{"id":4022,"date":"2010-04-02T01:00:00","date_gmt":"2010-04-01T22:00:00","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/"},"modified":"2010-04-02T01:00:00","modified_gmt":"2010-04-01T22:00:00","slug":"felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/","title":{"rendered":"Felsefenin perspektifinden | Bak\u0131\u015f teorisi \u00fczerine – Peter Wollen"},"content":{"rendered":"

\"\"Alexandre Koj\u00e8ve Rusya\u2019da varl\u0131kl\u0131 bir ailenin \u00e7ocu\u011fu olarak d\u00fcnyaya geldi; ressam Kandinsky\u2019nin ye\u011feniydi.1920\u2019de, on sekiz ya\u015f\u0131nda, Almanya\u2019da okumak \u00fczere Moskova\u2019dan ayr\u0131ld\u0131; \u00f6nce Berlin\u2019e, ard\u0131ndan Heidelberg\u2019e gitti. 1926\u2019da Paris\u2019e ta\u015f\u0131nd\u0131 ve daha \u00f6nce Heidelberg\u2019te tan\u0131\u015ft\u0131\u011f\u0131 Alexandre Koyre\u2019nin verdi\u011fi Hegel\u2019in din felsefesi dersini alaca\u011f\u0131 \u00c9cole Pratique des Hautes \u00c9tudes\u2019\u00fcn kay\u0131tl\u0131 \u00f6\u011frencisi oldu. Koyre, 1932\u2019de dersi yeniden vermeye ba\u015flad\u0131 ve Koj\u00e8ve derse yeniden kat\u0131ld\u0131. Ard\u0131ndan akademik y\u0131l\u0131n sonundaKoyre, Kahire \u00dcniversitesi\u2019ne ders vermek \u00fczere Paris\u2019ten ayr\u0131ld\u0131.<\/p>\n

Fakat ayr\u0131lmadan \u00f6nce, Hegel dersini vermeyi Koj\u00e8ve\u2019ye teklif etti. Bu teklifi kabul eden Koj\u00e8ve 1939\u2019a kadar, yedi y\u0131l boyunca bu dersi verdi. Bu s\u00fcre boyunca dersi alanlar aras\u0131nda Georges Bataille,Andr\u00e9 Breton, Raymond Quenau, Jacques Lacan ve Maurice Merleau-Ponty gibi isimler bulunmaktayd\u0131. Koj\u00e8ve\u2019nin Hegel \u00fczerine verdi\u011fi ders, \u00f6zellikle Tinin Fenomenolojisi\u2019nden yapt\u0131\u011f\u0131 yorumlay\u0131c\u0131 okumalar Frans\u0131z entelekt\u00fcel hayat\u0131nda \u015fa\u015f\u0131rt\u0131c\u0131 bir etki yaratm\u0131\u015ft\u0131r. Koj\u00e8ve bug\u00fcn en \u00e7ok Hegelci \u2018Tarihin Sonu\u2019 fikrini temsil etmesiyle tan\u0131n\u0131yor. Bu fikir, Francis Fukuyama\u2019n\u0131n 1992 tarihli The End of History and The Last Man (Tarihin Sonu ve Son \u0130nsan) adl\u0131 kitab\u0131yla yeniden \u00fcn kazand\u0131. Fakat bu makalede, \u00f6zellikle Koj\u00e8ve\u2019nin He gel\u2019in bak\u0131\u015f teorisi ve efendi-k\u00f6le diyalekti\u011fi yorumu \u00fczerinde yo\u011funla\u015fmak istiyorum.<\/p>\n

Hegel Tinin Fenomenolojisi\u2019ni, Napolyon 1806\u2019da b\u00fcy\u00fck filozofunders verdi\u011fi \u00fcniversitenin oldu\u011fu Jena\u2019ya yakla\u015ft\u0131\u011f\u0131 y\u0131lda yazm\u0131\u015ft\u0131. Sonra, metnini tam da \u015fehrin surlar\u0131nda top sesleri duyulmaya ba\u015flad\u0131\u011f\u0131nda bitirmi\u015fti. Jena, Napolyon\u2019un Prusya\u2019ya kar\u015f\u0131 tarihi zaferi kazand\u0131\u011f\u0131 yerdi, bundan hemen sonra zaferle Berlin\u2019e girdi ve Avrupak\u0131tas\u0131nda Frans\u0131z hegemonyas\u0131n\u0131 kurmay\u0131 ba\u015fard\u0131. Hegel -ve Koj\u00e8ve-i\u00e7in zamanlama sembolikti; toplar\u0131n k\u00fckremesi ve kalemin b\u0131rak\u0131lmas\u0131n\u0131n ayn\u0131 ana denk gelmesi tesad\u00fcft\u00fc. 1806 y\u0131l\u0131, sadece d\u00fcnya tarihinde -Napolyon\u2019un tebaadan \u00e7ok vatanda\u015f fikrine dayanan yeni bir hukuk sistemi ve devlet tipini yayg\u0131nla\u015ft\u0131r\u0131lmas\u0131ndaki ilk \u00f6nemli icras\u0131- de\u011fil, felsefe tarihinde de bir d\u00f6n\u00fcm noktas\u0131n\u0131n ya\u015fand\u0131\u011f\u0131 y\u0131ld\u0131. O s\u0131rada, Hegel ilk kez d\u00fcnyay\u0131 do\u011fal yerine tarihi bir b\u00fct\u00fcnl\u00fck olarak kavramla\u015ft\u0131rd\u0131; insan d\u00fcnyay\u0131, insanlara nesnel olarak verilmi\u015f haz\u0131r bir varolu\u015ftan ziyade, sadece kendileri taraf\u0131ndan y\u00fcr\u00fct\u00fclen \u00f6zneleraras\u0131 bir s\u00fcre\u00e7 olarak anlayabilirdi. Hegel 1806\u2019da, Jena\u2019da d\u00fcnya tarihi enstr\u00fcman\u0131n\u0131n -Napolyon- filozofuyla -Hegel- rastla\u015ft\u0131\u011f\u0131na inand\u0131; eylem d\u00fc\u015f\u00fcnceyle, hareket anlay\u0131\u015fla kar\u015f\u0131la\u015fm\u0131\u015ft\u0131.<\/p>\n

Hegel\u2019in Fenomenoloji\u2019sinin temeli, insan bak\u0131\u015f\u0131 teorisidir. Hegel\u2019i \u00f6zetleyerek Koj\u00e8ve\u2019nin \u00f6zeti \u015fu \u015fekilde ifade edilebilir: \u0130nsan bilin\u00e7lidir, kendisinin, insan ger\u00e7ekli\u011fi ve de\u011ferinin bilincindedir; ve i\u015fte bu nedenle, sadece hisleri ve sezgileri olan hayvanlardan farkl\u0131d\u0131r.Hegel\u2019e g\u00f6re, insan -\u2018ilk\u2019 kez- \u2018ben\u2019 dedi\u011fi anda bilin\u00e7li olur. Bununi\u00e7in insan\u0131 \u2018k\u00f6ken\u2019ini anlayarak anlamak, dilde ortaya \u00e7\u0131kan \u2018ben\u2019in k\u00f6kenini anlamakt\u0131r. \u0130nsan\u0131, d\u0131\u015fsal objeyi i\u00e7selle\u015ftirerek kendisine getiren arzudur: Bir varl\u0131\u011f\u0131n (bilin\u00e7li) arzusu neyi \u2018ben\u2019 olarak se\u00e7ti\u011fi ve neyin \u2018ben…\u2019 olarak kendisini if\u015fa etti\u011fidir. Bununla birlikte, insan arzusu hayvan arzusundan farkl\u0131 olarak,tamamen bir nesneden ziyade ba\u015fka bir arzuya y\u00f6neldi\u011finde ger\u00e7ekten insani olur. Bu y\u00fczden, Koj\u00e8ve, Hegel\u2019i yorumlayarak \u015f\u00f6yle der:<\/p>\n

\u00d6rne\u011fin, erkek ile kad\u0131n aras\u0131ndaki bir ili\u015fkide, birinin arzusue\u011fer bedeni de\u011fil, di\u011ferinin arzusunu istese insani olur… yani, insan de\u011feri i\u00e7inde, insani bir birey ger\u00e7ekli\u011fi i\u00e7inde \u2018arzulanmak\u2019 ya da \u2018sevilmek\u2019 ya da, daha do\u011frusu \u2018fark edilmek\u2019 istiyorsa. Keza, do\u011fal bir nesneye y\u00f6neltilen arzu, ba\u015fka birinin ayn\u0131 nesneye y\u00f6neltti\u011fi arzusunun \u2018araya girmesi\u2019yle insani olur; ba\u015fkalar\u0131n\u0131n arzu etti\u011fini arzulamak, onlar arzulad\u0131\u011f\u0131 i\u00e7in insanidir. Nitekim, biyolojik bak\u0131\u015f a\u00e7\u0131s\u0131ndan tamamen i\u015flevsiz bir nesne (bir madalya ya da d\u00fc\u015fman bayra\u011f\u0131) ba\u015fka arzular\u0131n nesnesi oldu\u011fu i\u00e7in arzu edilir. B\u00f6yle bir arzu, hayvan ger\u00e7ekli\u011finden ayr\u0131larak sadece insan arzusu ve ger\u00e7ekli\u011fi olabilir, bu t\u00fcr arzular\u0131 sadece hareket tatmin eder: \u0130nsanl\u0131k tarihi arzulanan arzular\u0131n tarihidir. (Alexandre Koj\u00e8ve, Introduction to the Reading of Hegel: Lectures on the Phenomenology of Spirit, [1947], New York 1969, s. 6.)
<\/em>
O halde, ba\u015flang\u0131\u00e7ta arzu her zaman rekabete dayal\u0131d\u0131r. Son \u00e7\u00f6z\u00fcmlemede m\u00fccadele ihtimali ve ka\u00e7\u0131n\u0131lmaz olarak, sava\u015fta oldu\u011fu gibi \u00f6l\u00fcm riski anlam\u0131na gelmektedir. Ayn\u0131 zamanda ba\u015fkas\u0131 taraf\u0131ndan tan\u0131nma arzusuna dayan\u0131r, birinin ne olarak g\u00f6r\u00fcld\u00fc\u011f\u00fc, ya da g\u00f6r\u00fclm\u00fc\u015f oldu\u011fu, ba\u015fkalar\u0131 taraf\u0131ndan arzulanan \u015feydir; bu onlar\u0131n nezdinde de\u011ferdir. Bilincin k\u00f6keni, b\u00f6ylece ba\u015f\u0131ndan beri sadece tan\u0131nma arzusuna de\u011fil, bunu kapsayan riske ba\u011fl\u0131d\u0131r. Koj\u00e8ve\u2019nin yorumlamas\u0131yla, Hegel\u2019in efendi ve k\u00f6le diyalekti\u011fini insanl\u0131k tarihinin itici g\u00fcc\u00fc olarak g\u00f6rmesine yol a\u00e7an d\u00fc\u015f\u00fcnce s\u0131ralamas\u0131 budur \u2013k\u00f6le efendisinin yerine ge\u00e7mek ister ve efendi, k\u00f6leden efendili\u011finin tan\u0131nmas\u0131n\u0131 ister. Napolyon kendisiyle beraber kanunlar \u00f6n\u00fcnde e\u015fitlik ve bu fikre dayanarak herkesin birbirini tan\u0131mas\u0131 ilkesini getirdi\u011finde, Jena\u2019daki sava\u015fla sonu i\u015faret edilen, bu efendi\u00a0 ile k\u00f6le aras\u0131ndaki m\u00fccadeledir; k\u00f6le g\u00fcc\u00fcyle (k\u00f6yl\u00fcden beklenen) aristokrat efendili\u011fi (lordun keyfini s\u00fcrd\u00fcrd\u00fc\u011f\u00fc) burjuva vatanda\u015fta eriterek bir sonucu m\u00fcmk\u00fcn k\u0131ld\u0131: kendisinin efendisi olan ve kendine yeten i\u015f\u00e7i. Koj\u00e8ve\u2019nin Hegel\u2019in teorisine katk\u0131s\u0131, Napolyon\u2019un Jena\u2019daki zaferi ve Hegel\u2019in bu olay\u0131n d\u00fcnya tarihindeki \u00f6nemini anlamas\u0131na ra\u011fmen, efendi ilek\u00f6le m\u00fccadelesinin h\u00e2l\u00e2 bitmemi\u015f oldu\u011funu dikkate almakt\u0131, \u00e7\u00fcnk\u00fc tarihin sonu m\u00fccadelenin asl\u0131nda yeni bir a\u015famas\u0131yla, \u00e7ekilen feodalizmi takip eden burjuva demokrasisi -sermaye ile emek aras\u0131ndaki- m\u00fccadelesiyle ertelenmi\u015fti. Koj\u00e8ve\u2019nin g\u00f6r\u00fc\u015f\u00fcne g\u00f6re, tarihin sonu hen\u00fcz gelmemi\u015fti.<\/p>\n

