FEDAKAR KIZ FILMINDE TRAVMATIK CINSELLIK

Year 2015, , 27 - 48, 15.10.2015

Ahmet Yüce

https://doi.org/10.32001/sinecine.540229

Abstract

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, sapkın-travmatik kadın cinselliği bağlamında yasa ile ihlal arasındaki ilişkiye yönelik genelgeçer ahlaki cevaplara
ulaşmakta başarısızlığa uğradığı bir sınırda dolaştırdığını göstermek amaçlanmaktadır. 

Keywords

Fedakar Kız, psikanaliz, fahişelik, travma, yasa, ihlal

TRAUMATIC SEXUALITY IN SAMARIA

Abstract

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. 

Keywords

Samaritan Girl, psychoanalysis, prostitution, trauma, law, transgression

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