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Bu çalışmada, Sick of Myself -Türkçe adıyla “İlgi Manyağı- filmi ve odak noktası olan Signe karakteri; kimliğin inşası, aşk, öznellik, iktidar, öteki vb. gibi sahne sanatları kuramına dair çeşitli kavramların da içerildiği konular üzerinden derinlemesine analiz edilmektedir. Çalışma, öncelikle Signe'nin kimliğinin filmde nasıl inşa edildiğini, aşkın rolünü, öznellik kavramını, iktidar ilişkilerini ve ötekileştirme süreçlerini ele almaktadır. Signe'nin karakter gelişimi, trajik bir aşk hikâyesi üzerinden anlatılmaktadır. Signe, Thomas’a verdiği değerden dolayı onun yaşantısına ve sanatla uğraşma çabasına da değer vermektedir. Thomas’ın kariyerini yapılandırdığı çevresinde Signe da bir şekilde bir kimlik (belki bu bir sanatsal kimlik) edinmek istemektedir. Bu süreçte başarılı olamadığını düşünen Signe, kendisini kabullendirmek için yüzünü dolaylı yollardan feda etme eylemine girişerek, yaşadığı aşkın ontolojik boyutunu ortaya koyduğu bir karakteri temsil etmektedir. Çalışmada ayrıca, Lacancı bir bakış açısıyla Signe'nin öznel deneyimleri ve kimlik arayışı sürecinde yaşadıkları da analiz edilmektedir. Sahne sanatlarında “mekânın söylemin kurulduğu, anlamın üretildiği ve öznenin kimliklendiği bir alan olarak ele alınması” durumu, Signe'nin, özellikle Thomas’ın sergilerinde kişiliğini göstermek istemesi ve kendini sevgilisinin sanat çevresine karşı ifade çabasıyla bağdaşlaştırılabilir. Bununla birlikte, Signe’ın filmin sonlarına doğru kendini bir model şirketinin fotoğraf çekiminde bulması ve bunun bir heykel müzesinde gerçekleşmesi de, kendisinin film boyunca emeline ulaşma çabası sonucunda, iktidarın onu bir meta nesnesi olarak öznellikten nesnelliğe geçiş sürecini ifade edebilir. Levinas'ın öteki kavramı üzerinden de, Signe'nin diğer karakterlerle ilişkileri ve ötekileştirme süreçleri üzerinden ayrıca incelenmektedir. Filmin en sonunda Signe, aslında Thomas’tan ayrılmış olarak kendi takıntı ve komplekslerinden de arınmıştır; –dolayısıyla kendisinden kurtularak- final sahnesindeki yeni hayatına dair çektiği ve farkında olmadığı acılar sonucunda belki de kendi öz benliğine yeniden kavuşması olarak düşünülebilir. Film boyunca kendisini Thomas’a kabul ettirmeye çalışan Signe, -ismiyle de müsemma, -“bir şeyin bağlı olduğu başka bir şeyde varlığına ve hatta hakikatine varılması sürecinde algılanan”- olarak açıklanması, aslında izleyiciyi doğrudan Signe ile ilgili “işaret edilen” veya “gösterge” kavramlarına götürebilir. Bu anlamıyla Sick of Myself filminde Signe, yolunu hiç şaşırmadan kendini işaret etmekte ve bu işaret ettiği kendisinin, herkes tarafından da onaylanmasını ve hatta beğeniye açılmasını arzulamaktadır. Sonuç olarak bu çalışma, Signe karakteri üzerinden bireyin aşk üzerinden kimlik oluşumu, bu süreçte aşkın rolü, öznellik, iktidar ilişkileri ve ötekileştirme süreçleri gibi çeşitli önemli konuları ele almaktadır. Dolayısıyla filmdeki derin anlamlar ve düşünsel katmanlar ele alındığında Signe karakteri, bir sanatçının hayat hikâyesiyle bağdaşlaştırılabilir.