Aynadaki \u00c7ocuk<\/strong><\/p>\n

Bununla birlikte, Koj\u00e8ve\u2019nin Hegel\u2019den aktard\u0131\u011f\u0131, bizi burada ilgilendiren d\u00fc\u015f\u00fcncesi, di\u011ferinin arzusunun tan\u0131nmas\u0131nda hem bak\u0131\u015fa hem de bak\u0131\u015f\u0131n kar\u015f\u0131lanmas\u0131na verdi\u011fi \u00f6nemdir. Jacques Lacan\u2019\u0131n \u00e7al\u0131\u015fmalar\u0131na a\u015fina olanlar, Koj\u00e8ve\u2019nin, Lacan\u2019\u0131n d\u00fc\u015f\u00fcncesini geli\u015ftirmesinde oynad\u0131\u011f\u0131 \u00f6nemli rol\u00fc fark edeceklerdir. Lacan, Henri Wallon\u2019un \u00e7ocuk geli\u015fimine ili\u015fkin psikolojik ara\u015ft\u0131rmas\u0131yla Koj\u00e8ve\u2019nin Hegelci bak\u0131\u015f teorisini, insanl\u0131k tarihinin motoru olarak ayna evresi ve bak\u0131\u015f ile arzunun diyalekti\u011fi \u00fczerine olan teorilerini geli\u015ftirmek \u00fczere biraraya getirmi\u015ftir. Lacan\u2019\u0131n biyografisini yazan Elisabeth Roudinesco\u2019ya g\u00f6re, Koj\u00e8ve, Lacan\u2019\u0131n bir zamanlar g\u00f6z\u00fcn\u00fc dikti\u011fi gizemli guruydu; hem Lacan\u2019\u0131n gurunun rol\u00fcn\u00fc y\u00fcklenmesinde -s\u00f6zl\u00fc yorumlar\u0131n\u0131n dinleyicileri taraf\u0131ndan yaz\u0131ya d\u00f6k\u00fclmesi ve bas\u0131lmas\u0131yla beraber- hem de bak\u0131\u015f\u0131n arzuyla ili\u015fkisi \u00fczerine kendi teorilerini geli\u015ftirmesinde -ki bu teori b\u00fct\u00fcn projesinin temelini olu\u015fturur ve sonu\u00e7ta film teorisine iz b\u0131rakm\u0131\u015ft\u0131r- bir model olaraki\u015flev g\u00f6rm\u00fc\u015ft\u00fcr. Bu konudaki anahtar metin Lacan\u2019\u0131n, \u201c\u2018Ben\u2019in \u0130\u015flevinin Olu\u015fmas\u0131nda Ayna Evresi\u201d 1949\u2019da Z\u00fcrih Uluslararas\u0131 Psikanaliz Birli\u011fi Konferans\u0131\u2019nda yeniden g\u00f6zden ge\u00e7irdi\u011fi, daha eski bir makaleydi. Burada Lacan \u015f\u00f6yle der:<\/p>\n

Ayna evresinin sona erdi\u011fi bu an, kopyan\u0131n\u00a0 imago\u00a0 ile \u00f6zde\u015fle\u015fmesi ve ilkel hasetin dramas\u0131yla ba\u015flar… Diyalektik bundan sonra \u2018ben\u2019i toplumsal bak\u0131mdan m\u00fckellef durumlarla birle\u015ftirecektir. B\u00fct\u00fcn bir insan bilgisini, ba\u015fkas\u0131n\u0131n arzusuyla kesin olarak birle\u015ftiren,nesneleriyle \u00f6tekilerin ortakl\u0131\u011f\u0131 aras\u0131nda soyut bir e\u015fitlik kurduranve \u2018Ben\u2019i, i\u00e7g\u00fcd\u00fcsel g\u00fcvenin bir tehlike te\u015fkil etti\u011fi o ayg\u0131ta d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fc an budur. (Lacan, \u00c9crits: A Selection, Londra, 2001, s. 6-7.s\u0131)<\/em><\/p>\n

Bunun ard\u0131ndan Lacan \u2018\u00f6l\u00fcm i\u00e7g\u00fcd\u00fcs\u00fc\u2019 ve \u2018ben\u2019in yabanc\u0131la\u015ft\u0131r\u0131c\u0131 i\u015flevi\u2019nden, bunun en yard\u0131mseveri dahil \u00f6tekiyle olan her t\u00fcr ili\u015fkide ortaya \u00e7\u0131kard\u0131\u011f\u0131 sald\u0131rganl\u0131ktan s\u00f6z eder. Koj\u00e8ve\u2019nin b\u00fct\u00fcn katk\u0131 burada a\u00e7\u0131k\u00e7a ortaya \u00e7\u0131kar \u2013\u00f6zneye ait bir arzunun olu\u015fmas\u0131nda \u00f6tekilerin arzusunun oynad\u0131\u011f\u0131 \u015fekillendirici rol, bir \u2018ben\u2019 olarak sembolize edilmi\u015ftir; efendi ile k\u00f6le aras\u0131ndaki muharebeyle serbest kalan sald\u0131rganl\u0131k ve \u00f6l\u00fcm\u00fcne m\u00fccadele; ancak \u00e7ocuk psikolojisi alan\u0131nda yeniden ba\u011flamla\u015ft\u0131r\u0131larak yeni bir anlam kazanm\u0131\u015ft\u0131r. \u0130nsanl\u0131k tarihinin t\u00fcm\u00fcnden ziyade, biz burada, bebe\u011fin \u00e7ocu\u011fa ve en nihayetinde bir yeti\u015fkine d\u00f6n\u00fc\u015fmesiyle ilgileniyoruz. Hegel\u2019e g\u00f6re, bak\u0131\u015f en \u00f6nemli rol\u00fc oynar, ama \u015fimdi Lacan, \u2018ben\u2019in sadece hayali bir kendini fark etmeyle olu\u015fan ayna evresindeki geli\u015fimiyle de\u011fil (Lacan\u2019\u0131n deyimiyle yanl\u0131\u015f tan\u0131ma), Lacan\u2019\u0131n \u2018sosyal ben\u2019 olarak adland\u0131rd\u0131\u011f\u0131, ki\u015finin kendi arzular\u0131n\u0131n \u00f6tekilerin arzusunu yans\u0131tmas\u0131 ve \u00f6zneyi \u00f6tekilerle sald\u0131rgan ili\u015fkilere iten s\u00fcre\u00e7le ilgilenmektedir.<\/p>\n

Bu durumda, Hayali\u2019nin (Imaginary) a\u011f\u0131na ve onun durmadan katlanan bak\u0131\u015flar\u0131na tak\u0131lm\u0131\u015f olan \u00f6znenin d\u0131\u015far\u0131 \u00e7\u0131kmas\u0131n\u0131n tek yolu, Sembolik olana ge\u00e7mektir \u2013hayaliden ziyade sembolik, ikondan ziyade dilsel, mimetikten ziyade keyfiolana: Freud\u2019un \u2018baca temizleme\u2019sinin geli\u015ftirilmi\u015f bir versiyonu.Ayn\u0131 zamanda, Lacan g\u00f6rselin kayd\u0131na olan g\u00fcvensizli\u011fini s\u00fcrd\u00fcr\u00fcr. Martin Jay bunu \u2018g\u00f6rselin lekelenmesi\u2019 olarak tan\u0131mlar. Jay bunu, yirmi birinci y\u00fczy\u0131l Frans\u0131z d\u00fc\u015f\u00fcn\u00fcrlerinin genel olarak Kartezyen gelene\u011fe kar\u015f\u0131 dayatt\u0131klar\u0131 bir entelekt\u00fcel y\u00f6nelim olarak g\u00f6rmektedir. Yinebu d\u00fc\u015f\u00fcn\u00fcrler,Descartes\u2019\u0131n g\u00f6r\u00fcnt\u00fcn\u00fcn perspektifin geometrik kanunlar\u0131na dayand\u0131\u011f\u0131 i\u00e7in mant\u0131kl\u0131 ve g\u00fcvenilir oldu\u011fu d\u00fc\u015f\u00fcncesi, as\u0131l \u2018perspektif\u00e7ilik\u2019 yerine g\u00f6r\u00fcnt\u00fcy\u00fc yan\u0131lsama ve yanl\u0131\u015f tan\u0131ma alan\u0131 olarak d\u00fc\u015f\u00fcnmeyi tercih etmi\u015flerdir. Bu \u00f6zellikle Christian Metz ya da Jean-Lois Baudry gibi film teorisyenlerinin g\u00f6r\u00fc\u015flerinde k\u0131smen belirgindir. Bu teorisyenler sinemay\u0131 yar\u0131-Lacanc\u0131 -ve kesinlikle ikonofobik- terimlerle tan\u0131mlad\u0131lar. Sinema narsisistik, feti\u015fist veya r\u00f6ntgenci (voyeuristic) zevkler a\u00e7\u0131s\u0131ndan bir ara\u00e7t\u0131. \u00dcstelik, bu ikonofobinin k\u00f6kleri, sadece fenomenoloji, psikanaliz ve antropolojiden ald\u0131\u011f\u0131 \u00f6\u011feleri birle\u015ftirerek entelekt\u00fcel bir taslak sa\u011flayan Lacan\u2019dan \u00e7ok daha \u00f6teye gidiyordu.<\/p>\n

