{"id":37429,"date":"2015-11-23T02:30:31","date_gmt":"2015-11-23T07:30:31","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=37429"},"modified":"2015-11-23T02:30:31","modified_gmt":"2015-11-23T07:30:31","slug":"barisma-siyaseti-acisindan-ararat-cok-onemli","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=37429","title":{"rendered":"Bar\u0131\u015fma siyaseti a\u00e7\u0131s\u0131ndan \u2018Ararat\u2019 \u00e7ok \u00f6nemli"},"content":{"rendered":"

\"\u00d6yk\u00fc<\/a>Merih \u015eaml\u0131<\/a><\/b><\/p>\n

\u2018Hrant Dink An\u0131s\u0131na At\u00f6lye \u00c7al\u0131\u015fmalar\u0131\u2019nda \u2018An\u0131lardan Sinemaya: Tan\u0131kl\u0131k Sorunu ve Felaketin Temsili\u2019 ba\u015fl\u0131kl\u0131 bir tebli\u011f sunan doktora \u00f6\u011frencisi \u00d6yk\u00fc G\u00fcrp\u0131nar, Atom Egoyan’\u0131n \u2018Ararat\u2019 filmini Fatih Ak\u0131n\u2019\u0131n \u2018Kesik\u2019 filmi ile kar\u015f\u0131la\u015ft\u0131rmal\u0131 olarak ele al\u0131yor.<\/strong><\/em><\/p>\n

Yedi y\u0131ldan bu yana Sabanc\u0131 \u00dcniversitesi’nin Anadolu K\u00fclt\u00fcr ve \u0130stanbul Politikalar Merkezi i\u015fbirli\u011fiyle d\u00fczenledi\u011fi \u2018Hrant Dink An\u0131s\u0131na At\u00f6lye \u00c7al\u0131\u015fmalar\u0131\u2019n\u0131n bu y\u0131lki konu ba\u015fl\u0131\u011f\u0131 \u2018Sanat, Tiyatro, Sinema ve Edebiyatta Osmanl\u0131 Ermenileri Soyk\u0131r\u0131m\u0131\u2019 olarak belirlenmi\u015fti.\u00a0 5-6 Kas\u0131m tarihlerinde yap\u0131lan at\u00f6lye \u00e7al\u0131\u015fmalar\u0131n\u0131n \u2018Ravished Armenia\u2019dan Ararat\u2019a: Sinema ve Soyk\u0131r\u0131m\u2019 ba\u015fl\u0131kl\u0131 oturumunda Mimar Sinan \u00dcniversitesi G\u00f6rsel Sanatlar Fak\u00fcltesi Genel Sosyoloji ve Metodoloji program\u0131nda doktora \u00f6\u011frencisi olan \u00d6yk\u00fc G\u00fcrp\u0131nar \u2018An\u0131lardan Sinemaya: Tan\u0131kl\u0131k Sorunu ve Felaketin Temsili\u2019 ba\u015fl\u0131kl\u0131 ilgi \u00e7ekici bir tebli\u011f sundu. Atom Egoyan’\u0131n \u2018Ararat\u2019 filmini Fatih Ak\u0131n\u2019\u0131n \u2018Kesik\u2019 filmi ile kar\u015f\u0131la\u015ft\u0131rmal\u0131 olarak ele alan sunumunda G\u00fcrp\u0131nar\u2019la \u2018Felaket nas\u0131l temsil edilir\u2019 ana sorusu ekseninde 1915 Ermeni Soyk\u0131r\u0131m\u0131\u2019n\u0131n sinemadaki tezah\u00fcr\u00fcn\u00fc ve bu tezah\u00fcr\u00fcn imk\u00e2n ve s\u0131n\u0131rlar\u0131n\u0131 konu\u015ftuk.<\/p>\n

Tan\u0131kl\u0131k ve Temsil meselesi \u00fczerine \u00e7al\u0131\u015fmaya nas\u0131l ba\u015flad\u0131n\u0131z?<\/b><\/p>\n

Doktora derslerini al\u0131rken Do\u00e7. Dr. Derya F\u0131rat’\u0131n \u2018Sosyal Tarih ve Toplumsal Bellek\u2019 ile \u2018Tarihsel Olay ve Toplumsal Ku\u015faklar\u2019 adl\u0131 lisans\u00fcst\u00fc derslerini takip ediyordum. \u00a0\u0130lk d\u00f6nemde daha \u00e7ok toplumsal bellek \u00fczerine \u00e7al\u0131\u015fm\u0131\u015ft\u0131k ve o d\u00f6nemde Marc Nichanian\u2019\u0131n \u2018Edebiyat ve Felaket\u2019 kitab\u0131 \u00fczerine de bir tart\u0131\u015fma y\u00fcr\u00fctm\u00fc\u015ft\u00fck. Bu kitapla birlikte tan\u0131kl\u0131k meselesini ana eksene alacak bir ikinci d\u00f6nem plan\u0131 ortaya \u00e7\u0131kt\u0131. Derya Hoca\u2019n\u0131n Michel Pollak ve Nathalie Heinich\u2019in \u2018Tan\u0131kl\u0131k\u2019 makalesi \u00fczerinden haz\u0131rlad\u0131\u011f\u0131 tan\u0131kl\u0131k atlas\u0131na dayanarak bir ders ak\u0131\u015f\u0131 planland\u0131. Pollak ve Heinich, Auschwitz-Birkenau’da bir kad\u0131n kamp\u0131ndaki farkl\u0131 tan\u0131kl\u0131k t\u00fcrleri \u00fczerinden bir analiz yapm\u0131\u015ft\u0131. Bu tan\u0131kl\u0131k t\u00fcrleri kabaca d\u00f6rt kategori alt\u0131nda toplan\u0131yordu: tarihsel tan\u0131kl\u0131k dedikleri ilk kategori, s\u00f6zl\u00fc tarih ve sosyo-grafik ara\u015ft\u0131rmay\u0131, yani ki\u015filerin belli bir ara\u015ft\u0131rma dahilinde verdi\u011fi tan\u0131kl\u0131klar\u0131 i\u00e7erirken; adli tan\u0131kl\u0131klar ise bir davada verilen tan\u0131k ifadelerini kaps\u0131yordu. Bunlar\u0131n d\u0131\u015f\u0131nda otobiyografik yaz\u0131lar\/hat\u0131ratlar ve edebi tan\u0131kl\u0131klar, yani tan\u0131kl\u0131k edebiyat\u0131 birer kategori olu\u015fturuyordu. K\u0131sacas\u0131, temelde bu d\u00f6rd\u00fc \u00fczerinden \u015fekillenen bir tan\u0131kl\u0131k bi\u00e7imleri kategorizasyonu yapm\u0131\u015flard\u0131. Biz bu \u00e7er\u00e7eveyi sanat alan\u0131na da geni\u015fleterek, foto\u011fraflar, m\u00fczik, film, \u00e7a\u011fda\u015f sanat tan\u0131kl\u0131\u011f\u0131n\u0131 da dahil etti\u011fimiz 14 haftal\u0131k bir ders program\u0131 \u00e7\u0131karm\u0131\u015ft\u0131k. Her hafta farkl\u0131 bir tan\u0131kl\u0131k bi\u00e7imi ile birlikte farkl\u0131 bir Felaket olay\u0131 inceleniyordu.<\/p>\n

