A Deleuzean Look on Tony Gatlif’s Accented Cinema

Yıl 2021, Cilt: 6 Sayı: 11 - Özel Sayı (3) 2021, 312 - 329, 09.10.2021

Ahmet Oktan , Almıla Nur Berilğen

https://doi.org/10.31122/sinefilozofi.889331

Öz

This study aims to discuss Tony Gatlif's "accented cinema", which deals with the lives of minorities and nomads and the reflexivity brought by these lives in many of his films, in terms of philosophical expansions. The original style which the director build by using cinema’s means about being a Gypsy or from an ethnic minority, while opening the majorities to questioning, it transforms the film watching experience to a specific intellectual adventure. In Gatlif's approach, which includes elements that coincide with Hamid Naficy's definition of "accented cinema", nomadism emerges as a minor element and, nomadic Gypsy communities, inside all the inhabitants of the world, display a minor existence. This philosophical reflexivity in Gatlif’s films, which is similar to Kafka in terms of masterfully presenting words of a minor community, is examined by focusing on, Latcho Drom (1992), Gadjo Dilo (1997), Exils (2004), Transylvania (2006) and Korkoro (2009) films. Questions like revealing reflexivities in terms of director’s accented images and what these elements mean on account of difference and minor cinema debates, form the film analyses’ basic questioning fields and the obtained findings are discussed by taking reference of Gilles Deleuze and Felix Guattari’s concepts who see cinema as a philosophical perception and thinking activity. In this context, Deleuze and Guattari’s ontology of difference and minor cinema approach are the intellectual background of this study to be made on Gatlif cinema.

Anahtar Kelimeler

MİNOR CİNEMA, FİLM, DELEUZE

Kaynakça

• Akay, A. (2006). “Yersizyurtsuzlaşma Üzerine”, Toplumbilim, 5, pp. 19-22.
• Akyol Oktan, K. (2019). “Tekillik, İnsan-Sonrası (Post-Human) ve Göçebe Cinsiyetler”. E. Baştürk ve B. N. Erdem (Ed.), in, Dijital Medya ve Toplumsal Cinsiyet- Kavramlar Fırsatlar Sınırlılıklar, Konya: Litera-Türk, pp. 283-318.
• Altun, H. (2016). “Tony Gatlif’in Sinematografik Evreninde Farklı Veçheleriyle Göçün Temsili”, İnternational Symposium On Migration and Culture, pp. 193-216.
• Andrew, M. (2008). “French Cinema in Exile: Trans-national Cultural Representation in Tony Gatlif’s Gadjo dilo”, New Cinemas: Journal of Contemporary Film, 6/2, pp. 75–83.
• Bakhtin, M. (2001). Karnavaldan Romana Edebiyat Teorisinden Dil Felsefesine Seçme Yazılar, Trans. byCem Soydemir, İstanbul: Ayrıntı Publishing.
• Blum-Reid, S. (2008). “Away from Home? Two French Directors in Search of their Identity”, Quarterly Review of Film and Video, 26:1, pp. 1-9.
• Butler, J. ve Athanasiou, A. (2017). Mülksüzleşme & Siyasaldaki Performatif, Trans. by Başak Ertür, İstanbul: Metis Printing.
• Colebrook, C. (2013). Gilles Deleuze, Trans. by Cem Soydemir, Ankara: Doğu Batı Publishing.
• Çakan, G. (2009). “Tony Gatlif”, https://www.bagimsizsinema.com/tony-gatlif.html, Access Date: 15.10.2021.
• Çalcı, S. (2012). “Deleuze ve Guattari’de Dilin Yersiz-yurtsuzlaşması: Emir Sözcüklerden Tercihler Mantığına”, Journal Of Thinking, 2, pp. 6-27.
• Deleuze, G. & Guattari, F. (1994). What Is Philosophy? New York: Columbia University Press.
• Deleuze, G. & Guattari, F. (2005). A Thousand Plateaus: Capitalism and Schizophrenia, Trans. by Brian Massumi, Minneapolis: University of Minnesota Press.
• Deleuze, G. & Guattari, F. (2020). Kafka: Minör Bir Edebiyat İçin, Trans. by Işık Ergüden, İstanbul: Sel Publishing.
• Deleuze, G. &Parnet, C. (2007). Dialogues II, Trans. by Hugh Tomlinson & Barbara Habberjam, New York: Columbia University Press.
• Deleuze, G. (1994). Difference and Repetition, Trans. by Paul Patton, New York: Columbia University Press.
• Deleuze, G. (1997). Cinema 2: The Time İmage, Mineapolis: University of Minesota.
• Deleuze, G. (2004). The Logic of Sense, Trans. by Mark Lester with Charles Stivale, London: Continuum.
• Foucault, M. (1997). “Of Other Spaces: Utopias and Heterotopias”, Neil Leach (ed), in, Rethinking Architecture: A Reader In Cultural Theory, London, New York : Routledge, pp. 350-356.
• Gatlif, T. (1992). Latcho Drom [Movie], France: K. G. Productions.
• Gatlif, T. (1997). Gadjo Dilo [Movie], Romania, France: CNC, Princess Films, Canal+.
• Gatlif, T. (2004). Exils [Movie], France: Princes Films.
• Gatlif, T. (2006). Transylvania [Movie], France: Canal+, TPS Star.
• Gatlif, T. (2009). Korkoro [Movie], France: Production Princes, France 3 Cinema, Rhone-Alpes Cinema.
• Gatlif, T. (2012). “On Sauve Les Banques, Pas Le People”, https://www.huffingtonpost.fr/tony-gatlif/on-sauve-les-banques-pas-_b_1379618.html,Access Date: 15.10.2020.
• Gatlif, T. (2018). Djam [Movie], France, Greece, Turkey: Princes Production.
• Kracauer, S. (1997). Theory of Film:The Redeption of Physical Reality, New Jersey: Princeton University Press.
• Naficy, H. (2001). An Accented Cinema: Exilic And Diasporic Filmmaking, New Jersey: Princeton University Press.
• Nietzsche, F. W. (2007). Beyond Good and Evil: Prelude to a Philosophy of the Future, Rolf-Peter Horstmann and Judith Norman (Ed.), Trans. by Judith Norman, Cambridge: Cambridge University.
• Stavrides, S. (2016). Kentsel Heterotopya: Özgürleşme Mekânı Olarak Eşikler Kentine Doğru. Trans. by Ali Karatay, İstanbul: Sel Publishing.
• Sutton, D. & Jones, D. M. (2016). Yeni Bir Bakışla Deleuze,Trans. by Murat Özbank & Yetkin Başkavak, İstanbul: Kolektif Kitap.
• Vanderschelden, İ. (2014) . “Close-Up: Postcolonial Filmmaking in French-speaking Countries”, Black Camera, 6/1, pp. 108-123.