Varolu\u015f ve R\u00f6ntgencilik<\/strong><\/p>\n

Bu ba\u011flamda, Jay\u2019in tan\u0131m\u0131na g\u00f6re, \u201cdikkate de\u011fer kariyerinin uzun seyri boyunca y\u0131lmadan\u00a0 le regard\u2019\u0131 \u015feytanla\u015ft\u0131ran\u201d Jean-Paul .Sartre\u2019\u0131n bak\u0131\u015fa ili\u015fkin tutumuna bakmak yararl\u0131 olacakt\u0131r.Bir ele\u015ftirmene g\u00f6re, Sartre\u2019\u0131n eserlerinde bakmayla ilgili 7 binden fazla g\u00f6nderme vard\u0131r. 1938\u2019de yay\u0131nlanan ilk roman\u0131\u00a0 La Naus\u00e9e\u2019da (Bulant\u0131), kahraman Roquentin, Jay\u2019in ifadesiyle varolu\u015fsal bulant\u0131s\u0131n\u0131n kayna\u011f\u0131yla, bir kestane a\u011fac\u0131n\u0131n k\u0131vr\u0131ml\u0131 kara k\u00f6k\u00fcn\u00fcn \u2018anlams\u0131z \u015feyli\u011fi\u2019ne bakarak y\u00fczle\u015fir: \u201cBu kara k\u00f6k\u00fc tamamen g\u00f6rm\u00fcyordum, g\u00f6r\u00fc\u015f karma\u015f\u0131k bir yalan, temizlenmi\u015f, basitle\u015ftirilmi\u015f insan tasar\u0131lar\u0131ndan biridir. Oradaki kara k\u00f6k; bi\u00e7imsiz, c\u0131l\u0131z varl\u0131k g\u00f6r\u00fc\u015f\u00fcn, koku ve tat alman\u0131n d\u0131\u015f\u0131na ta\u015f\u0131yordu.\u201d<\/em> (Jean-Paul Sartre, Nausea, Londra 2000 [1938].)<\/p>\n

Roquentin\u2019in bulant\u0131s\u0131n\u0131n kayna\u011f\u0131, sanki ilksel bir hi\u00e7lik dalgas\u0131 gibi g\u00f6rmenin d\u00fczenli d\u00fcnyas\u0131n\u0131n, bizi \u015feylerin \u00fcrk\u00fct\u00fcc\u00fc \u015feyli\u011finden koruyan, kendi tasarlad\u0131\u011f\u0131m\u0131z hayali bir d\u00fcnyan\u0131n \u00fcstesinden gelir. Jay, filozofun yo\u011fun imge korkusunu (ikonofobi) biyografik bir a\u00e7\u0131klamayla ifade eder: Sartre, hem kendi \u00e7irkinli\u011finden hem de miyoplu\u011fundan \u00e7ekmi\u015ftir. Jay\u2019in ortaya koydu\u011fu \u015fekilde, \u201cSartre, kendi g\u00f6rme ma\u011fdurlu\u011funu -ya da onun bu \u015fekilde ifade etti\u011fi- deneyimini evrensel bir insanl\u0131k durumuna y\u00fckseltti\u201d<\/em>.( Jay, Downcast Eyes, s. 287.) Sartre\u2019a g\u00f6re, bak\u0131\u015f her zaman somutla\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r. Bakan aktif ve sald\u0131rgan, bak\u0131lansa bak\u0131\u015f\u0131n kurban\u0131d\u0131r.<\/p>\n

Sartre, sonradan Lacan\u2019\u0131n yapt\u0131\u011f\u0131 gibi g\u00f6z\u00fc bir organ, bak\u0131\u015f\u0131 bir hareket olarak ay\u0131rm\u0131\u015ft\u0131r. \u201cG\u00f6zler size bakarken onlar\u0131 asla g\u00fczel ya da \u00e7irkin bulamaz, rengini fark edemezsiniz. \u00d6teki\u2019nin bak\u0131\u015f\u0131 g\u00f6zlerini saklar; bak\u0131\u015f g\u00f6zlerden \u00f6nce gelir.\u201d<\/em> Varl\u0131k ve Hi\u00e7lik\u2019in ayn\u0131 sayfas\u0131nda, Sartre bak\u0131\u015f\u0131n neden b\u00f6ylesine rahats\u0131z edici oldu\u011funu a\u00e7\u0131klamaya devam eder: \u201cBu, alg\u0131lamak bakmak oldu\u011fundan ve bir bak\u0131\u015f\u0131 idrak etmek, d\u00fcnyadaki bak\u0131lan nesneyi idrak etmek olmad\u0131\u011f\u0131ndand\u0131r (bak\u0131\u015f bize y\u00f6neltilmedik\u00e7e); bak\u0131ld\u0131\u011f\u0131n\u0131n fark\u0131nda olmakt\u0131r.\u201d (Jean-Paul Sartre, Being and Nothingness, Londra2003 [1943], s. 282.) Nesnele\u015ftirilen, somutla\u015ft\u0131r\u0131lan, bir \u015feye d\u00f6n\u00fc\u015ft\u00fcr\u00fclen, bak\u0131lan ki\u015fidir, bak\u0131\u015f ise bu somutla\u015ft\u0131rman\u0131n arac\u0131, hayali arac\u0131d\u0131r. Bak\u0131\u015f\u0131 g\u00f6remeyiz ama g\u00fcc\u00fcn\u00fc hissedebiliriz. Asl\u0131nda, bak\u0131\u015f bizim bize bakan\u0131n g\u00f6zlerine bakmam\u0131za engel olur \u2013bakana bakarak yapmay\u0131 umabilece\u011fimiz tek \u015fey, \u00f6tekinin bir bak\u0131\u015f\u0131yla kar\u015f\u0131la\u015fmak ve taraflardan biri \u00e7ekilene dek bir \u00e7e\u015fit bak\u0131\u015f sava\u015f\u0131na girmektir.<\/p>\n

Ba\u015fka bir pasajda, Sartre bir anahtar deli\u011finden dikizlemeyi tarif eder. Sadece \u2018bak\u0131lmak\u2019 kavram\u0131n\u0131 nakletmek de\u011fil, tabiri caizse, bak\u0131lma deneyiminin kendisini anlatmak i\u00e7in yaz\u0131lm\u0131\u015f \u00f6nemli bir felsefe yap\u0131t\u0131n\u0131n ortas\u0131nda ilgi \u00e7eken edebi bir pasajd\u0131r bu.<\/p>\n

K\u0131skan\u00e7l\u0131k, merak ya da ahl\u00e2ks\u0131zl\u0131kla kula\u011f\u0131m\u0131 duvara yap\u0131\u015ft\u0131rd\u0131\u011f\u0131m\u0131 ve anahtar deli\u011finden bakt\u0131\u011f\u0131m\u0131 hayal edelim. Yaln\u0131z ve saymacas\u0131z (non-thetic) bir bilin\u00e7 a\u015famas\u0131nday\u0131m.<\/p>\n

Di\u011fer bir deyi\u015fle, ki\u015fiye a\u00e7\u0131k bir bilin\u00e7ten \u00e7ok \u00fcst\u00fc kapal\u0131 bir bilin\u00e7. Sartre \u015f\u00f6yle devam ediyor:
Bu, her \u015feyden \u00f6nce, bilincimde ikamet eden kimse olmad\u0131\u011f\u0131,dolay\u0131s\u0131yla hareketlerimi nitelendirmek i\u00e7in ba\u015fvuraca\u011f\u0131m hi\u00e7bir \u015fey olmad\u0131\u011f\u0131 anlam\u0131na gelir. Hareketlerim hi\u00e7bir \u015fekilde\u00a0 bilindik de\u011fildir; ben davran\u0131\u015flar\u0131m olmu\u015fumdur ve bu y\u00fczden, davran\u0131\u015flar\u0131m kendi hakl\u0131 sebeplerini ta\u015f\u0131maktad\u0131rlar. Ben, \u015feylerin saf bilinciyimdir, ve benli\u011fimin devrelerini donatan \u015feyler, bana, benim kendi potansiyellerimin saymacas\u0131z bilincine kan\u0131t olarak kendi potansiyellerini \u00f6nerirler. Bu, o kap\u0131n\u0131n ard\u0131ndaki bir manzaran\u0131n\u2018g\u00f6r\u00fclmek i\u00e7in\u2019, bir diyalogun \u2018duyulmak i\u00e7in\u2019 oldu\u011fu anlaml\u0131na gelir. Kap\u0131, anahtar deli\u011fi hem ara\u00e7 hem de engeldir; \u2018dikkatli tutulacak\u2019 olarak tan\u0131t\u0131l\u0131rlar; anahtar deli\u011fi \u2018yak\u0131ndan ve tek, k\u00fc\u00e7\u00fck bir tarafa bak\u0131lacak\u2019 olarak saptan\u0131r… A\u015fk\u0131n hi\u00e7bir g\u00f6r\u00fcnt\u00fc, yarg\u0131y\u0131 uygun g\u00f6ren, verilmi\u015f bir karakteri davran\u0131\u015flar\u0131ma bah\u015fedemez.Bilincim, davran\u0131\u015flar\u0131ma ba\u011fl\u0131d\u0131r, bunlar benim davran\u0131\u015flar\u0131md\u0131r;ve davran\u0131\u015flar\u0131ma,sadece eri\u015filecek sonlar ve \u00e7al\u0131\u015ft\u0131r\u0131lacak ayg\u0131tlarla h\u00fckmedilir. \/ Sartre, Being and Nothingness, s. 282-283.)<\/em><\/p>\n

Ba\u015fka bir deyi\u015fle, bir g\u00f6zetleyici ve gizlice dinleyici olarak eylemimin bilincindeyim, ama bu eylem, bir kap\u0131, bir anahtar deli\u011fi ya da odayla bir ili\u015fki i\u00e7inde olmas\u0131na ra\u011fmen, kendimi, eylemime ba\u011fl\u0131 olarak acilen pozisyon de\u011fi\u015ftirmemi gerektiren bir nesne de\u011fildir;bu sadece \u015fu an yapt\u0131\u011f\u0131m \u015feydir. \u201cDavran\u0131\u015f\u0131m\u0131n, \u00f6rne\u011fin, hi\u00e7bir \u2018\u00f6tesi\u2019 yoktur; bu sadece ara\u00e7la (anahtar deli\u011fi) var\u0131lacak sonu (izlenecek g\u00f6r\u00fcnt\u00fc) basit\u00e7e ili\u015fkilendirme s\u00fcrecidir, d\u00fcnyada kendimi kaybetmenin saf bir bi\u00e7imidir;\u201d diye yazar Sartre. Sonra, bu ki\u015finin anahtar deli\u011finden g\u00f6zetlemesine yol a\u00e7an k\u0131skan\u00e7l\u0131\u011fa odaklanan birka\u00e7 fikirden sonra, d\u00fc\u015f\u00fcn\u00fcp tasarlamadan \u2018Ben bu k\u0131skan\u00e7l\u0131\u011f\u0131m\u2019\u015feklindeki basit do\u011frulamay\u0131 yaparken, \u2018durum\u2019umda beklenmedik bir de\u011fi\u015fim ya\u015fan\u0131r:<\/p>\n