Alanlara g\u00f6re derste ele al\u0131nan felaketleri biraz a\u00e7abilir misiniz?<\/b><\/p>\n

Mesela adli tan\u0131klar a\u00e7\u0131s\u0131ndan 90\u2019larda T\u00fcrkiye’de insan haklar\u0131 ihlalleri \u00fczerinde bir analiz yapt\u0131k, bu d\u00f6nemde ger\u00e7ekle\u015fen pek \u00e7ok davadan birini se\u00e7erek mahkemede verilen bir tan\u0131k ifadesini ayr\u0131nt\u0131l\u0131 olarak inceledik. S\u00f6zl\u00fc tarih \u00e7al\u0131\u015fmas\u0131 i\u00e7in 1938 Dersim katliam\u0131n\u0131 se\u00e7tik, Tarih Vakf\u0131\u2019ndan \u00e7\u0131kan \u2018Dersim 38\u2019i Hat\u0131rlamak\u2019 adl\u0131 kitapta yer alan tan\u0131kl\u0131klar\u0131 inceledik. Yine foto\u011fraf tan\u0131kl\u0131\u011f\u0131 i\u00e7in de 1938 Dersim’e ba\u015fvurduk, bu Felaket\u2019in \u00f6nemli bir imgesi haline gelen foto\u011fraf \u00fczerine bir tart\u0131\u015fma y\u00fcr\u00fctt\u00fck. Bu foto\u011fraf 2014\u2019te yay\u0131nlanan Mehmet Y\u0131ld\u0131z\u2019\u0131n \u2018Dersim\u2019in Etno-K\u00fclt\u00fcrel Kimli\u011fi\u2019 adl\u0131 kitab\u0131n\u0131n kapa\u011f\u0131nda da yer al\u0131yor ve kitapta foto\u011fraf ile ilgili k\u0131sa bir \u00f6ns\u00f6z de bulunuyor. Sonra, m\u00fczik tan\u0131kl\u0131\u011f\u0131 i\u00e7in Rembetiko\u2019nun K\u00fc\u00e7\u00fck Asya Felaketi sonras\u0131nda nas\u0131l bir tan\u0131kl\u0131k bi\u00e7imi \u00fcretti\u011fini tart\u0131\u015ft\u0131k. Gene K\u00fc\u00e7\u00fck Asya Felaketi \u00fczerinden tarihsel tan\u0131kl\u0131klar\u0131 inceledik. 1915 Ermeni Soyk\u0131r\u0131m\u0131 ile ilgili olarak ise hat\u0131ratlar ve sinema \u00fczerinden bir \u00e7al\u0131\u015fma yapt\u0131k. Ders kapsam\u0131nda \u00f6\u011frenciler olarak biz de kendi \u00e7al\u0131\u015fma alanlar\u0131m\u0131z do\u011frultusunda sunumlar yap\u0131yorduk. Ben de y\u00fcksek lisanstan beri Ermeniler ve Ermeni Soyk\u0131r\u0131m\u0131 \u00fczerine \u00e7al\u0131\u015ft\u0131\u011f\u0131m i\u00e7in bu konular\u0131 ilgilendiren analizler yapt\u0131m ders kapsam\u0131nda. Hat\u0131ratlar k\u0131sm\u0131nda y\u00fcksek lisans d\u00f6nemimde \u00fczerinde \u00e7al\u0131\u015ft\u0131\u011f\u0131m Arm\u0131danl\u0131 Bedros’un hat\u0131rat\u0131 \u00fczerine bir sunum yapt\u0131m. Sinema k\u0131sm\u0131nda da kurmaca filmler ba\u011flam\u0131nda Atom Egoyan’\u0131n \u2018Ararat\u2019 filmi ile ilgili bir sunum haz\u0131rlam\u0131\u015ft\u0131m. Hrant Dink An\u0131s\u0131na At\u00f6lye \u00c7al\u0131\u015fmalar\u0131\u2019nda yapt\u0131\u011f\u0131m sunum da asl\u0131nda bu sunumun geli\u015ftirilmi\u015f bir versiyonuydu. Doktora tez s\u00fcrecimde de Tan\u0131kl\u0131k ve Temsil \u00fczerine bir tart\u0131\u015fma y\u00fcr\u00fctmeyi, soyk\u0131r\u0131m sonras\u0131 Bat\u0131 Ermenistan Edebiyat\u0131 ile soyk\u0131r\u0131mdan sonraki 10 sene i\u00e7inde yaz\u0131lm\u0131\u015f, fakat yay\u0131nlanmam\u0131\u015f hat\u0131ratlar \u00fczerine bir kar\u015f\u0131la\u015ft\u0131rma yapmay\u0131 planl\u0131yorum.<\/p>\n

Doktora tezinde yapaca\u011f\u0131n\u0131z \u00e7al\u0131\u015fma hangi co\u011frafyada ya\u015fayan Ermenileri kaps\u0131yor?\u00a0 <\/b><\/p>\n

