Film

Sinemada seyirci algısı ve duygusal etki özellikle görsel bir dünya üzerinde yaratıldığından, bakışın etkisi büyüktür. Bu etki seyirciyi ve toplumları yönlendirebilecek bir güce sahiptir. Sinemasal olarak kurulan dünya, atmosfer bu anlamda seyircinin bakışını yönlendiren bir alana da sahiptir. Böylelikle gerek toplumsal cinsiyet anlamında kadına olan bakış açısı, gerekse de ideolojik bakış, görsel gücün etkisiyle yaratılabilir olmuştur. Çalışmada öncelikle bakış ve etki alanları tanımlanmış ve bakışın sinema ile olan ilişkisi tanımlanmaya çalışılmıştır. Seyirci etkisinden yola çıkılan bu çerçevede sinemada özellikle bakışın erkek egemen bir hale geldiği ve kadının bu bakış içerisinde arzu nesnesi olmaktan çıkamadığı görülmüştür. Hollywood ise bu bakışı daha ideolojik bir biçimde değerlendirmiş ve kitlelerin bakış açısını yönlendirebilmiştir.

Audience perception and emotional impact are especially influenced by the way they are created on a visual world. This effect is spectacular and has a power to guide societies. Cinematic atmosphere has an area that directs the view of the audience in this sense. In this way, both the gender perspective and the ideological view can be created by the influence of visual power. In the study, firstly the points of view and domains were defined and an intellectual framework. It is seen that in this frame, which comes out of the audience influence, especially the view in the cinema becomes male-dominated and the woman can not come out of being the object of desire in this view. Hollywood has used this view in a more ideological way and has been able to direct the viewpoint of the masses.

The Dekalog series, comprised of ten films made by Kieslowski in 1989-90 for the Polish TV, inspired by the Ten Commandments (Decalogues) in the Torah, treats the goodness and innocence of human beings, as well as the evilness and anxiety. Generally, as a common element in all films of the series, appears the triangle of order-submission-disobedience and the power field becomes a tide moving back and forth between different characters. According to Foucault, power is perceived differently today, compared to the past. In the earlier times, power was perceived to be the rulership of a king over its subjects, while today, different types of power exist. Foucault argues that the punishment directed towards the body before is now directed to the soul. The discourse in the Ten Commandments that directs people what to do and what not overlaps the Foucauldian definition of power and the punishment of the soul. This phenomenon appears in every film of the series differently, through the characters and the plot. This article's objective is to examine Kieslowski's Dekalog series through the relationship between order, submission and power, and to discuss the effects of this relationship over the characters. .

Georg Simmel treats the individual as socialized in urban life. He points out to the side of society that prioritizes the interrelationships between people and argues that human beings are too intertwined in the process that there is no external existence. Simmel separates and conceptualizes people into specific, social types and "stranger" is one of them. According to Simmel 'stranger' is very important social type in urban life. It is both close and distant and takes place within the group in a unique way of interaction. Nuri Bilge Ceylan's last movie called Ahlat Ağacı and the main character Sinan is very familiar the social type of "stranger" which described by Georg Simmel. There are areas in the social structure that Sinan is both inside and outside. Sinan was out of the picture, both close and far away, and he found it hard to give meaning to his own existence. In the social type of "stranger" concept of Simmel, the existence of the subject and its identity are based on ambiguity. The aim of the article is to try to explain the character of Sinan with the social type of Simmel's 'stranger' and to try to explain how familiar and foreign the character with this concept in society. Structured Abstract: It is a hard process that the human takes part in a modern social life. Georg Simmel examined human relations with society, especially in the metropolitan life and made various inferences. For Simmel, modernism plays a decisive role in human life and can be effective even behaviors. In this sense, the relationship between individual-society and modernism has been one of the basic issues of sociology. According to Simmel, the individual's has to make an effort to exist in the modern life. Because the individual must preserve the autonomy and individuality of existence against the overwhelming social forces. (Simmel, 2009) It is based on the physical and psychological existence of human beings in urban life. The position of the individual in modernism has been tried and understood by different thinkers. Zygmunt Bauman approaches modernism in the context of good and bad and tries to explain this thought in an ethical context. For Bauman, the modern spirit refuses to give up and does not accept despair. He defines these features as the most distinctive features of the modern individual. Therefore, modern life change involves uncertainty. For Bauman, the whole process, as well as the uncertainty of modernity, is a sign of creative destruction. (Bauman, 2001: 1) Simmel underlines the similarities and dissimilarities of each other, and in this context, dissimilarity is as important as similarity in a society. According to Simmel, society is made up of different beings, both inside and outside, and it is a sociological structure rather than physical space. (Simmel, 2003: 27)