Koridorda aniden ayak sesleri duyar\u0131m. Birisi bana bak\u0131yor! Bu ne demek? Bu, varl\u0131\u011f\u0131mdan aniden etkilendi\u011fim ve yap\u0131mda \u00f6nemli de\u011fi\u015fiklikler belirdi\u011fi anlam\u0131na gelir \u2013yans\u0131tan (reflective) cogito vas\u0131tas\u0131yla kavray\u0131p d\u00fczeltebilece\u011fim de\u011fi\u015fiklikler. Her \u015feyden \u00f6nce, d\u00fc\u015f\u00fcnce \u00fcr\u00fcn\u00fc olmayan bilincim i\u00e7in, \u015fimdi kendim olarak var\u0131m.Bu, en s\u0131k tarif edilen kendi (self) taraf\u0131ndan ger\u00e7ekle\u015ftirilen istilad\u0131r: Genellikle belirtildi\u011fi gibi \u2013kendim\u2019i g\u00f6r\u00fcyorum \u00e7\u00fcnk\u00fc biri beni g\u00f6r\u00fcyor.Bunu, bu \u015fekilde ifade etmek, asl\u0131nda tam olarak do\u011fru de\u011fil. Ancak, daha dikkatle bakal\u0131m. \ufb01imdiye kadar ki\u015fiyi kendi yal\u0131t\u0131lm\u0131\u015fl\u0131\u011f\u0131 i\u00e7inde d\u00fc\u015f\u00fcn\u00fcrken, d\u00fc\u015f\u00fcnce \u00fcr\u00fcn\u00fc olmayan bilincin bir \u00f6zde ikamet edemeyece\u011fini teyit etmi\u015ftik.<\/em><\/p>\n

Ba\u015fka bir ifadeyle, yans\u0131tan bilin\u00e7, somutla\u015ft\u0131rma e\u011filimimle yarat\u0131lm\u0131\u015ft\u0131r: <\/p>\n

Sadece yans\u0131tan bilin\u00e7 \u00f6z\u00fc bir nesne olarak anlar. D\u00fc\u015f\u00fcnce \u00fcr\u00fcn\u00fc olmayan bilin\u00e7, ki\u015fi\u2019yi ya da onun nesnesini anlamaz; ki\u015fi bilince,ki\u015fi \u00f6teki i\u00e7in bir nesne oldu\u011fu zaman takdim edilir. Bu, aniden kendimden ka\u00e7t\u0131\u011f\u0131m\u0131n bilincine vard\u0131\u011f\u0131m anlam\u0131na geliyor… kendimin d\u0131\u015f\u0131nda bir dayanak noktam yok, \u00d6teki [bana bakan] i\u00e7in saf referans oldu\u011fum gibi kendim i\u00e7in kendimim.<\/em><\/p>\n

Bu nedenle, utan\u00e7:
Asl\u0131nda \u00f6tekinin bakt\u0131\u011f\u0131 ve yarg\u0131lad\u0131\u011f\u0131 nesnenin\u00a0 ben\u00a0 oldu\u011fum ger\u00e7e\u011finin fark edilmesidir… \u00f6zg\u00fcrl\u00fc\u011f\u00fcm elimden ka\u00e7\u0131p verili bir nesne haline geliyor… Utan\u00e7, bana bu varl\u0131k oldu\u011fumu a\u00e7\u0131kl\u0131yor\u2026kendinde (in-itself).( Sartre, Being and Nothingness, s. 284-286.)<\/em><\/p>\n

K\u0131saca \u00f6zetlenen bu durumun, Sartre\u2019\u0131n, Koj\u00e8ve\u2019nin daha \u00f6nce yorumlad\u0131\u011f\u0131, Hegel\u2019in insan arzusu \u00fczerine yazd\u0131\u011f\u0131 pasaj\u0131 yorumla mas\u0131ndan k\u0131sa bir s\u00fcre sonra g\u00f6r\u00fcld\u00fc\u011f\u00fcn\u00fc belirtmeliyim. Sartre,kendi pozisyonunu Hegel\u2019inkinden ay\u0131rarak Hegel\u2019i desteklemek yerine, pek \u00e7ok terimini koruyarak onu ele\u015ftiriyor. Sartre, Hegel\u2019in\u201cBen, ancak ba\u015fkas\u0131 sayesinde kendi i\u00e7in olan bir kendi i\u00e7in varl\u0131\u011f\u0131m\u201d, \u00f6yle ki, \u201ckendi varl\u0131\u011f\u0131mda \u00d6teki\u2019ne ba\u011fl\u0131y\u0131m\u201d sav\u0131n\u0131 kabul ediyor. Ancak Sartre, Hegel\u2019in sisteminden \u2018arzu\u2019yu kald\u0131r\u0131yor, onu merkezi ayr\u0131m olmaktan \u00e7\u0131kar\u0131yor, kendi sisteminde kimli\u011fin temeline bilgi\u2019nin kar\u015f\u0131s\u0131na varolu\u015f\u2019u koyuyor. Bu a\u00e7\u0131dan, Sartre\u2019\u0131n Hegel uyarlamas\u0131 belirgin bir \u015fekilde, Lacan\u2019\u0131nkinden ayr\u0131l\u0131yor; Lacan\u2019a g\u00f6re, arzu merkezi bir kategori ve arzu, artma ve eksilmeyle doyurulman\u0131n yollar\u0131n\u0131 ar\u0131yor. B\u00f6ylece, Lacan\u2019c\u0131 tasar\u0131ya g\u00f6re, arzu, varolu\u015fun eksikli\u011finden ayr\u0131lamaz ve \u00f6zneler aras\u0131 ili\u015fkileri her zaman bu eksiklik belirlemektedir; ancak Sartre\u2019a g\u00f6re, eksiklik -yaralanabilir-lik hissi, \u2018orada biri var\u2019, \u2018incinebilir bir v\u00fccudum var\u2019 endi\u015fesi- \u00f6tekinin bak\u0131\u015f\u0131n\u0131n fark\u0131nda olmam\u0131zla olu\u015fmaktad\u0131r. Baz\u0131 a\u00e7\u0131lardan, bak\u0131\u015ftaki bu sald\u0131rganl\u0131k, efendi ile k\u00f6le aras\u0131ndaki m\u00fccadeleyle yeniden form\u00fcle edilebilirse de, Sartre\u2019\u0131n yakla\u015f\u0131m\u0131 bu de\u011fildir. Onun ifadesiyle, bak\u0131lan, yaralanabilir k\u0131l\u0131nan, \u00f6teki i\u00e7in yaln\u0131zca bir nesne haline gelirken kimli\u011fini bulur.<\/p>\n

\u015e\u00fcpheli Bekleyi\u015f ve Seyirci<\/strong><\/p>\n

Bu ba\u011flamda, Hitchcock\u2019un Arka Pencere (Rear Window) (1954) adl\u0131 filmindeki durumu d\u00fc\u015f\u00fcnmek yararl\u0131 olacakt\u0131r. James Stewart\u2019\u0131n kar\u015f\u0131 apartman\u0131nda oturan adam cinayetten \u015f\u00fcphelendi\u011finde, Stewart\u2019\u0131n kendisine bak\u0131yor oldu\u011funu fark etmi\u015f ve bak\u0131\u015f\u0131na kar\u015f\u0131l\u0131k vermi\u015ftir \u2013bu olay, hemen sonra Hegelci \u00f6l\u00fcm\u00fcne d\u00f6v\u00fc\u015fe sebep olmu\u015ftur. Kar\u015f\u0131 Pencere\u2019nin s\u0131kl\u0131kla r\u00f6ntgencilikle ilgili bir film oldu\u011fu belirtilir, ancak biz filmi ayn\u0131 zamanda ilki g\u00f6rsel ikincisi fiziksel olan bak\u0131\u015f\u0131n sald\u0131rganl\u0131\u011f\u0131 ve bunun yol a\u00e7t\u0131\u011f\u0131 kar\u015f\u0131 sald\u0131rganl\u0131k olarak g\u00f6rebiliriz. Bu okumada, bak\u0131\u015f her zaman i\u00e7erilmi\u015ftir. Burada, potansiyel sald\u0131rgandan ziyade, Sartre\u2019\u0131n kendisini hem yanl\u0131\u015f yapan hem de \u00f6tekinin hareketiyle yakalanan potansiyel kurban olarak konumland\u0131rmas\u0131 ilgin\u00e7tir. \u201c\u00d6teki beni izliyor\u201d, Sartre hayal ediyor:<\/p>\n

E\u011fer onu her \u015feye haz\u0131r g\u00f6r\u00fcrsem, eli, i\u00e7inde bir silah olan cebinde, parma\u011f\u0131 zilde ve polisi aramak i\u00e7in \u2018en k\u00fc\u00e7\u00fck bir hareketimi\u2019 beklerken, d\u0131\u015far\u0131daki ihtimallerden korkar\u0131m… Bana h\u00fckmeden ve beni s\u00fcr\u00fckleyen ve ben olan -bunu \u00d6teki\u2019nin tetikteki bak\u0131\u015f\u0131ndan ve di\u011fer bak\u0131\u015f\u0131ndan okurum- ka\u00e7ma e\u011filimimde silah bana do\u011frultulur. \u00d6teki, i\u00e7imdeki bu e\u011filimi [ka\u00e7mak] anlar, bunu \u00f6nceden tahmin etmi\u015f ve buna haz\u0131rlanm\u0131\u015ft\u0131r. Onu bast\u0131r\u0131p yat\u0131\u015ft\u0131rana kadar anlar. Ama ben ger\u00e7ek bast\u0131rmay\u0131 kavramam: Sadece ihtimalimin yok oldu\u011funu anlar\u0131m… K\u00f6\u015fede saklanma ihtimalim,\u00d6teki\u2019nin beni sakland\u0131\u011f\u0131m yerden [bak\u0131\u015f\u0131na] \u00e7\u0131karma ihtimaliyle,beni tan\u0131mlama [beni fark etme] ve beni tutuklama [beni yok etme] ihtimaliyle bast\u0131r\u0131l\u0131r. (Sartre, Being and Nothingness, s. 287-288.)<\/em><\/p>\n

Bu pasajda \u00e7arp\u0131c\u0131 olan, sinematik kalitesi, \u00e7e\u015fitlenen bak\u0131\u015f a\u00e7\u0131lar\u0131, \u015f\u00fcphenin yarat\u0131lmas\u0131 ve bak\u0131\u015f\u0131n zamana uydurulmas\u0131d\u0131r\u2013Sartre\u2019\u0131n anlatt\u0131\u011f\u0131 \u00fczere: \u201c\u00d6tekinin bak\u0131\u015f\u0131n\u0131n benim zaman\u0131ma yeni bir boyut katmaya geldi\u011fini kavrad\u0131m.\u201d( Sartre, Being and Nothingness, s. 291.)<\/em><\/p>\n