Bir\u00e7ok farkl\u0131 co\u011frafyadan tan\u0131kl\u0131k toplamaya \u00e7al\u0131\u015f\u0131yorum, tabii bunlar\u0131 toplamak biraz me\u015fakkatli oluyor. Fakat \u015f\u00f6yle bir \u015fans\u0131m var, yine hocam Derya F\u0131rat’\u0131n ba\u015fkanl\u0131\u011f\u0131n\u0131 yapt\u0131\u011f\u0131 Bellek ve K\u00fclt\u00fcr Sosyolojisi \u00c7al\u0131\u015fmalar\u0131 Derne\u011fi (BEKS) olarak, T\u00fcrkiye, Ermenistan ve diasporada 1915\u2019ten sonraki 4. ku\u015fak yani g\u00fcn\u00fcm\u00fcz Ermeni gen\u00e7lerinin 1915’e dair post-belle\u011fini ara\u015ft\u0131ran bir proje y\u00fcr\u00fct\u00fcyoruz. \u015eu anda projenin ilk etab\u0131 olan T\u00fcrkiye ve Ermenistan sahalar\u0131n\u0131 tamamlad\u0131k. Kas\u0131m sonunda bu sahalar\u0131n raporunu, ara\u015ft\u0131rmay\u0131 destekleyen vakfa iletece\u011fiz; ayr\u0131ca ara\u015ft\u0131rma sonu\u00e7lar\u0131n\u0131 Aral\u0131k ba\u015f\u0131nda da Columbia \u00dcniversitesi\u2019nde bir konferansta sunaca\u011f\u0131z. Ocak ay\u0131 itibariyle projenin ikinci etab\u0131na ba\u015flamay\u0131 planl\u0131yoruz. Bu etapta ise L\u00fcbnan, Almanya ve Fransa\u2019da ya\u015fayan Ermeni gen\u00e7ler ile g\u00f6r\u00fc\u015fmeler yapaca\u011f\u0131z. Hen\u00fcz kesin olmamakla birlikte, bu projeye ilerleyen zamanlarda \u00fc\u00e7\u00fcnc\u00fc bir etap olarak Amerika sahas\u0131n\u0131 da eklemeyi planl\u0131yoruz. Bu ara\u015ft\u0131rman\u0131n doktora tezime dolayl\u0131 katk\u0131s\u0131 da \u015fu oldu: Ermeni gen\u00e7lerle yapt\u0131\u011f\u0131m g\u00f6r\u00fc\u015fmelerde onlara ailede hat\u0131rat olup olmad\u0131\u011f\u0131n\u0131 sorabiliyorum. \u015eu an itibariyle yay\u0131nlanmam\u0131\u015f, sadece aile i\u00e7erisinde ku\u015faktan ku\u015fa\u011fa aktar\u0131lm\u0131\u015f 5 hat\u0131rat ke\u015ffettim; hat\u0131ratlar\u0131n 2 tanesi T\u00fcrkiye’de, 2 tanesi Ermenistan\u2019da ve biri de Fransa’da yaz\u0131lm\u0131\u015f.<\/p>\n

Temsil meselesi \u00e7er\u00e7evesinde incelemek i\u00e7in \u2018Ararat\u2019 filmini se\u00e7menizdeki etkenler nelerdi?\u00a0 <\/b><\/p>\n

Derslerde tan\u0131kl\u0131k meselesi ve temsil krizi teorik olarak \u00e7ok tart\u0131\u015ft\u0131\u011f\u0131m\u0131z bir konu oldu. Asl\u0131nda Holocaust \u00fczerine temellenen bir yakla\u015f\u0131m olsa da, tan\u0131kl\u0131k ve temsil Ermeni Soyk\u0131r\u0131m\u0131\u2019nda g\u00f6rece daha yeni bir mesele. Bu alandaki tart\u0131\u015fma, toplumun kolektif belle\u011fine i\u015flemi\u015f bir Felaketin \u2018tan\u0131\u011f\u0131 olmayan olay\u2019 olarak tan\u0131mlanmas\u0131 ile ortaya \u00e7\u0131k\u0131yor. Tan\u0131\u011f\u0131 olmayan olay, Shoshana Felman ve Dori Laub\u2019un Shoah \u00fczerinden getirdi\u011fi bir kavram; olay\u0131n nihai hedefinin olay\u0131 deneyimleyenleri ortadan kald\u0131rmak ya da insanl\u0131k d\u0131\u015f\u0131na itmek oldu\u011funa g\u00f6nderme yap\u0131yor. B\u00f6yle bir olay\u0131n tan\u0131kl\u0131k \u00fcretemeyece\u011fini, \u00e7\u00fcnk\u00fc as\u0131l tan\u0131klar\u0131n \u00f6lm\u00fc\u015f ya da deneyimlerini anlatamayacak durumda olduklar\u0131n\u0131 tespit ediyor. Tabii bir de imk\u00e2ns\u0131z temsil meselesi var; yani Felaket olay\u0131n\u0131n anlat\u0131lamazl\u0131\u011f\u0131, dil ile ifade edilemezli\u011fi vurgusu. Nichanian, \u00f6rne\u011fin, \u2018Edebiyat ve Felaket\u2019 kitab\u0131nda 1915 Felaketi\u2019ni anlat\u0131la\u015ft\u0131rmaya d\u00f6n\u00fck her t\u00fcrl\u00fc giri\u015fimin ink\u00e2r ile sonu\u00e7lanaca\u011f\u0131na, dolay\u0131s\u0131yla hayatta kalanlar\u0131n tan\u0131kl\u0131\u011f\u0131n\u0131n bir t\u00fcr imk\u00e2ns\u0131z temsile d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcne dikkat \u00e7ekiyor. O zaman kar\u015f\u0131m\u0131za \u015fu soru \u00e7\u0131k\u0131yor: Felaket nas\u0131l temsil edilecek?<\/p>\n

Peki tam da bu felaketin temsili noktas\u0131nda nas\u0131l bir teorik arka plana yaslanmak m\u00fcmk\u00fcn?<\/b><\/p>\n

