TAVŞANLARIN GÖZÜNDEN, TAVŞANLAR DAHİL: BAŞKA TÜRLÜ BİR BERLİN DUVARI BELGESELİ

Year 2019, , 43 - 60, 30.03.2019

Özlem Güçlü

https://doi.org/10.32001/sinecine.545769

Abstract

Bu  makale, Bartosz Konopka’nın Berlin Duvarı’nın  hikâyesini,  alışılmadık  bir perspektiften, “tavşan gözünden”, anlatan Królik po berlinsku (Rabbit á la Berlin, 2009) adlı belgeseline odaklanmaktadır. Rabbit á la Berlin tarihi belgesel ve doğa belgeseli kod ve konvansiyonlarıyla ironik bir şekilde oynayarak, arşiv görüntülerini tavşan bakış açısına göre yeniden çerçevelendirerek ve tavşan bakış ve hareketlerini ön plana çıkaracak montaj geçişleri kullanarak belgesel türünün ve sinematik alanın kendisinin insan merkezliliği üzerine benzersiz bir tartışma alanı açmaktadır. Bu bakımdan, bu yazı, perdede insan merkezli kullanımların ve eğilimlerin ötesinde yeni sinematik imkân ve kabiliyetler icat eden Rabbit á la Berlin’in özgün türsel, anlatısal ve biçimsel seçim ve düzenlemelerini mercek altına almaktadır. Böylelikle, hayvanların görünürlük rejimleri ve sinemada hayvanların temsili üzerine bir tartışma ortaya koymayı ve film çalışmalarının daha az türcü dolayısıyla daha mümbit bir alana doğru evrilmesine katkıda bulunmayı amaçlamaktadır.

Keywords

Hayvan temsili, sinema, belgesel, insan merkezlilik, Berlin Duvarı

RABBITS’ EYES VIEW, INVOLVING RABBITS: A DIFFERENT KIND OF BERLIN WALL DOCUMENTARY

Abstract

This article focuses on Bartosz Konopka’s documentary, Królik po berlinsku (Rabbit á la Berlin, 2009), which tells the story of the Berlin Wall in an unconventional way, that is, from a rabbit’s perspective. By playing ironically with the conventions of historical and wildlife documentaries, by reframing and reprocessing archival footage according to a rabbit’s point of view, and by creating transitions that prioritize a rabbit’s gaze and movements, Rabbit á la Berlin opens up a unique opportunity for a discussion of the conventional anthropocentrism of the documentary genre and the cinematic realm itself. In this regard, the article examines the distinctive generic, narrative, and formal arrangements of Rabbit á la Berlin, which develop possibilities and capabilities beyond anthropocentrism. It lays out a discussion of the regimes of visibility that apply to animals and animal representations in cinema and contributes to the evolution of film studies into a vaster field, unconfined to a single species. 

Keywords

Animal representation, cinema, documentary, anthropocentrism, Berlin Wall

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