Ba\u015fka bir \u015fekilde, \u00d6teki\u2019nin bak\u0131\u015f\u0131 benim \u015fu an\u0131m\u0131 kendi \u015fu an\u0131 yap\u0131yor, planlanm\u0131\u015f gelece\u011fimi k\u0131salt\u0131yor, kendi zamanlamas\u0131n\u0131 bana y\u00fckl\u00fcyor. Asl\u0131nda,bu Hitchcock\u2019un klasik \u015f\u00fcphe yaratma durumudur; \u015fimdi kendini g\u00fc\u00e7lendirmi\u015f ve bak\u0131\u015f\u0131n dayanak noktas\u0131 olmu\u015ftur \u2013bu bak\u0131\u015f, Sartre\u2019\u0131n iddias\u0131na g\u00f6re, gelecekteki hareketlerimizi, dolay\u0131s\u0131yla \u00f6zg\u00fcrl\u00fc\u011f\u00fcm\u00fcz\u00fc, biz sonunda k\u00f6\u015feye s\u0131k\u0131\u015f\u0131ncaya dek k\u0131s\u0131tlar. Saklanabildi\u011fimiz kadar \u00f6zg\u00fcr\u00fcz; ama bir kez g\u00f6r\u00fcld\u00fck m\u00fc \u00f6zg\u00fcrl\u00fc\u011f\u00fcm\u00fcz kan kaybetmeye ba\u015flar. Tabii ki, sinemadaki bak\u0131\u015f a\u00e7\u0131s\u0131 \u00e7ekimi normdan uzakt\u0131r, ancak kamera yine de bize karakterlerin neler yapt\u0131\u011f\u0131n\u0131 g\u00f6rme ihtimali tan\u0131r, sanki biz bak\u0131\u015f\u0131n, dolay\u0131s\u0131yla ge\u00e7icili\u011fin efendisiyizdir, karakterlerin \u00f6nemli hareket ve durumlar\u0131na bakarak k\u0131s\u0131tlanmam\u0131\u015f g\u00f6rsel giri\u015f hakk\u0131m\u0131z\u0131n tad\u0131n\u0131 \u00e7\u0131kar\u0131r\u0131z; hem bakma hem de gelecekteki ihtimalleri zihnimizde canland\u0131rma \u00f6zg\u00fcrl\u00fc\u011f\u00fcm\u00fcz\u00fcn tad\u0131n\u0131 \u00e7\u0131kar\u0131r\u0131z; d\u0131\u015far\u0131dan bakmam\u0131za ra\u011fmen yine de onlar\u0131n zamans\u0131zl\u0131\u011f\u0131 ya da \u00f6zg\u00fcrl\u00fcklerini kaybedi\u015flerini hissederiz.<\/p>\n

Kimin bakan kimin bak\u0131lan oldu\u011fu sorusu, yine Laura Mulvey\u2019nin1975\u2019te yazd\u0131\u011f\u0131 \u201cVisual Pleasure and Narrative Cinema\u201d (G\u00f6rsel Haz ve Anlat\u0131 Sinemas\u0131)adl\u0131 makalesinin de dayanak noktas\u0131d\u0131r. Hegelci olmaktan ziyade Freudyen teoriye dayanmas\u0131na ra\u011fmenbu, makale ayn\u0131 konularla ilgilidir. Sartre\u2019a \u00e7arp\u0131c\u0131 bir tezatl\u0131kla Mulvey,bakman\u0131n hazz\u0131na, hem d\u0131\u015far\u0131dan bir izleyici olarak, hem de filmdeki karakterlerle \u00f6zde\u015fle\u015ferek olu\u015fan bak\u0131\u015f\u0131n efendili\u011finden al\u0131nan zevke odaklan\u0131r. Mulvey\u2019nin bug\u00fcn neredeyse bir kli\u015fe haline gelen temel \u00f6nermesi, Roland Barthes\u2019\u0131n foto\u011fraf\u0131n retori\u011fi analizlerinden al\u0131nan\u00a0 bir g\u00f6r\u00fc\u015fle, Amerikan sinemas\u0131nda, genel bir kural olarak, erke\u011fin \u2018bakan\u2019 ve kad\u0131n\u0131n \u2018bak\u0131lmal\u0131k\u2019 olmas\u0131d\u0131r. Mulvey\u2019nin metninde efendi ile k\u00f6le aras\u0131ndaki \u00e7eki\u015fme, erkek ile kad\u0131n aras\u0131ndaki ayr\u0131mla yeniden kavramsalla\u015ft\u0131r\u0131lm\u0131\u015f, psikanalitik bir \u00e7er\u00e7eve i\u00e7ine yerle\u015ftirilmi\u015ftir. Erkek bak\u0131\u015f\u0131, efendininki gibi, sald\u0131rgan hatta sadist ve kesinlikle r\u00f6ntgenci bir bak\u0131\u015ft\u0131r. Kad\u0131n\u0131n bak\u0131lmal\u0131\u011f\u0131 ise Sartre\u2019\u0131n kurbanl\u0131\u011f\u0131 gibidir, sadece kriminalle\u015ftirmek yerine erotikle\u015ftirilmi\u015ftir.<\/p>\n

Bununla birlikte, Mulvey hi\u00e7bir zaman bekledi\u011fimiz Hegelci ve Lacanc\u0131 -asl\u0131nda ger\u00e7ek arzusu, onlar\u0131n arzu nesnesine sahip olarak di\u011fer erkeklerin g\u00f6z\u00fcnde de\u011fer kazanmak olan erkek kahraman\u0131n arzusunun yaln\u0131zca rekabete dayal\u0131 bir arzuyla varolabilece\u011fi- sonucuna varmam\u0131\u015ft\u0131r. Mulvey, Lacan\u2019da Koj\u00e8ve etkisini yans\u0131tan \u2018sosyal ben\u2019den ziyade, ayna evresinin \u2018ben\u2019i \u00e7er\u00e7evesi i\u00e7inde kalm\u0131\u015ft\u0131r. Mulvey\u2019nin ilgilendi\u011fi arzu, di\u011ferlerinin de arzulad\u0131\u011f\u0131 bir kad\u0131na sahip olup, onlar\u0131n g\u00f6z\u00fcnde de\u011fer kazanma arzusundan ziyade, sadece bir kad\u0131na bakman\u0131n r\u00f6ntgenci arzusudur. Tabii ki,ba\u015fka bir seviyede, \u2018bak\u0131\u015f\u2019 kavram\u0131n\u0131n Hegel\u2019den Koj\u00e8ve yoluyla Lacan ve Mulvey\u2019e olan devrini g\u00f6rebiliriz; sanki kavram\u0131n kendisi, bir zamanlar ba\u015fkas\u0131na ait olan bir kavrama sahip olmak i\u00e7in verilen entelekt\u00fcel bir m\u00fccadele gibidir.<\/p>\n

Mulvey\u2019nin makalesi, ayr\u0131ca Lacan\u2019dan ego psikolojisine sald\u0131r\u0131y\u0131 al\u0131r; t\u0131pk\u0131 Lacan\u2019\u0131n Amerikan ego psikolojisine sald\u0131rmak gerekti\u011fini tart\u0131\u015fmas\u0131 gibi Mulvey, \u201cBug\u00fcne kadar sinematarihinin en y\u00fcksek noktas\u0131n\u0131 temsil eden egonun tatmini ve kuvvetlenmesine sald\u0131r\u0131lmal\u0131,\u201d (Laura Mulvey, Visual and Other Pleasures i\u00e7inde, Londra, 1989.) demektedir.Can al\u0131c\u0131 metin, Lacan\u2019\u0131n \u201cAyna Evresi\u201d \u00e7al\u0131\u015fmas\u0131n\u0131n 1936 versiyonudur. Bu metin, egonun olmak i\u00e7in geli\u015fimsel olarak id\u2019den ayr\u0131ld\u0131\u011f\u0131 fikrine sald\u0131rmaktad\u0131r, Elisabeth Roudinesco\u2019nun c\u00fcmleleriyle, \u201cbireyin d\u0131\u015f ger\u00e7ekli\u011fe adapte olma ayg\u0131t\u0131…g\u00fcd\u00fcleri [i\u00e7g\u00fcd\u00fc] kontrol etmekten sorumludur\u201d. Roudinesco\u2019ya g\u00f6re, Lacan ego psikolojisine sald\u0131rarak, tutarl\u0131 \u00f6znenin do\u011fas\u0131n\u0131 sorgulayan Koj\u00e8ve derslerinde edindi\u011fi deneyimini kulland\u0131.Lacan, bebe\u011fin aynada g\u00f6rd\u00fc\u011f\u00fc kendi g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn ideal ego i\u00e7in g\u00f6rsel bir imge sa\u011flad\u0131\u011f\u0131n\u0131, bunun \u00e7ocu\u011fun motor kontrol ve v\u00fccudunun b\u00fct\u00fcnl\u00fck hissi eksikli\u011fini hayalinde tamamlad\u0131\u011f\u0131n\u0131 s\u00f6ylemektedir. \u00c7ocuk, bu \u015fekilde, hayali ideal bir kimlik yarat\u0131yordu, bu hayali kimlik hem \u00f6tekiyle Koj\u00e8ve\u2019nin kan\u0131s\u0131na g\u00f6re tan\u0131nma yoluyla \u00f6zde\u015fle\u015fiyor; ayn\u0131 zamanda, g\u00fcd\u00fclerin neden oldu\u011fu ezici g\u00fcvensizli\u011fe ve \u00e7ocu\u011fa sunulan haliyle onu \u00e7evreleyen d\u00fcnyan\u0131n genel \u00fcrk\u00fct\u00fcc\u00fcl\u00fc\u011f\u00fcne kar\u015f\u0131 bir savunma sa\u011fl\u0131yordu.<\/p>\n

Makalesini 1936\u2019da Marienbad Uluslararas\u0131 Psikanaliz Kongresi\u2019nde olduk\u00e7a sald\u0131rgan bir izleyici kitlesine sunduktan sonra Lacan, Berlin\u2019de Olimpiyat Oyunlar\u0131\u2019na gitti. Olimpiyat Oyunlar\u0131, Leni Riefenstahl taraf\u0131ndan filmle\u015ftirilmi\u015ftirve Reifenstahl bu filmi ayna evresindeki terimlerle tan\u0131mlam\u0131\u015ft\u0131r: Bu, ideal egoyu destekleyenv\u00fccutsal formun tatmin edici g\u00f6rsel bir tasvirini yaratma giri\u015fimidir.<\/p>\n

Alg\u0131 Yap\u0131lar\u0131<\/strong><\/p>\n

Mulvey\u2019nin eseri temelde kesinlikle Freudyen ve Lacanc\u0131 olmas\u0131na ra\u011fmen, dolayl\u0131 olarak Hegelci ya da Koj\u00e8veyen\u2019dir; erkek r\u00f6ntgenci\u00a0 (voyeur) ve kad\u0131n bak\u0131\u015f nesnesi aras\u0131ndaki ikili ili\u015fki,a\u00e7\u0131k\u00e7a efendi ile k\u00f6le aras\u0131ndaki Hegelci ili\u015fkiye paraleldir. Benzer bir \u015fekilde, Frantz Fanon da klasikle\u015fmi\u015f eseri Kara Deri, Beyaz Maskeler\u2019de \u00e7a\u011fda\u015f siyah \u00f6zg\u00fcrl\u00fck hareketlerini teorize etmek i\u00e7in psikanalizden ve Tinin Fenomenolojisi\u2019nden yararlanm\u0131\u015ft\u0131r. \u0130ki durumda da, ka\u00e7\u0131n\u0131lmas\u0131 ve alt\u00fcst edilmesi gereken, bak\u0131\u015f\u0131n diyalekti\u011fidir. Mulvey\u2019nin makalesi, ayr\u0131ca sinematik bak\u0131\u015fla ilgili bir dizi ba\u015fka soru uyand\u0131r\u0131yor, ki bu analizini g\u00fc\u00e7le\u015ftiriyor. Her \u015feyden\u00f6nce, izleyicinin, kameran\u0131n ve karakterin bak\u0131\u015flar\u0131 aras\u0131ndaki benzerlik ve farklar\u0131 nitelendirme sorunu vard\u0131r. Ayr\u0131ca, bu \u00fc\u00e7 bak\u0131\u015f \u00fcst \u00fcste binebilir ya da birbirleriyle \u00f6zde\u015fle\u015febilir. \u00d6rne\u011fin,Mulvey\u2019nin belirtti\u011fi gibi, kameran\u0131n bak\u0131\u015f\u0131yla izleyicinin bak\u0131\u015f\u0131 aras\u0131ndaki \u00f6zde\u015fle\u015fme, sinemada esast\u0131r. Ama bak\u0131\u015f a\u00e7\u0131s\u0131 \u00e7ekimiyle (point of view shot) \u00fc\u00e7 bak\u0131\u015f da -kamera, izleyici ve karakterin bak\u0131\u015f\u0131- \u00fcst \u00fcste biner. Bu noktada, her birinin kendine ait problemlerini anlamak ad\u0131na, meydana gelen alg\u0131sal durumlar\u0131, tablohalinde ortaya koymak belki yard\u0131mc\u0131 olabilir.<\/p>\n