Burada Jean Luc Nancy\u2019nin \u00f6ne s\u00fcrd\u00fc\u011f\u00fc \u2018yasaklanm\u0131\u015f temsil\u2019 diye bir kavram var. Nancy\u2019ye g\u00f6re temsil imk\u00e2ns\u0131z de\u011fil, ancak \u2018temsil etme\u2019 ediminin ne anlama geldi\u011fini tam olarak anlayabilmek gerekiyor. Temsil etmek, orijinal olan\u0131n bir kopyas\u0131n\u0131 ya da tekrar\u0131n\u0131 \u00fcretmek anlam\u0131na gelmiyor. Mesela Fatih Ak\u0131n\u2019\u0131n \u2018Kesik\u2019 filminde 1915\u2019in do\u011frudan bir temsilini g\u00f6r\u00fcyoruz; Nazaret\u2019in soyk\u0131r\u0131m esnas\u0131nda ve sonras\u0131nda ya\u015fad\u0131klar\u0131 Ermeni soyk\u0131r\u0131m\u0131na y\u00f6nelik imgelerin arka arkaya dizildi\u011fi bir kurgu ile aktar\u0131l\u0131yor. Ancak bu sahnelerin Felaket olay\u0131n\u0131 tam olarak temsil etti\u011fini s\u00f6yleyemeyiz; bu imgeleri arka arkaya dizdi\u011fimizde asl\u0131nda tekrarlam\u0131\u015f oluyoruz. Jean Luc Nancy’nin de s\u00f6yledi\u011fi gibi bu bir temsil de\u011fil, anma prati\u011fidir. \u2018Kesik\u2019 de asl\u0131nda 1915\u2019e y\u00f6nelik bir anmad\u0131r, fakat Felaketi temsil etmek noktas\u0131nda yetersizdir. Nancy\u2019ye g\u00f6re Felaketi temsil etmeye \u00e7abalayan her giri\u015fimin \u00f6ncelikle bu temsilin imk\u00e2ns\u0131zl\u0131\u011f\u0131 ile yola \u00e7\u0131kmas\u0131 gerekiyor. \u2018Yasaklanm\u0131\u015f temsil\u2019 kavram\u0131 burada devreye giriyor; \u00e7\u00fcnk\u00fc b\u00f6yle bir temsil, temsil etmek istedi\u011fi olaya dair kurgulad\u0131\u011f\u0131 g\u00f6sterimin her zaman i\u00e7in eksik bir g\u00f6sterim olaca\u011f\u0131n\u0131 kabul ederek, kendi yetersizli\u011fini ve eksikli\u011fini temsilinin kalbine yerle\u015ftirerek olaya bir varl\u0131k kazand\u0131rabiliyor. G\u00f6sterim, varl\u0131\u011fa getirilmek istenen olayda eksik olan\u0131n temsiline d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc noktada, kendi kendini yasaklayan bir edimle temsili \u00fcretebiliyor.<\/p>\n

Egoyan\u2019\u0131n \u2018Ararat\u2019\u0131n\u0131 da bu \u00e7er\u00e7evede mi ele al\u0131yorsunuz?<\/b><\/p>\n

Kesinlikle. Tam da bu teorik \u00e7er\u00e7eveden bak\u0131ld\u0131\u011f\u0131nda, 1915 \u00fczerine b\u00f6ylesi bir yasaklanm\u0131\u015f temsili \u00fcreten en \u00f6nemli \u00e7al\u0131\u015fmalardan biri Egoyan\u2019\u0131n \u2018Ararat\u2019 filmi olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Mesela Lisa Siraganian \u015funu soruyor: Neden Ermeni Soyk\u0131r\u0131m\u0131\u2019n\u0131 Ararat’\u0131n i\u00e7indeki bir film-i\u00e7inde-film olarak g\u00f6r\u00fcyoruz? Ve filmdeki Charles Aznavour’un canland\u0131rd\u0131\u011f\u0131 William Saroyan isimli karakterin \u00e7ekti\u011fi \u2018Ararat\u2019 filmi neden Egoyan\u2019\u0131n do\u011frudan kendi filmi olam\u0131yor, hatta aksine, Egoyan niye Saroyan\u2019\u0131n filmi ile aras\u0131na bir mesafe koyuyor? Asl\u0131nda i\u015fte bu sorunun cevab\u0131 da Nancy’nin yasaklanm\u0131\u015f temsil kavram\u0131nda yat\u0131yor. Egoyan, bu mesafeyi koyarak Saroyan’\u0131n ve 1915\u2019in her t\u00fcrl\u00fc do\u011frudan temsilinin eksikli\u011fine i\u015faret edebilece\u011fi bir zemin yarat\u0131yor. Bunun eksik bir temsil oldu\u011funu g\u00f6stermek asl\u0131nda temsilin konusu olan Felaket ile onun temsil edilemezli\u011fi aras\u0131ndaki \u00e7at\u0131\u015fma sonucunda, temsilin kendi kendini yasaklamas\u0131na var\u0131yor. Temsilin konusu olan 1915, dolayl\u0131 olarak filmin konusu haline geliyor ve Felaketin varl\u0131\u011fa geli\u015finde eksik kalana, eksik kalmak zorunda olana y\u00f6nelik unsurlar ancak sezgisel olarak kavranabiliyor. Bu a\u00e7\u0131dan bizim derste yapt\u0131\u011f\u0131m\u0131z Temsil ve Tan\u0131kl\u0131k tart\u0131\u015fmalar\u0131yla \u2018Ararat\u2019 aras\u0131nda \u00f6nemli bir etkile\u015fim s\u00f6z konusuydu; dolay\u0131s\u0131yla da \u2018Ararat\u2019\u0131n sundu\u011fu tart\u0131\u015fma zemini bu film \u00fczerinden ilerlememe sebep oldu.<\/p>\n

Ermeni Soyk\u0131r\u0131m\u0131 anlat\u0131rken, tan\u0131kl\u0131k ve temsiller i\u00e7erisinde \u015fiddet g\u00f6r\u00fcnt\u00fclerine yer vermeden bir soyk\u0131r\u0131m g\u00f6sterimi yapmak m\u00fcmk\u00fcn m\u00fc ve bu toplum \u00fczerindeki ne kadar etkili olur?<\/b><\/p>\n