In this work, Sick of Myself The Turkish name of the "Interest Manyağı" is the film and focus point. Signs character; the building of identity, love, subjectivity, power, others, etc. The scenery of the theory of the various concepts of the art is also thoroughly analyzed through the subjects that are included. The study focuses primarily on how Signe’s identity is built in the film, the role of love, the concept of subjectivity, power relationships, and the processes of selfishment. Signe's character development is told through a tragic love story. Signe also appreciates his life and his effort to deal with art for the value he has given to Thomas. Around Thomas’s career structure, Signe also wants to obtain an identity (maybe that’s an artistic identity) in some way. Signe, who believes he could not succeed in this process, represents a character in which he reveals the ontological dimension of the love he lives, by initiating the act of sacrificing his face indirectly to accept himself. The study also analyses Signe’s subjective experiences and identity search process from a Lacancı point of view. The situation in the art of the stage "that the field is considered as a field where the speech is established, where the meaning is produced, and where the essence is identified" can be matched with Signe's desire to show his personality, especially in Thomas' exhibitions, and with his lover's effort to express himself against the art surroundings. However, the fact that Signe finds himself at the end of the film in the photograph of a model company and that it occurs in a statue museum, as a result of his efforts to reach his emulse throughout the film, the power can express the process of transition from subjectivity to objectivity as a meta object. The other concept of Levinas is also studied through Signe’s relationships with other characters and the processes of authentication. At the end of the film, Signe is actually removed from his own obsession and complexes as a part of Thomas; therefore, by getting rid of himself, it can be considered as a result of the suffering he has taken about his new life in the final scene and he is not aware of it,
In this study, the movie Sick of Myself and its focal point, the character of Signe; construction of identity, love, subjectivity, power, other etc. It is analyzed in depth on subjects that include various concepts of performing arts theory, such as The study primarily deals with how Signe's identity is constructed in the film, the role of love, the concept of subjectivity, power relations and othering processes. Signe's character development is told through a tragic love story. Due to the value he gives to Thomas, Signe also values his life and his effort to deal with art. In the environment in which Thomas has structured his career, Signe also wants to somehow acquire an identity (perhaps an artistic identity). Thinking that he could not be successful in this process, Signe represents a character in which he reveals the ontological dimension of the love he has experienced by engaging in the act of sacrificing his face indirectly in order to accept himself. The study also analyzes Signe's subjective experiences and the process of searching for identity from a Lacanian perspective. In the performing arts, the situation where “space is considered as a space where discourse is established, meaning is produced and the subject is identified” can be associated with Signe's desire to show her personality, especially in Thomas's exhibitions, and her effort to express herself against her lover's art environment. On the other hand, the fact that Signe finds himself in a photo shoot of a model company towards the end of the film and this takes place in a sculpture museum can also express the transition of power from subjectivity to objectivity as a commodity object, as a result of his efforts to achieve his aim throughout the film. It is also examined through Levinas's concept of the other, Signe's relations with other characters and othering processes. At the end of the movie, Signe is freed from her own obsessions and complexes, having actually separated from Thomas; Maybe it can be thought of as reuniting with his own self as a result of the pain he suffered and was not aware of regarding his new life in the final scene – thus getting rid of himself. Trying to make Thomas accept himself throughout the movie, Signe, true to his name, is described as "perceived in the process of reaching the existence and even the truth of something in another thing to which it is connected", in fact, directs the viewer to the "signed" or "sign" about Signe. ” concepts. In this sense, in the movie Sick of Myself, Signe points to himself without getting lost, and desires that the self he points to be approved and even appreciated by everyone. As a result, this study deals with various important issues such as the formation of an individual's identity through love, the role of love in this process, subjectivity, power relations and othering processes through the character of Signe. Therefore, considering the deep meanings and intellectual layers in the film, the character of Signe can be associated with an artist's life story.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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