\u00d6nce, Lady in Lake (Kanl\u0131 G\u00f6l, 1947). Bu filmde, Robert Montgomery her \u015feyi tek bir karakterin bak\u0131\u015f a\u00e7\u0131s\u0131ndan g\u00f6stermi\u015ftir. D\u00f6v\u00fcl\u00fcp yere y\u0131k\u0131ld\u0131\u011f\u0131nda, kamera oda\u011f\u0131n\u0131 kaybeder. Sonra, bir odaya girerken, elinin kap\u0131 tokma\u011f\u0131na uzand\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz. Burada \u00e7ok az durumda onun y\u00fcz\u00fcn\u00fc se\u00e7eriz, onda da aynaya bakmaktad\u0131r. Saptanm\u0131\u015f bak\u0131\u015f a\u00e7\u0131s\u0131 \u00e7ekimleriyle s\u0131n\u0131rland\u0131r\u0131lmak yerine, kamera, karakter ve izleyicinin \u00fc\u00e7l\u00fc \u00f6zde\u015fle\u015fmesi b\u00fct\u00fcn film boyunca s\u00fcrd\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Bununla birlikte, s\u0131kl\u0131kla s\u00f6ylendi\u011fi gibi, yarat\u0131lan etki kahramanla \u00f6zde\u015fle\u015fmeyi de\u011fil, rahats\u0131z edici bir uzakl\u0131k hissi vermeyi ama\u00e7lamaktad\u0131r. Bunun sebebi,bizim tabii ki karakterin hi\u00e7bir duygu, d\u00fc\u015f\u00fcnce ya da d\u00fcrt\u00fcs\u00fcn\u00fc payla\u015fmamam\u0131z, sadece alg\u0131s\u0131n\u0131 payla\u015fmam\u0131zd\u0131r yani, \u2018onun\u2019 kim oldu\u011funu bildi\u011fimizi hissetmiyoruz ve bu y\u00fczden onu \u2018ben\u2019le \u00f6zde\u015fle\u015ftiremiyoruz. Hatta, kendimizi bir karakterle psikolojik olarak \u00f6zde\u015fle\u015ftirmemizin tek yolu, herhalde \u2018fark etme\u2019nin bir alt kategorisi olan Lacan\u2019\u0131n \u2018ge\u00e7i\u015fli\u2019 (transitive) dedi\u011fi d\u0131\u015f bak\u0131\u015f yoluyla m\u00fcmk\u00fcnd\u00fcr.<\/p>\n

\u0130kinci film, Man With A Movie Camera\u00a0 (Film Kameral\u0131 Adam,1929). Vertov\u2019un filmi, Sovyetler Birli\u011fi\u2019nin ilk y\u0131llar\u0131nda ba\u015flatt\u0131\u011f\u0131\u2018sine-g\u00f6z\u2019 hareketinin \u00f6zeti gibidir. Ba\u015flang\u0131\u00e7ta, bu, amat\u00f6r sinemac\u0131lar\u0131n etraflar\u0131ndaki d\u00fcnyay\u0131 kaydetmesi olarak d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fc\u2013Vertov onlara \u2018sine-g\u00f6zlemci\u2019 diyordu. Bu g\u00f6r\u00fc\u015fe g\u00f6re, kamera,Sovyetler Birli\u011fi karma\u015f\u0131k bir de\u011fi\u015fim d\u00f6neminden ge\u00e7erken, g\u00fcndelik hayattan b\u00f6l\u00fcmler kaydeden bir \u2018tan\u0131k\u2019t\u0131. Ancak Film Kameral\u0131 Adam\u2019da, kamera kendi hayat\u0131na ba\u015flar, tripodunun \u00fczerinde robot gibi a\u011f\u0131r ad\u0131mlarla y\u00fcr\u00fcr, hem ger\u00e7ekten hem de mecazen \u2018canland\u0131r\u0131lm\u0131\u015ft\u0131r\u2019.<\/p>\n

\u00d6nceden beri Vertov, g\u00f6zlem ile kurguyu birle\u015ftirmi\u015ftir. Keza,ilk kurgu kategorisi,\u00a0 \u201cg\u00f6zlem esnas\u0131nda kurgu\u201ddur, bunu\u00a0 \u201c\u00e7\u0131plakg\u00f6z\u00fc herhangi bir yere, herhangi bir zamana uydurmak\u201dolarak a\u00e7\u0131klar. Yani sinemac\u0131, filmi \u00e7ekmeden \u00f6nce, ke\u015fif yap\u0131p etraf\u0131ndaki d\u00fcnyay\u0131 dikkatlice g\u00f6zlemler. Sinemac\u0131 bundan sonra, \u00fc\u00e7\u00fcnc\u00fc kategori olan \u201cfilmi \u00e7ekerken kurgulama\u201dya devam etmeden \u00f6nce \u201cg\u00f6rm\u00fc\u015f olduklar\u0131n\u0131 kafas\u0131nda d\u00fczenler\u201d. \u00dc\u00e7\u00fcnc\u00fc kategori, \u201ckameran\u0131n \u00e7\u0131plak g\u00f6z\u00fcn\u00fc birinci ad\u0131mda ke\u015ffedilen yere y\u00f6nlendirmeyi ve biraz olsun de\u011fi\u015fen durumlar\u0131 film i\u00e7in d\u00fczeltmeyi\u201d kapsar. Bu yeni kay\u0131tlar, daha sonra, sinemac\u0131 be\u015finci a\u015famaya ge\u00e7meden, birle\u015ftirici \u00e7ekimler aramaya ba\u015flamadan \u00f6nce, \u201cfilmden sonra kurgulama\u201dda d\u00fczenlenir. Bu, be\u015finci a\u015famaya \u2018bak\u0131\u015fla \u00f6l\u00e7me\u2019 (montaj fragmanlar\u0131 avlama) denir ve \u015fu \u015fekilde tan\u0131mlan\u0131r: \u201cEsas ba\u011flay\u0131c\u0131 \u00e7ekimleri yakalamak i\u00e7in her t\u00fcr g\u00f6rsel \u00e7evrede anl\u0131k do\u011frultmalar\u201d \u2013bu, kurgulanm\u0131\u015f filmde h\u00e2l\u00e2 hangi \u00f6nemli unsurlar\u0131n eksik oldu\u011funu anlamak i\u00e7indir. Vertov bu ad\u0131m\u0131 \u201cola\u011fan\u00fcst\u00fc dikkat gerektiren\u201d bir ad\u0131m olarak Tan\u0131mlam\u0131\u015ft\u0131r. \u201cAskeri bir kural: bak\u0131\u015fla, h\u0131zla, sald\u0131r\u0131yla \u00f6l\u00e7mek.\u201d Ba\u015fka bir deyi\u015fle, g\u00f6r\u00fcnt\u00fc art\u0131k stratejik bir amaca ba\u011fl\u0131d\u0131r. Son olarak film,\u201cfilm-objesinin \u00f6z\u00fcn\u00fc ortaya \u00e7\u0131karmak\u201d i\u00e7in yeniden montajlanacakt\u0131r;ba\u015fka bir deyi\u015fle, alg\u0131, kavramlara g\u00f6re bir b\u00fct\u00fcn olarak d\u00fc\u015f\u00fcn\u00fclecek, b\u00f6ylece \u2018gizlenen temalar\u2019 sonunda ortaya \u00e7\u0131kacakt\u0131r.<\/p>\n

Vertov film \u00e7ekimine son derece analitik bir yakla\u015f\u0131m getirmi\u015ftir;bu da g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u00fczere onu, alg\u0131n\u0131n \u00f6zel bir bi\u00e7imi olan sinematikalg\u0131n\u0131n, hem zaman hem de tipoloji a\u00e7\u0131s\u0131ndan karma\u015f\u0131k, detayl\u0131 bir analizini yapmaya s\u00fcr\u00fcklemi\u015ftir. Alt\u0131 ad\u0131ml\u0131k modelinin her ad\u0131m\u0131 ba\u015fka bir \u00e7e\u015fit bak\u0131\u015f i\u00e7ermektedir. Sinematik bak\u0131\u015f hem \u2018y\u00f6nlendirilmi\u015f\u2019 hem de \u2018dikkatli\u2019dir. Bakmak, ayr\u0131ca kurgulaman\u0131n d\u0131\u015f\u0131nda kavranamazd\u0131 \u2013bak\u0131\u015f d\u00fczenliydi, bakmak ayr\u0131ca \u2018incelemek\u2019 anlam\u0131na geliyordu, bir maksat i\u00e7in vard\u0131 (nihayetinde \u2018yakalanan\u2019 eksik unsurlar\u0131 takip etme). Sonu\u00e7 itibariyle bu y\u00f6nlendirilmi\u015f, dikkatli, amaca y\u00f6nelik bakma i\u015flemi, \u00f6ncelikle gizli unsurlar\u0131 meydana \u00e7\u0131karmak ve g\u00f6sterilen nesnenin esas \u2018\u00f6z\u2019\u00fcn\u00fc ortaya \u00e7\u0131karmakt\u0131. Vertov bakma i\u015flemini, kelimenin gazetecilik anlam\u0131yla raporlama amac\u0131 taraf\u0131ndan y\u00f6netildi\u011fini g\u00f6r\u00fcyordu \u2013ger\u00e7ekten olmu\u015f olan olaylar\u0131, alt\u0131nda yatan anlamlarla birlikte ortaya \u00e7\u0131karanbir dizi resim. Alg\u0131ya y\u00f6nelik y\u00f6nlendirme, d\u00fczenleme, ara\u015ft\u0131rma, iz s\u00fcrme, vs., bunlar\u0131n hepsi sine-g\u00f6z\u00fcn sahip oldu\u011fu g\u00f6rsel malzemenin nihai olarak yap\u0131land\u0131r\u0131lmas\u0131yd\u0131.<\/p>\n