Nancy ayn\u0131 soruyu tersinden soruyor: Temsili imk\u00e2ns\u0131z k\u0131lan nedir? Temsil krizine sebep olan nedir? Felaketin i\u00e7erdi\u011fi b\u00fct\u00fcn o \u015fiddet ve \u00fcrk\u00fcn\u00e7 imgelerin temsil edilemezli\u011fi mi? Nancy\u2019nin \u00f6ne s\u00fcrd\u00fc\u011f\u00fc cevap, asl\u0131nda bu t\u00fcr temsillerin s\u0131kl\u0131kla zaten \u00fcretilmekte oldu\u011fu, hatta sadece Felaket olay\u0131nda de\u011fil, daha pek \u00e7ok olay\u0131n temsilinde de \u015fiddet \u00f6r\u00fcnt\u00fclerine rastlanabildi\u011fi y\u00f6n\u00fcnde. Mesela \u2018Kesik\u2019 filminde 1915\u2019e y\u00f6nelik \u015fiddet ve vah\u015fet anlat\u0131lar\u0131n\u0131n neredeyse tamam\u0131n\u0131 g\u00f6rebiliyoruz: Suriye yollar\u0131ndaki bir kuyunun dibindeki \u00f6l\u00fc Ermeni cesetleri, y\u00fcr\u00fcyen kafileler, kafilede tecav\u00fcze u\u011frayan kad\u0131nlar, \u0131ss\u0131z bir yere g\u00f6t\u00fcr\u00fcl\u00fcp \u00f6ld\u00fcr\u00fclen ve ya\u011fmalanan erkek Ermeniler\u2026 Bu imgeler Felaket olay\u0131n\u0131n i\u00e7erdi\u011fi \u015fiddeti do\u011frudan temsil edebiliyor, dolay\u0131s\u0131yla imk\u00e2ns\u0131z olan, \u015fiddetin g\u00f6sterimi de\u011fil. Fakat burada temsil edilenin Felaket olay\u0131 olmaktan \u00e7\u0131karak olay\u0131n i\u00e7erisindeki \u015fiddet haline geldi\u011fini g\u00f6rebilmek gerekiyor. \u015eiddet tek ba\u015f\u0131na Felaket olay\u0131n\u0131 a\u00e7\u0131klamaya yetmiyor, dolay\u0131s\u0131yla bu m\u00fcmk\u00fcn g\u00f6sterim Felaket\u2019in ancak eksik bir temsilini \u00fcretebiliyor.<\/p>\n

Temsil meselesinin \u00f6tesinde, bu \u015fiddet g\u00f6steriminin Felaket olay\u0131ndan kaynaklanan kolektif travmay\u0131 tetiklemek noktas\u0131nda da \u00f6nemli bir rol\u00fc var. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda Egoyan\u2019\u0131n \u2018Ararat\u2019\u0131n\u0131n ilk d\u00f6nemde neden hayalk\u0131r\u0131kl\u0131\u011f\u0131 ile kar\u015f\u0131land\u0131\u011f\u0131n\u0131 anlamak da m\u00fcmk\u00fcn. Eric Nazarian, Hrant Dink An\u0131s\u0131na At\u00f6lye \u00c7al\u0131\u015fmas\u0131\u2019nda \u00e7ok g\u00fczel bir \u015fekilde dile getirmi\u015fti: Soyk\u0131r\u0131m\u0131n bu ilk pop\u00fcler temsilinde Ermeniler katharsis bekliyordu, analiz de\u011fil. \u0130\u015fte bu katharsis, zaten o tan\u0131kl\u0131\u011fa sahip olanlar\u0131n, yani hayatta kalanlar\u0131n ve hayatta kalanlar\u0131n hik\u00e2yelerini dinleyen onlardan sonraki ku\u015faklar\u0131n, dolay\u0131s\u0131yla b\u00fct\u00fcn Ermenilerin kolektif belle\u011fine yer etmi\u015f bir travman\u0131n yeniden uyand\u0131r\u0131lmas\u0131d\u0131r. Fakat zaten ink\u00e2rc\u0131l\u0131k sebebiyle s\u00fcreklile\u015fmi\u015f bir travman\u0131n tekrar tekrar uyand\u0131r\u0131lmas\u0131, Felaketin \u201cbir daha asla\u201d ya\u015fanmayaca\u011f\u0131na y\u00f6nelik bir bar\u0131\u015fma siyasetinin de \u00f6n\u00fcne ge\u00e7iyor. Korkunun travman\u0131n yeniden \u00fcretimi, bar\u0131\u015fmaya de\u011fil daha \u00e7ok sindirmeye yar\u0131yor.<\/p>\n

Hrant Dink’in \u2018Ararat\u2019 filmi ilk ortaya \u00e7\u0131kt\u0131\u011f\u0131nda, bu filmin iki tarafa da herhangi bir yarar sa\u011flamayaca\u011f\u0131 y\u00f6n\u00fcnde yorumlar\u0131 vard\u0131.\u00a0 <\/b><\/p>\n

