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Fetişizm bir kişinin cansız nesneler ya da geleneksel olarak seksüel bir arzunun nesnesi görülmeyen çeşitli beden parçalarına dönük haz elde etme amacıyla duyduğu ilgiden kaynaklanan bir sorundur. Her insana cinsel açıdan çekici gelen uzuvlar ve nesneler olabilir. Fetişist kişi ise cinsel haz için mutlaka fetiş nesneye ya da vücudun belirli bölümüne ihtiyaç duymaktadır ve dikizcilik gibi farklı türden rahatsızlıklarla birleştiğinde kişinin ve çevresindekilerin yaşamını etkileyecek bir sapma olarak anlam kazanmaktadır. Bu çalışmada son dönem Türk sinemasında fetişizm olgusunun önemli biçimde kendini gösterdiği bir eser olan Onur Ünlü’nün Aşkın Gören Gözlere İhtiyacı Yok (2017) filmi incelenmiştir. Eser psikanalitik ve feminist film teorileri ve yöntemleriyle, fetişizm kavramı merkeze alınarak çözümlenmiştir. Sonuç olarak filmde erkek kahraman kendi içsel dünyasında ve hayatında denge kuramamaktadır. Onun iktidarını cinsel haz kaynağı olarak gördüğü fetiş nesne ve beden organları yoluyla engelli/savunmasız kadınlar üzerinde tahsis etmeye çalıştığı gözlenmiştir. Bu türden fetişist nesne yatırımları ile giderek sanrılarla bozulan gerçeklik algısının genel olarak aşınmaya yüz tutan eril iktidarın süreksizleşen yapısıyla ilişkili bir fenomen olduğu görülmektedir.
Fetishism is a problem in which a person has sexual desires associated with non-living objects or various parts of the body that are not seen traditionally as the object of a sexual desire. There may be limbs and objects that are sexually attractive to every person. The fetish person necessarily needs the fetish object or part of the body for sexual pleasure, and when combined with different kinds of families such as peeping, it becomes a deviation that will affect the life of the person and those around them. In this study, Honur Unlu's Blind in Love (2017), which the phenomenon of fetishism is manifested in recent Turkish cinema, was examined. The work has been analyzed with psychoanalytic and feminist film theories and methods by taking the concept of fetishism into the center. As a result, in the movie, the protagonist cannot balance his inner world and life. It has been observed that he tries to allocate his power over disabled / vulnerable women through fetish objects and body organs, which he sees as a source of sexual pleasure. Perception of reality, which increasingly becomes delusional due to these kinds of fetishistic object of investments, is seen to be a phenomenon associated with the destabilizing structure of masculinity that is generally eroded.
Fetishism is a problem in which a person has sexual urges associated with non-living objects or various body parts that are not seen traditionally as the object of a sexual desire. There may be limbs and objects that are sexually attractive to every person. The fetishist person necessarily needs the fetish object or part of the body for sexual pleasure, and when combined with different kinds of ailments such as peeping, it becomes a deviation that will affect the life of the person and those around them. In this study, Onur Unlu's Blind in Love (2017), which the phenomenon of fetishism is manifested in recent Turkish cinema, was examined. The work has been analyzed with psychoanalytic and feminist film theories and methods by taking the concept of fetishism into the center. As a result, in the movie, the protagonist cannot balance his inner world and life. It has been observed that he tries to allocate his power over disabled / vulnerable women through fetish objects and body organs, which he sees as a source of sexual pleasure. Perception of reality, which increasingly becomes delusional due to these kinds of fetishistic object of investments, is seen to be a phenomenon associated with the destabilizing structure of masculinity that is generally eroded.
Field : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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