Film Karemal\u0131 Adam\u2019da Vertov, filminin anlam\u0131n\u0131n sadece g\u00f6rsellerle; ya da d\u00fczenli bir seri g\u00f6rselle g\u00f6sterildi\u011finde izleyicinin kendi alg\u0131s\u0131yla idrak edilebilece\u011fini iddia ederek i\u00e7 ba\u015fl\u0131k kullan\u0131m\u0131n\u0131 \u00e7\u0131karm\u0131\u015ft\u0131r. Filmin \u00f6zg\u00fcll\u00fc\u011f\u00fc alg\u0131lar\u0131 kaydetmesindeki g\u00fc\u00e7tedir, \u00f6yle ki bunlar ba\u015fkalar\u0131 taraf\u0131ndan ba\u015fka yer ve zamanlarda alg\u0131lanabilecek \u015feylerdir. Teoride, d\u00fczenlenmeden kalabilirler -Hitchcock\u2019un Rope (\u0130p) adl\u0131 filminde oldu\u011fu gibi, devaml\u0131l\u0131\u011f\u0131 olan tek bir \u00e7ekim ama Vertov, montaj\u0131n ka\u00e7\u0131n\u0131lmaz oldu\u011funa inan\u0131yordu, \u00e7\u00fcnk\u00fc eksiksiz bir anlama i\u00e7in gereken alg\u0131y\u0131 inceleme ve d\u00fczenleme i\u015flemi bir\u00e7ok a\u015fama ve se\u00e7enek gerektirmekteydi \u2013bitmi\u015f filmin izleyiciye k\u0131saca \u00f6zetlenmesi. \u201cKurgulama, \u0130nsan g\u00f6z\u00fcn\u00fcn belirli bir temaya ili\u015fkin g\u00f6zlemlerinin toplanmas\u0131d\u0131r.\u201d \u0130nsan g\u00f6z\u00fcn\u00fcn g\u00f6zlemleri, etkin bir bi\u00e7imde, bir kurgu plan\u0131ndan ayr\u0131lamayan \u2018\u00e7ekim plan\u0131\u2019n\u0131n temelini olu\u015fturmu\u015ftur. Son olarak, \u201cy\u00f6netmen hesaba kat\u0131l\u0131r.. \u2018makine-g\u00f6z\u2019\u00fcn \u00f6zel vas\u0131flar\u0131.\u201d Kameran\u0131n bak\u0131\u015f\u0131, ba\u015fka bir ifadeyle,\u00f6zel vas\u0131flara sahiptir: \u00c7er\u00e7evelenmi\u015ftir, odaklanm\u0131\u015ft\u0131r, belli \u00f6zel eksenlerde hareket eder \u2013dikey hareket, yatay hareket, yana do\u011frukayd\u0131rma ve di\u011ferleri. Kameran\u0131n kendi hareket ritmi vard\u0131r.( Dziga Vertov, \u201cFrom Kino-Eye to Radio-Eye\u201d, Kino-Eye i\u00e7inde, s. 89.)<\/p>\n

Vertov\u2019a g\u00f6re, se\u00e7me ve kurgulama bak\u0131\u015ftan ayr\u0131lamazd\u0131. Bakmak, optik oldu\u011fu kadar zihinsel bir edimdi, nesnel bilgi toplaman\u0131n ve \u015feylerin do\u011frulu\u011funu \u00f6\u011frenmenin bir yoluydu. Oysa, Vertov\u2019un aksine \u00e7a\u011fda\u015f\u0131 Kule\u015fov\u2019a g\u00f6re, bak\u0131\u015f \u00f6zneldi. Hatta insana hileler yapt\u0131\u011f\u0131 bile s\u00f6ylenebilirdi. Kule\u015fov\u2019a g\u00f6re, \u00e7ekimler ger\u00e7ek i\u00e7eriklerini bast\u0131rmaktayd\u0131. Alg\u0131yla ilgili \u00f6nemli bir deneyinde Kule\u015fov,akt\u00f6r Mosjoukine\u2019nin ifadesiz ve n\u00f6tr y\u00fcz\u00fcn\u00fc \u00e7ekmi\u015f, Sovyet y\u00f6netmen Pudovkin\u2019e g\u00f6re, bir dizi ba\u015fka \u00e7ekime ge\u00e7i\u015f yapm\u0131\u015ft\u0131r \u2013bir k\u00e2se duman\u0131 t\u00fcten \u00e7orba, bir tabut, oyuncak ay\u0131s\u0131yla oynayan bir \u00e7ocuk. \u0130zleyiciye g\u00f6re, g\u00f6r\u00fcnen o ki Mosjoukine\u2019nin y\u00fcz\u00fc, tepki g\u00f6sterdi\u011fi imgeye g\u00f6re tatmin, keder ya da mutluluk ifade etmektedir.Kule\u015fov\u2019un kendisiyse deneyi bir par\u00e7a farkl\u0131 anlatm\u0131\u015ft\u0131r:<\/p>\n

\u00dcnl\u00fc bir akt\u00f6rle bir tart\u0131\u015fmam\u0131z olmu\u015ftu. Ona, \u015fu sahneyi hayal et diyorduk: bir adam, uzun zamand\u0131r hapishanede oturuyor,kendisine yiyecek hi\u00e7bir \u015fey verilmedi\u011fi i\u00e7in a\u00e7l\u0131ktan \u00f6l\u00fcyor; bir k\u00e2se \u00e7orba getiriliyor, adam bu y\u00fczden seviniyor ve \u00e7orbay\u0131 mideye indiriyor. Ba\u015fka bir sahne hayal et: hapishanede yemek verilmi\u015f,iyi beslenmi\u015f bir adam var, ama \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc \u00f6zl\u00fcyor, ku\u015flar\u0131, g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131, evleri ve bulutlar\u0131 \u00f6zl\u00fcyor. Onun i\u00e7in bir kap\u0131 a\u00e7\u0131l\u0131yor.Soka\u011fa sal\u0131n\u0131yor ve adam ku\u015flar\u0131, bulutlar\u0131, g\u00fcne\u015fi ve evleri g\u00f6r\u00fcyor ve g\u00f6rd\u00fc\u011f\u00fc \u015fey kar\u015f\u0131s\u0131nda a\u015f\u0131r\u0131 derecede mutlu oluyor. Sonra akt\u00f6re sorduk: \u00c7orbaya tepki g\u00f6steren y\u00fczle,g\u00fcne\u015fe tepki g\u00f6steren y\u00fcz filmde ayn\u0131 m\u0131 farkl\u0131 m\u0131 g\u00f6z\u00fck\u00fcr? Bize k\u00fc\u00e7\u00fcmseyerek cevap verdi: Bir \u00e7orbayla \u00f6zg\u00fcrl\u00fc\u011fe verilecek tepkinin tamamen farkl\u0131 olaca\u011f\u0131 \u00e7ok a\u00e7\u0131kt\u0131.Ard\u0131ndan bu iki sahneyi \u00e7ektik, bu \u00e7ekimlerin s\u0131ras\u0131n\u0131 ne kadar de\u011fi\u015ftirsem de, ne kadar dikkatle g\u00f6zden ge\u00e7irilseler de, akt\u00f6r\u00fcn her \u00e7ekimde performans\u0131 farkl\u0131 olmas\u0131na ra\u011fmen, kimse y\u00fcz\u00fcnde herhangi bir de\u011fi\u015fiklik alg\u0131layamad\u0131… film seyirciye h\u00e2l\u00e2 edit\u00f6r\u00fcn tasarlad\u0131\u011f\u0131 \u015fekilde ula\u015f\u0131yor, \u00e7\u00fcnk\u00fc \u0130zleyici sahneyi kendisi tamamlayacak ve montajla ona ne anlat\u0131lmak istedi\u011fini anlayacakt\u0131r.( Ronald Levaco (der.), Kuleshov on Film, Berkeley 1974, s. 54.)<\/em><\/p>\n

Di\u011fer bir deyi\u015fle, sinema bize tuhaf oyunlar oynar. Kule\u015fov i\u00e7in bak\u0131\u015f\u0131n i\u00e7eri\u011fi asl\u0131nda montajla belirlenir \u2013izleyici, y\u00fcz\u00fc izole edilmi\u015f halde veya sahne \u00e7ekildi\u011fi anda settekilere ifade edilmi\u015f bi\u00e7imiyle de\u011fil, montajla anlat\u0131lmak istendi\u011fi halde g\u00f6r\u00fcr. Y\u0131llar sonra ayn\u0131 deney, Les Temps Modernes\u2019de Merleau-Ponty taraf\u0131ndan yanl\u0131\u015f bir \u015fekilde Pudovkin\u2019e atfedilir:
Herhangi bir ki\u015finin ilk fark etti\u011fi Mosjoukine\u2019nin k\u00e2seye bak\u0131yormu\u015f gibi g\u00f6r\u00fcnd\u00fc\u011f\u00fc, [tabuttaki] gen\u00e7 bir kad\u0131n ve [oyuncak ay\u0131s\u0131yla oynayan] bir \u00e7ocuktur; [k\u0131salt\u0131ld\u0131ktan] sonra fark edilense adam\u0131n dalg\u0131n bir \u015fekilde k\u00e2seye bakt\u0131\u011f\u0131, kad\u0131na bakarken kederli bir ifadesi oldu\u011fu ve \u00e7ocu\u011fun kar\u015f\u0131s\u0131ndaki s\u0131cak g\u00fcl\u00fcmsemesidir.<\/p>\n

Merleau-Ponty\u2019ye g\u00f6re, \u201cbir \u00e7ekimin anlam\u0131, bu nedenle, filmde ondan \u00f6nce ne geldi\u011fine ba\u011fl\u0131d\u0131r ve sahnelerin bu ba\u015far\u0131s\u0131, yaln\u0131zca par\u00e7alar\u0131n\u0131n toplam\u0131n\u0131n ba\u015far\u0131s\u0131 olmayan, yeni bir ger\u00e7eklik yarat\u0131r\u201d( Maurice Merleau-Ponty, \u201cThe Film and the New Psychology\u201d, Sense and Non-Sensei\u00e7inde, Evanston 1964 [1948], s. 54)\u00a0\u00a0 Ba\u015fka bir \u015fekilde ifade edersek, tepki \u00e7ekimi bak\u0131\u015f a\u00e7\u0131s\u0131 \u00e7ekimiyle belirlenmektedir. Biz, bak\u0131lan \u015feye verilen uygun tepkiyi g\u00f6r\u00fcr ya da g\u00f6rm\u00fc\u015f gibi yapar\u0131z. Bana \u00f6yle geliyor ki bu, tepkisine bakt\u0131\u011f\u0131m\u0131z \u00f6tekinin y\u00fcz\u00fcnde, ayn\u0131 nesneye bakt\u0131\u011f\u0131m\u0131zda kendi y\u00fcz\u00fcm\u00fczde olu\u015facak tepkiyi hayal etmek anlam\u0131na geliyor. Bu, tabii ki bizi Koj\u00e8ve\u2019ye geri g\u00f6t\u00fcr\u00fcyor \u2013biz,\u00f6tekilerin arzu etti\u011fini arzular\u0131z,b\u00f6ylece, e\u011fer \u00f6tekinin \u00e7orba arzu etti\u011fini g\u00f6r\u00fcrsek, n\u00f6tr y\u00fczde kendi hissedece\u011fimiz hazz\u0131 g\u00f6r\u00fcr\u00fcz. Alg\u0131m\u0131z, bize ger\u00e7ekte g\u00f6sterilenden ziyade, \u00f6tekiyle olan ge\u00e7i\u015fliili\u015fkimiz taraf\u0131ndan belirlenmektedir. Lacan\u2019\u0131n s\u00f6yleyebilece\u011fi \u015fekilde, alg\u0131, ger\u00e7ekten \u00e7ok hayali olan\u0131n alan\u0131nda var olmaktad\u0131r.<\/p>\n