\u0130lk bak\u0131\u015fta ger\u00e7ekten b\u00f6yle g\u00f6r\u00fcn\u00fcyor olabilir; fakat \u2018Ararat\u2019 o kadar kompleks bir film ki, her izledi\u011finizde daha \u00f6nceden fark etmedi\u011finiz ya da d\u00fc\u015f\u00fcnmedi\u011finiz \u015feyler ke\u015ffedebiliyorsunuz. Mesela, bir \u00f6rnek vereyim, \u2018Ararat’ta da Ermeni kolektif belle\u011fine yerle\u015fmi\u015f travmatik imgelerin temsil edildi\u011fini g\u00f6r\u00fcyoruz. \u0130lk bak\u0131\u015fta bu imgeler en az \u2018Kesik\u2019te oldu\u011fu kadar do\u011frudan, keskin ve travmatik geliyor. Bu sahneleri tek ba\u015f\u0131na ald\u0131\u011f\u0131n\u0131zda \u2018Ararat\u2019 ile \u2018Kesik\u2019 aras\u0131nda \u015fiddet temsili a\u00e7\u0131s\u0131ndan hi\u00e7bir fark olmad\u0131\u011f\u0131n\u0131 \u00e7ok rahat \u00f6ne s\u00fcrebilirsiniz. Fakat daha dikkatli bakt\u0131\u011f\u0131m\u0131zda, Egoyan’\u0131n asl\u0131nda bu \u015fiddetle aras\u0131na bir mesafe koymaya \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Nitekim b\u00fct\u00fcn \u015fiddet sahneleri bir film-i\u00e7inde-film olarak sunuluyor; bu da Egoyan\u2019\u0131n Felaket temsilinde \u015fiddet ile aras\u0131na bir mesafe koymas\u0131na olanak sa\u011fl\u0131yor. \u00d6rne\u011fin, Ermeni kad\u0131n\u0131n\u0131n Jandarma taraf\u0131ndan tecav\u00fcze u\u011frad\u0131\u011f\u0131 sahnede, hemen kadraj de\u011fi\u015fiyor ve biz bu tecav\u00fcz sahnesini izleyen seyircinin y\u00fcz ifadesini g\u00f6r\u00fcyoruz. O deh\u015feti ve o i\u011frenmeyi, asl\u0131nda o temsilin seyirci \u00fczerindeki etkisini yans\u0131t\u0131yor bize Egoyan; katharsisin ne anlama geldi\u011fini ve o travman\u0131n asl\u0131nda nas\u0131l tekrar tetiklendi\u011fini g\u00f6steriyor. Biz Egoyan’\u0131n Ararat’\u0131n\u0131 izleyen bir seyirci olarak Saroyan’\u0131n Ararat\u2019\u0131n\u0131 izleyen seyirciyle bir kar\u015f\u0131la\u015fmaya tabi tutuluyoruz. O tecav\u00fcz sahnesinden ya\u015fayaca\u011f\u0131m\u0131z katharsis asl\u0131nda filmin i\u00e7indeki seyirciler taraf\u0131ndan ya\u015fan\u0131yor ve biz o katharsisi ya\u015fam\u0131yoruz; onun yerine filmin i\u00e7erisindeki seyircilerin ya\u015fad\u0131klar\u0131 katharsise ele\u015ftirel bakmaya davet ediliyoruz.<\/p>\n

Bu ele\u015ftirel bak\u0131\u015f\u0131n izleyiciye nas\u0131l bir katk\u0131s\u0131 var?<\/b><\/p>\n

Ben bar\u0131\u015fma siyaseti a\u00e7\u0131s\u0131ndan \u2018Ararat\u2019\u0131n ta\u015f\u0131d\u0131\u011f\u0131 \u00e7ok \u00f6nemli bir potansiyel oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. \u00c7\u00fcnk\u00fc film Felaket\u2019ten bug\u00fcne d\u00f6rt ku\u015fa\u011f\u0131n birden tan\u0131kl\u0131\u011f\u0131n\u0131 i\u00e7eriyor; 1915’in g\u00fcn\u00fcm\u00fcze kadar gelen ku\u015faklar \u00fczerindeki etkilerini ve asl\u0131nda soyk\u0131r\u0131m\u0131n neden h\u00e2l\u00e2 devam ediyor oldu\u011fu sorusunun tezah\u00fcrlerini yans\u0131t\u0131yor. Daha da \u00f6nemli olan, Egoyan bunu makro bir anlat\u0131 i\u00e7erisinden vermiyor; \u201cBug\u00fcn diasporadaki Ermeniler 1915’in travmas\u0131yla nas\u0131l ba\u015fa \u00e7\u0131k\u0131yor?\u201d sorusunu, \u201cToronto’da ya\u015fayan bir Ermeni aile 1915’in sanc\u0131lar\u0131n\u0131 nas\u0131l ya\u015f\u0131yor, bu ailedeki \u00fc\u00e7\u00fcnc\u00fc ve d\u00f6rd\u00fcnc\u00fc ku\u015fak bunu nas\u0131l farkl\u0131 deneyimliyor?\u201d sorular\u0131 \u00fczerinden tart\u0131\u015fmaya a\u00e7\u0131yor. Felaket\u2019in insani ili\u015fkilerdeki yans\u0131malar\u0131n\u0131 irdeliyor; Ermenilerle Ermeniler aras\u0131ndaki, Ermeniler ve T\u00fcrkler aras\u0131ndaki, diaspora ve yerle\u015fik olduklar\u0131 \u00fclkenin sakinleri aras\u0131ndaki ili\u015fkileri farkl\u0131 katmanlar olarak kurguluyor ve bu katmanlar\u0131 i\u00e7 i\u00e7e ge\u00e7irerek, \u00fcst \u00fcste bindirerek, kesi\u015ftirerek ya da ayr\u0131\u015ft\u0131rarak g\u00fcndelik hayattaki deneyimlerde Felaket\u2019in izini s\u00fcr\u00fcyor. Tam da bu noktada Nancy\u2019nin sorusuna geri d\u00f6nmek isterim: Temsilde imk\u00e2ns\u0131z olan ne? \u015eiddetin temsil edilemezli\u011fi olmad\u0131\u011f\u0131n\u0131 konu\u015fmu\u015ftuk. Peki, acaba Felaket deneyimi g\u00fcndelik hayattaki pratiklerimiz ve tecr\u00fcbelerimizde kar\u015f\u0131l\u0131\u011f\u0131 olmayan bir deneyim oldu\u011fu i\u00e7in temsil imk\u00e2ns\u0131z olabilir mi? Soruyu ba\u015fka t\u00fcrl\u00fc soracak olursak, Felaketi deneyimleyenin dile d\u00f6kemeyece\u011fi, bizim de kavrayamayaca\u011f\u0131m\u0131z bir deneyim nas\u0131l temsil edilecek? Bana sorarsan\u0131z, Egoyan \u2018Ararat\u2019 ile buna olanaklar dahilinde bir cevap \u00fcretmeye \u00e7abal\u0131yor. Felaket sonucu olu\u015fmu\u015f bir diasporan\u0131n, hele de ink\u00e2rc\u0131l\u0131\u011f\u0131n getirdi\u011fi bir s\u00fcrekli travma kar\u015f\u0131s\u0131nda kurdu\u011fu ili\u015fkiler \u00fczerinden Felaketi g\u00fcndelik deneyime terc\u00fcme ediyor asl\u0131nda. Tam da Lisa Siraganian’\u0131n bahsetti\u011fi gibi, art\u0131k travma ku\u015fa\u011f\u0131 veya soyk\u0131r\u0131m ku\u015fa\u011f\u0131n\u0131n \u00f6tesinde bir bar\u0131\u015fma ku\u015fa\u011f\u0131n\u0131n olu\u015fabilmesi i\u00e7in de bir zemin haz\u0131rl\u0131yor. Bir anlamda \u2018Ararat\u2019\u0131n \u00f6ne s\u00fcrd\u00fc\u011f\u00fc temsil, bir bar\u0131\u015fma siyasetinin \u00f6n\u00fcn\u00fc a\u00e7abilecek potansiyeli ta\u015f\u0131yor.<\/p>\n

