garden, an arrangement necessitated by regulations that forbid planting on the ground; a front hall, fashioned to protect privacy; a baby swing, made from recycled school desks; and a chess set, carved from broomsticks—showcase the discrepancy between standardized humanitarian design and the real sociocultural needs of refugees.
Topic:
Arts, Culture, Refugees, and Humanitarian Crisis
Political Geography:
Global Focus

5. 'Humanising' Statelessness through an Artistic Approach

Author:
Md Mizanur Rahman
Publication Date:
12-2021
Content Type:
Journal Article
Journal:
Statelessness & Citizenship Review
Institution:
Peter McMullin Centre on Statelessness, Melbourne Law School
Abstract:
In this article I critically examine an art-based approach to statelessness in institutional settings, to show how art can produce alternative insights on statelessness. Drawing from ethnographic observation, I show how an art-based approach tries to go beyond the predominant legalistic and political frames and representations of statelessness, but stay married to the same legal and political discourses. I found the art-based approaches observed do not subscribe to the idea that statelessness is only a legal anomaly and instead emphasise the creation of empathy for stateless individuals or groups. This humanises statelessness by showing their human vulnerability and creatively recognising their hope and agency. Regardless, artistic approaches can struggle to challenge the legalistic and political nature of the problem. It remains a question whether such approaches are appropriately promoting the views, perceptions and feelings of stateless persons themselves, as their participation in creating such art projects are minimal. As such, I argue for an ‘ethnographic turn in art practices’, which can ensure the participation of stateless people in the process of creating and demonstrating art. I believe this ‘turn’ could play a crucial role in the development of statelessness studies.
Topic:
Arts, Culture, Law, and Stateless Population
Political Geography:
Global Focus

6. Resisting Erasure The Politics of Reckoning with Statelessness in the Arts

Author:
Nicoletta Enria
Publication Date:
12-2019
Content Type:
Journal Article
Journal:
Statelessness & Citizenship Review
Institution:
Peter McMullin Centre on Statelessness, Melbourne Law School
Abstract:
Stateless art interlocutors are reclaiming the discourse on statelessness through their creative productions. By reshaping and contesting statelessness to elicit an empathetic connection, they effectively reshuffle the European, and potentially global, system of knowledge on statelessness. First by rejecting the term and redefining it in terms of an ontologically real or delocalised ‘home’, then by shedding light on the universality of experience that exposes that membership must not be based on nation-state boundaries. Finally, stateless art interlocutors reflect on the colonial legacies of their plights, shedding light on historical connections and breaking colonial stereotypes that define stateless peoples as victims worthy of European rescue. This dissents from the discourse of statelessness as a ‘curse’ to be eradicated. Whilst still acknowledging statelessness as a source of torment and pain due to the context of becoming stateless being one of exile and conflict, and the anguish potentially contingent in a lack of a national identity, it does so in a dignified, empowering manner allowing affected populations a voice and agency. This is a perspective that must be taken into account in policy-circles. Through the arts, policy-makers can not only listen to the lived experience of affected populations, but be immersed in their experiential world. Moreover, others can become involved to help bring attention to statelessness in the arts: follow your local galleries, and urge them to support artists working on statelessness, and to include these voices in their collections. The radical empathy fostered in these artworks makes statelessness harder and harder to discard — leaving an indelible mark in our minds. Swaitat’s initial lesson rings truer than ever; he disappeared but he did not die – we must not let his story and that of other stateless art interlocutors slip through the cracks. In 2018 the Statelessness & Citizenship Review had an open call for artworks responding to the Review’s focus on advancing understandings of statelessness and citizenship phenomena and challenges.35 The winning artwork Critical Massby Wasim zaid Habashneh beautifully ties together many of the themes and styles adopted by the stateless art interlocutors I worked with, of home, global community, unity in difference and the universality of experience. The piece, created using a traditional Jordanian sand art in discarded fluorescent tubes with pixelated patterns, incorporates Habashneh’s architectural background in its composition moulded with larger concepts of home, belonging and identity. Critical Mass means the sufficient number to achieve a result — here Habashneh uses this as the title to prompt the question: what makes civil society? Critical Mass seems to resemble the shape of a world map, with the moving tubes structured with different slithers of colour. This alludes to a global community, whilst also delineating difference in the different colours. This also underlines how stateless people and non-citizens are equally as deserving of belonging in a global community, but should not have to erase their identity to become a part of it. Moreover, the motion of the tubes importantly signifies how societies are not static but are in fact always changing. In fact, what statelessness is and how it configures in societies will always be changing, much like shown by the fluid component of sand. Habashneh opens up our understanding of identity and belonging as territorially marked and fixed, but as always changing and able to incorporate stateless people and non-citizens, often excluded and considered anomalies. Critical Mass shows us how our perception of who and what makes a society must remain fluid and open to what the ‘critical mass’ for it to flourish is. Especially one that leaves no one behind.
Topic:
Arts, Feminism, Stateless Population, and Gender
Political Geography:
Global Focus

7. A Euro Border Guard and Hybrid Warfare. An Art Theft Perspective: Human Dimensions and a Moral Imperative

Author:
Charles Hill
Publication Date:
09-2016
Content Type:
Journal Article
Journal:
Connections
Institution:
Partnership for Peace Consortium of Defense Academies and Security Studies Institutes
Abstract:
Art theft, particularly the looting of works of art from antiquity, is an element of today’s terrorism. Stealing and looting art works, including theft by destruction, are ancient and continuing practices. To counter art theft, modern hybrid, multifaceted or multidimensional warfare requires innovation. Integrated with the human dimension in countering art theft, there is an enduring moral imperative to combat and contain the worst effects of looting and the theft of art through anti-terrorism work. The idea of a European Army may be better thought of and developed as a Euro Border Guard, a gendarmerie with anti-smuggling art and antiquities training, leaving NATO to continue its mission
Topic:
Terrorism, Arts, and Hybrid Warfare
Political Geography:
Global Focus