G\u00f6r\u00fcnmez Konuklar<\/strong><\/p>\n

Son olarak Arka Pencere\u2019ye geri d\u00f6n\u00fcyorum. Fran\u00e7ois Truffaut\u2019ylayapt\u0131\u011f\u0131 kitap kal\u0131nl\u0131\u011f\u0131ndaki s\u00f6yle\u015fide Hitchcock, James Stewart\u2019\u0131n nas\u0131l Kule\u015fov\u2019un Mosjoukine\u2019i g\u00f6sterdi\u011fi gibi g\u00f6sterildi\u011fine dikkat eder:
Tamamen sinematografik bir film yapma \u015fans\u0131m vard\u0131. Pencereden d\u0131\u015far\u0131 bakan hareketsiz bir adam\u0131n var. Bu,filmin ilk karesi..\u0130kinci kare sana ne g\u00f6rd\u00fc\u011f\u00fcn\u00fc, \u00fc\u00e7\u00fcnc\u00fcyse tepkisini g\u00f6steriyor. Bu,sinematografik fikrin bildi\u011fimiz, olabilecek en temiz ifadesini yans\u0131t\u0131yor… James Stewart\u2019a yak\u0131n \u00e7ekim yap\u0131yoruz, pencereden d\u0131\u015far\u0131 bak\u0131yor ve mesela birinin sepet i\u00e7inde k\u00fc\u00e7\u00fck bir k\u00f6pe\u011fi avluya b\u0131rakt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyor; Stewart\u2019a d\u00f6n\u00fcyoruz ve Stewart g\u00fcl\u00fcms\u00fcyor. \ufb01imdi, sepetle b\u0131rak\u0131lan k\u00fc\u00e7\u00fck k\u00f6pek yerine, a\u00e7\u0131k bir pencerenin \u00f6n\u00fcnde kendi etraf\u0131nda d\u00f6nen gen\u00e7 bir kad\u0131n\u0131 g\u00f6steriyoruz; Stewart\u2019\u0131n g\u00fcl\u00fcmseyen y\u00fcz\u00fcne yap\u0131lan ayn\u0131 yak\u0131n \u00e7ekimi kullan\u0131yoruz ve \u015fimdi o; k\u00f6t\u00fc, ya\u015fl\u0131 bir adam. (Fran\u00e7ois Truffaut, Hitchcock, New York 1984, s. 216-219.)<\/em><\/p>\n

Hitchcock i\u00e7in Kule\u015fov efekti, \u00f6zellikle hileli oldu\u011fu i\u00e7in tamamen sinemad\u0131r \u2013ba\u011flama yerle\u015ftirilme \u015fekline ra\u011fmen, tepki \u00e7ekimi, \u00e7ekimin orijinal i\u00e7eri\u011fi yerine y\u00f6netmenin bizim g\u00f6rmemizi istedi\u011fi g\u00f6sterir. Merleau-Ponty\u2019ye g\u00f6re, Kule\u015fov deneyi onun \u2018ge\u00e7ici gestalt\u2019 olarak adland\u0131rd\u0131\u011f\u0131 \u015feydir: Anlam\u0131n\u0131 ger\u00e7ekten g\u00f6rd\u00fcklerimiz sebebiyle de\u011fil, g\u00f6r\u00fcnt\u00fcler aras\u0131ndaki ge\u00e7ici ili\u015fkiler sayesinde anl\u0131yoruz \u2013\u00f6nce, bak\u0131\u015f; sonra, bak\u0131lan; sonra tepki. MerleauPonty ayr\u0131ca bunun ger\u00e7ek d\u00fcnyada olaylar\u0131 g\u00f6rme bi\u00e7imimiz oldu\u011funu ileri s\u00fcrer, yaln\u0131zca ger\u00e7ek d\u00fcnyada ge\u00e7icile\u015ftirme (temporalization) \u00e7ok daha gev\u015fektir -\u00f6nemli bir unsuru, \u00f6nemli bir an\u0131 kolayl\u0131kla unutabiliriz- ve bu y\u00fczden alg\u0131lar\u0131m\u0131z daha az g\u00fcvenilirdir. Karel Reisz\u2019\u0131n kurgulama \u00fczerine yazd\u0131\u011f\u0131 kitab\u0131nda a\u00e7\u0131klad\u0131\u011f\u0131 gibi, y\u00f6netmen geleneksel olarak zaman i\u00e7inde olmu\u015f karma\u015f\u0131k bir olay\u0131n her anahtar unsurunu bir kat\u0131l\u0131mc\u0131 ya da ger\u00e7ek bir izleyicinin de\u011fil de, ideal bir izleyicinin bak\u0131\u015f a\u00e7\u0131s\u0131ndan g\u00f6stermeye \u00e7al\u0131\u015f\u0131r: \u2018G\u00f6r\u00fcnmez konuk\u2019 olarak Renoir\u2019in kameras\u0131n\u0131.( Karel Reisz, The Technique of Film Editing, Londra 1953.) B\u00f6ylelikle sinemadaki izleyici \u00e7ekim fragmanlar\u0131ndan olay\u0131n ge\u00e7ici gestalt\u2019\u0131n\u0131 kuracakt\u0131r.<\/p>\n

Asl\u0131nda, izleyicinin yapt\u0131\u011f\u0131 \u015fey tan\u0131mak ve anlam \u00e7\u0131kartmakt\u0131r.Alg\u0131, sadece bir kay\u0131t s\u00fcreci de\u011fildir. Alg\u0131, t\u0131pk\u0131 Vertov\u2019un a\u00e7\u0131klad\u0131\u011f\u0131 gibi bir analizden, bir dizi \u00e7ekimden b\u00fct\u00fcn\u00fc tamamlama s\u00fcrecidir. Sadece bak\u0131\u015flar\u0131 de\u011fil, zaman i\u00e7inde k\u0131saca olmu\u015f bir olaydaki bak\u0131\u015flar\u0131 alg\u0131l\u0131yoruz. \u00dcstelik, izleyicinin durumu, t\u0131pk\u0131 okuyucu gibi,metne ekstra ba\u011fl\u0131 oldu\u011fundan ayr\u0131cal\u0131kl\u0131d\u0131r. \u0130zleyicinin bak\u0131\u015f\u0131 a\u00e7\u0131k\u00e7a do\u011frudan kamerayla bulu\u015ftu\u011funda, karakterin g\u00f6zleri izleyiciyle kar\u015f\u0131 kar\u015f\u0131ya geldi\u011finde, Koj\u00e8ve\u2019nin d\u00fc\u015f\u00fcncesine g\u00f6re, bunun ger\u00e7ek\u00a0 bir fark etme an\u0131 olmad\u0131\u011f\u0131n\u0131 biliriz, \u00e7\u00fcnk\u00fc ekrandan gelen bir bak\u0131\u015f ger\u00e7eklikten ayr\u0131lm\u0131\u015f, g\u00f6vdesiz bir bak\u0131\u015ft\u0131r.<\/p>\n

Sinema, izleyiciye asla g\u00f6r\u00fclmeyece\u011fini bilme, filmin aksiyonuna asla kar\u0131\u015fmama, her zaman zarar g\u00f6rmeyecek \u015fekilde kalma l\u00fcks\u00fc sa\u011flar. Sinema deneyimimiz, bir\u00e7ok teorisyenin \u00e7e\u015fitli alanlarda belirtti\u011fi gibi, r\u00f6ntgenci bile olsa; izleyici, Sartre\u2019\u0131n hik\u00e2yesinde oldu\u011fu gibi asla incinebilir konuma gelmez, asla utanmaz. \u0130zleyici, her \u015feyi reddedebilir. Filmin bak\u0131\u015f a\u00e7\u0131s\u0131ndan, ger\u00e7eklikten ayr\u0131lm\u0131\u015f olan,tamamen g\u00f6zsel olan, Hegelci anlamda di\u011ferlerinin alg\u0131s\u0131n\u0131n sosyal ba\u011f\u0131yla cisimle\u015fen izleyicidir. \u0130zleyiciye g\u00f6re, ekrandaki karakterler film s\u00fcrd\u00fc\u011f\u00fcnce ger\u00e7ektir; ama onlar i\u00e7in -arzu \u00e7emberinin d\u0131\u015f\u0131nda yer alan- izleyicinin hi\u00e7bir bi\u00e7imde ger\u00e7ekli\u011fi yoktur.<\/p>\n

(T\u00fcrk\u00e7esi: Ay\u015fe Bilge Aknam)<\/p>\n","protected":false},"excerpt":{"rendered":"

Alexandre Koj\u00e8ve Rusya\u2019da varl\u0131kl\u0131 bir ailenin \u00e7ocu\u011fu olarak d\u00fcnyaya geldi; ressam Kandinsky\u2019nin ye\u011feniydi.1920\u2019de, on sekiz ya\u015f\u0131nda, Almanya\u2019da okumak \u00fczere Moskova\u2019dan ayr\u0131ld\u0131; \u00f6nce Berlin\u2019e, ard\u0131ndan Heidelberg\u2019e gitti. 1926\u2019da Paris\u2019e ta\u015f\u0131nd\u0131 ve daha \u00f6nce Heidelberg\u2019te tan\u0131\u015ft\u0131\u011f\u0131 Alexandre Koyre\u2019nin verdi\u011fi Hegel\u2019in din felsefesi dersini alaca\u011f\u0131 \u00c9cole Pratique des Hautes \u00c9tudes\u2019\u00fcn kay\u0131tl\u0131 \u00f6\u011frencisi oldu. Koyre, 1932\u2019de dersi yeniden vermeye […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[],"class_list":{"0":"post-4022","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-georg-wilhelm-friedrich-hegel"},"yoast_head":"\nFelsefenin perspektifinden | Bak\u0131\u015f teorisi \u00fczerine - Peter Wollen - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Felsefenin perspektifinden | Bak\u0131\u015f teorisi \u00fczerine - Peter Wollen\" \/>\n<meta property=\"og:description\" content=\"Alexandre Koj\u00e8ve Rusya\u2019da varl\u0131kl\u0131 bir ailenin \u00e7ocu\u011fu olarak d\u00fcnyaya geldi; ressam Kandinsky\u2019nin ye\u011feniydi.1920\u2019de, on sekiz ya\u015f\u0131nda, Almanya\u2019da okumak \u00fczere Moskova\u2019dan ayr\u0131ld\u0131; \u00f6nce Berlin\u2019e, ard\u0131ndan Heidelberg\u2019e gitti. 1926\u2019da Paris\u2019e ta\u015f\u0131nd\u0131 ve daha \u00f6nce Heidelberg\u2019te tan\u0131\u015ft\u0131\u011f\u0131 Alexandre Koyre\u2019nin verdi\u011fi Hegel\u2019in din felsefesi dersini alaca\u011f\u0131 \u00c9cole Pratique des Hautes \u00c9tudes\u2019\u00fcn kay\u0131tl\u0131 \u00f6\u011frencisi oldu. 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Koyre, 1932\u2019de dersi yeniden vermeye […]","og_url":"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/","og_site_name":"narteks.net","article_published_time":"2010-04-01T22:00:00+00:00","og_image":[{"width":300,"height":90,"url":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","type":"image\/png"}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"35 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"Felsefenin perspektifinden | Bak\u0131\u015f teorisi \u00fczerine – Peter Wollen","datePublished":"2010-04-01T22:00:00+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/"},"wordCount":6996,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"articleSection":["Georg Wilhelm Friedrich HEGEL"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/","url":"https:\/\/narteks.net\/index.php\/2010\/04\/02\/felsefenin-perspektifinden-bakis-teorisi-uzerine-peter-wollen\/","name":"Felsefenin perspektifinden | Bak\u0131\u015f teorisi \u00fczerine - 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