Soyk\u0131r\u0131m neden h\u00e2l\u00e2 devam ediyor?<\/b><\/p>\n

\u00c7\u00fcnk\u00fc tam bir y\u00fczle\u015fme yok. \u0130ki a\u00e7\u0131dan bu b\u00f6yle. \u0130lk olarak, y\u00fczle\u015fme yok \u00e7\u00fcnk\u00fc ink\u00e2r var. \u0130nk\u00e2r, do\u011frudan, mecaza hi\u00e7 yer b\u0131rakmayan bir \u015fekilde soyk\u0131r\u0131m\u0131n devam etti\u011finin bir g\u00f6stergesi; \u00e7\u00fcnk\u00fc Felaket olay\u0131na i\u00e7kin olan \u2018tan\u0131\u011f\u0131n ortadan kald\u0131r\u0131lmas\u0131\u2019n\u0131n s\u00fcreklile\u015fmi\u015f bir edim oldu\u011funu ortaya koyuyor. Bir anlamda Felaketin inkar edilmesi, y\u00fczy\u0131l \u00f6nce fiziksel olarak ortadan kald\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131lan tan\u0131klar\u0131n bug\u00fcn inkar arac\u0131l\u0131\u011f\u0131yla halen ortadan kald\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 anlam\u0131na geliyor. \u0130nkar\u0131n etkisi de tek boyutlu de\u011fil \u00fcstelik, \u00e7\u00fcnk\u00fc iki kutuplu bir gerilim hatt\u0131 yarat\u0131yor. Ya kabul ediyorsun ya da reddediyorsun. Bu da bizi tam bir y\u00fczle\u015fmeden al\u0131koyan ikinci etken oluyor; \u00e7\u00fcnk\u00fc Felaket olay\u0131n\u0131n tam olarak ne anlama geldi\u011fini kavrayabilecek bir kar\u015f\u0131la\u015fmaya engel oluyor. \u0130nk\u00e2r ve tan\u0131nma aras\u0131ndaki ikilik, \u00fclkeler aras\u0131ndaki makro politikay\u0131 da dikkate ald\u0131\u011f\u0131m\u0131zda, ister istemez 1915\u2019in bir soyk\u0131r\u0131m olup olmad\u0131\u011f\u0131na dair \u2018tarihsel\u2019 kan\u0131tlar\u0131n yegane me\u015fru zeminmi\u015f gibi sunulmas\u0131na yol a\u00e7\u0131yor. Bu da Nichanian\u2019\u0131n ifade etti\u011fi \u00fczere, Felaketi tarihin ink\u00e2rc\u0131 k\u0131skac\u0131na teslim etmemize, \u201csoyk\u0131r\u0131m\u201d olgusunun daralt\u0131lm\u0131\u015f \u00e7er\u00e7evesinden kavramaya \u00e7al\u0131\u015fmam\u0131za sebep oluyor.<\/p>\n

Her iki ihtimalde de y\u00fczle\u015fmenin ger\u00e7ekle\u015femiyor olmas\u0131, Felaketin \u201cbir daha asla\u201d ya\u015fanmayacak olmas\u0131na y\u00f6nelik bir bar\u0131\u015fma siyasetine de ket vuruyor. Soyk\u0131r\u0131m\u0131n Hrant Dink\u2019in katledilmesi ya da Kamp Armen\u2019e el konulmas\u0131 ile s\u00fcr\u00fcyor oldu\u011funu s\u00f6ylemek tam da buna i\u015faret ediyor. Y\u00fczle\u015fme olmad\u0131k\u00e7a, Felaketin tekerr\u00fcr etmesinin \u00f6n\u00fcne ge\u00e7ecek bir bar\u0131\u015fma siyaseti de kurulamaz.<\/p>\n

Arshile Gorky\u2019nin tablosundaki silik ellerin s\u0131rr\u0131<\/b><\/p>\n

Sunumunuzda yer verdi\u011finiz Arshile Gorky ve resmi \u00fczerine de konu\u015fal\u0131m biraz\u2026\u00a0\u00a0<\/b><\/p>\n

