Görüntüleme
37
İndirme
16
Guattari “Chaosmosis” isimli metninde kapitalizmin en önemli üretiminin öznellik üretimi olduğunu belirtir. Zira bu öznellik üretimi ona göre kapitalizmin hem yönetilebilirliği hem de sistemi devam ettirebilmesi için gereklidir. Fakat Guattari için (Lazzarato da bu tezi sürdürür) sorun öznelliğin üretilmesi kadar nerede ve nasıl üretildiğidir. Öznellik artık eskisi gibi çoğunlukla Aile ve Din gibi kurumlarda üretilmez. Lazzarato’nun deyimiyle “toplumsal makineler” için üretilen öznellikler globalleşen dünyanın da etkisiyle artık daha çok tüketim, iletişim, sosyal medya, sinema gibi alanlarda üretilmektedir. Görsellik üretiminin olduğu her alan aynı zamanda öznellik üretiminin de alanıdır. Bu bağlamda anaakım sinema ürettiği özneler ve öznelliklerle bireylerin bilinçlerine hatta Lazzarato’nun ifade ettiği haliyle “birey-öncesi bileşenlerin, algı biçimlerinin hissetme, görme, düşünme vs. biçimlerine” seslendiği söylenebilir. Filmlerde inşa edilen anlatı tarzı ve yaratılan karakterlerle seyirciye iletilen ‘özne’ olma durumu her zaman kapitalist öznelliğe hizmet etmediği gibi zaman zaman da o öznellik eleştirilir. Her ne kadar bu tarz filmlerin sayısı az olsa da son zamanlarda bu örneklere sıklıkla rastlanmaya başlanmıştır. Bu filmler genellikle bireyin çağdaş kapitalizmde içinde bulunduğu durumu resmetmekle kalmayıp, Jacques Ranciere’in belirttiği gibi “öznel bir özgürleşmeye radikal bir başkalaşıma” yol açarak yeni öznellik formları inşa etmeye çalışmaktadır. Bu anlamda 2015 yapımı “Demolition / Yön: Jean-Marc Vallée” filmi “toplumsal makineler” için üretilen öznellikleri eleştiren, tüm bu yapıyı yıkmakla kalmayıp özneyi bir boşluğun içerisinde bırakan önemli örneklerden birisidir ve film bu bağlamda irdelenecektir.
Guattari says in the text "Chaosmosis" that the capitalist production is the production of subjectivity. For this production of subjectivity is, according to him, necessary for capitalism to be governable and the system to continue. But for Guattari (Lazzarato also continues this thesis) the problem is where and how the subjectivity is produced. The speciality is no longer produced in institutions like the Family and Religion, as it was before. With the influence of the globalized world, the specialties produced for "social machines" by Lazzarato are now produced more in areas such as consumption, communication, social media, cinema. Every field in which visual production is also the field of self-production. In this context, the subjects and subjects produced by my grandmother can be said to the consciousness of individuals and even the way that Lazzarato expresses "the personal-pre-components, the forms of perception, the forms of feeling, seeing, thinking, etc." The style of narrative built in the films and the state of being the "self" transmitted to the audience with the character created are not always serving the capitalist subjectivity, as this subjectivity is sometimes criticized. Although the number of these types of films is small, these examples have often begun to be found in recent times. These films often do not only represent the situation in which the individual is in the contemporary capitalism, but, as Jacques Ranciere pointed out, try to build new forms of subjectivity, leading to a “subjective liberation to a radical reversal” as he said. In this sense, the 2015 film "Demolition / Direction: Jean-Marc Vallée" is one of the important examples that criticizes the characteristics produced for "social machines", not just destroying all this structure, but leaving the essence in a vacuum, and the film will be drawn up in this context.
Guattari states in his text Chaosmosis that the most important production of capitalism is the production of subjectivity. According to him, the production of subjectivity is necessary for both the manageability of capitalism and the continuation of capitalist system. But for Guattari (Lazzarato also continues this thesis) the problem is the production of subjectivity as well as where and how this subjectivity is produced. Subjectivity is no longer produced in institutions such as Family and Religion. In the words of Lazzarato, the subjectivities produced for 'social machines' are now produced with the help of the globalizing world in areas such as consumption, communication, social media and cinema. Every field where visual production is produced that is also the area of subjectivity production. In this context, the mainstream cinema, along with the subjects and subjectivities that own produces, speaks to the consciousness of individuals or (as Lazzarato expresses) even to the 'feeling, vision and ways of thinking of pre-individual components, perception forms etc.' The subjectivity which transferred to the spectator with help of narrative style and the characters created in the films does not always serve capitalist subjectivity; sometimes, this subjectivity is criticized. Although the number of such films is small, these examples have been frequently encountered recently. These films not only depict the situation of the individual in modern capitalism but also try to construct new forms of subjectivity, as Jacques Ranciere points out, by causing a radical metamorphosis, a subjective liberation. In this sense, 'Demolition’ (2015, Director: Jean Marc Vallée) is a film that not only criticizes the subjectivities produced for 'social machines', but also destroys this whole structure and leaves the subject in a void. Demolition will be examined in this context.
Alan : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
Makale Detay 
Benzer Makaleler
PDF Görüntüle
Dergi Bilgisi
Eseri Dinleyin
Alıntı Yap
Bu Sayfayı Yazdırın
Paylaş
Mendeley