Tabii. Filmde, Gorky\u2019nin \u2018Sanat\u00e7\u0131 ve Annesi\u2019 adl\u0131 eseri \u00fczerine, resimdeki anne fig\u00fcr\u00fcn\u00fcn ellerinin neden silinmi\u015f ya da eksik b\u0131rak\u0131ld\u0131\u011f\u0131 meselesi ekseninde tezah\u00fcr eden iki farkl\u0131 yorum var. \u0130lk olarak, filmde Arsin\u00e9e Khanjian’\u0131n oynad\u0131\u011f\u0131 Arshile Gorky uzman\u0131 sanat tarih\u00e7isi Ani’nin yorumu var; ellerin asl\u0131nda Gorky taraf\u0131ndan kasten bo\u015f b\u0131rak\u0131ld\u0131\u011f\u0131, bunu da asl\u0131nda 1915\u2019de kaybedilen ruhlar\u0131n getirdi\u011fi bir tamamlanmam\u0131\u015fl\u0131k, eksik kalm\u0131\u015fl\u0131k hissiyat\u0131na delalet etti\u011fi y\u00f6n\u00fcnde bir yorum bu. \u0130kincisi ise Ani\u2019ye s\u00fcrekli muhalefet halinde olan Celia\u2019n\u0131n yorumu; yani Gorky\u2019nin elleri \u00f6nce tamamlad\u0131\u011f\u0131, fakat sonra bir yok olma arzusu ile elleri sildi\u011fi, bunun da asl\u0131nda Gorky\u2019nin kendi yok olu\u015funa, yani intihara giden yolun bir g\u00f6stergesi oldu\u011fu y\u00f6n\u00fcnde bir yorum. Egoyan, her iki yoruma da yer veriyor gibi g\u00f6z\u00fckse de, Celia\u2019n\u0131n yorumunun a\u011f\u0131r bast\u0131\u011f\u0131n\u0131 tahmin edebiliriz. Zira filmin en \u00e7arp\u0131c\u0131 sahnelerinden birinde Gorky, resmi tamamlad\u0131ktan sonra elleri silerken g\u00f6r\u00fcl\u00fcyor. Bu sahnede, resmine uzaktan bakan Gorky\u2019nin, \u00e7al\u0131\u015fmas\u0131n\u0131 bitirdi\u011fini imler bir \u015fekilde ellerini bir beze temizlerken, resimdeki ellere odakland\u0131\u011f\u0131n\u0131, sonra beyaz boyay\u0131 hen\u00fcz temizledi\u011fi ellerine yayarak resimdeki annenin elleri \u00fczerinde gezdirdi\u011fini g\u00f6r\u00fcyoruz. Egoyan\u2019a g\u00f6re, Gorky\u2019nin annesinin ellerini ok\u015fad\u0131\u011f\u0131 bu sahne, soyk\u0131r\u0131m\u0131n ruhsal olarak itibars\u0131zla\u015ft\u0131r\u0131lmas\u0131 kadar, b\u00f6yle bir ac\u0131y\u0131 sa\u011faltmak konusunda sanat\u0131n ta\u015f\u0131d\u0131\u011f\u0131 potansiyeli de kavramaya en yak\u0131n oldu\u011fumuz an. Bu da asl\u0131nda \u00fc\u00e7\u00fcnc\u00fc bir yoruma bizi g\u00f6t\u00fcr\u00fcyor: Felaket deneyiminin sanat alan\u0131ndaki temsilleri, bizi bu deneyimi kavramaya ve onunla y\u00fczle\u015fmeye yakla\u015ft\u0131rabilir. B\u00f6ylece, b\u00fct\u00fcn bir s\u00f6yle\u015fi boyunca tart\u0131\u015ft\u0131\u011f\u0131m\u0131z Tan\u0131kl\u0131k ve Temsil meselesinin \u00f6z\u00fc, bu birka\u00e7 dakikal\u0131k sahneye s\u0131\u011fabiliyor.\u00a0\u00a0<\/p>\n

Ben de ilk izledi\u011fim zaman Arshile’in annesine olan hasretini tuvaldeki annesinin ellerini tutarak giderdi\u011fini d\u00fc\u015f\u00fcnm\u00fc\u015ft\u00fcm ve bu hasretin ayn\u0131 zamanda onu intihara s\u00fcr\u00fckleyen yola soktu\u011funu da\u2026<\/b><\/p>\n

\u00c7ok ilgin\u00e7 bir yakla\u015f\u0131m, benim akl\u0131ma gelmemi\u015fti. Ama zaten Egoyan\u2019\u0131n filminin g\u00fczel taraf\u0131 da bu; her izleyenin farkl\u0131 \u015fekilde al\u0131mlayabilece\u011fi imgeler var ve bu imgelerin tek bir a\u00e7\u0131klamas\u0131 da yok. Gorky\u2019nin elleri silerkenki ruh halini hasret ile de a\u00e7\u0131klayabilirsiniz, yok olma iste\u011fiyle de, yok olan ruhlar i\u00e7in bir yas tutma arzusuyla da… Hangisi ile a\u00e7\u0131klad\u0131\u011f\u0131n\u0131z sizin Felaket ile kurdu\u011funuz ili\u015fkiye dayan\u0131yor ve bir anlamda sizin kendinizle y\u00fczle\u015fmenizin de tetikleyicisi haline geliyor.<\/p>\n

\u00a0Foto\u011fraf: Miran Manukyan <\/i><\/b><\/p>\n

http:\/\/www.agos.com.tr\/tr\/yazi\/13443\/barisma-siyaseti-acisindan-ararat-cok-onemli<\/i><\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

Merih \u015eaml\u0131 \u2018Hrant Dink An\u0131s\u0131na At\u00f6lye \u00c7al\u0131\u015fmalar\u0131\u2019nda \u2018An\u0131lardan Sinemaya: Tan\u0131kl\u0131k Sorunu ve Felaketin Temsili\u2019 ba\u015fl\u0131kl\u0131 bir tebli\u011f sunan doktora \u00f6\u011frencisi \u00d6yk\u00fc G\u00fcrp\u0131nar, Atom Egoyan’\u0131n \u2018Ararat\u2019 filmini Fatih Ak\u0131n\u2019\u0131n \u2018Kesik\u2019 filmi ile kar\u015f\u0131la\u015ft\u0131rmal\u0131 olarak ele al\u0131yor. Yedi y\u0131ldan bu yana Sabanc\u0131 \u00dcniversitesi’nin Anadolu K\u00fclt\u00fcr ve \u0130stanbul Politikalar Merkezi i\u015fbirli\u011fiyle d\u00fczenledi\u011fi \u2018Hrant Dink An\u0131s\u0131na At\u00f6lye \u00c7al\u0131\u015fmalar\u0131\u2019n\u0131n bu […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,42,1,71],"tags":[],"class_list":["post-37429","post","type-post","status-publish","format-standard","hentry","category-ermeni-soykirimi","category-filmler","category-haberler","category-mulakatlar"],"yoast_head":"\nBar\u0131\u015fma siyaseti a\u00e7\u0131s\u0131ndan \u2018Ararat\u2019 \u00e7ok \u00f6nemli - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/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:\/\/akunq.net\/tr\/?p=37429\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bar\u0131\u015fma siyaseti a\u00e7\u0131s\u0131ndan \u2018Ararat\u2019 \u00e7ok \u00f6nemli - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Merih \u015eaml\u0131 \u2018Hrant Dink An\u0131s\u0131na At\u00f6lye \u00c7al\u0131\u015fmalar\u0131\u2019nda \u2018An\u0131lardan Sinemaya: Tan\u0131kl\u0131k Sorunu ve Felaketin Temsili\u2019 ba\u015fl\u0131kl\u0131 bir tebli\u011f sunan doktora \u00f6\u011frencisi \u00d6yk\u00fc G\u00fcrp\u0131nar, Atom Egoyan’\u0131n \u2018Ararat\u2019 filmini Fatih Ak\u0131n\u2019\u0131n \u2018Kesik\u2019 filmi ile kar\u015f\u0131la\u015ft\u0131rmal\u0131 olarak ele al\u0131yor. 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