The Overlook Hotel as an Ontological Agent: Object-Oriented Ontology and Film Analysis

Mustafa Türkan

Makale detayları

The Overlook Hotel as an Ontological Agent: Object-Oriented Ontology and Film Analysis

Yazarlar:

Mustafa Türkan

Yayıncı:

Istanbul University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Filmvisio Issue 5, pp.66-86

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001355433

pISSN:

2980-3101

Anahtar kelimeler:

Özet:

 In this article, I move beyond the usual human-centred perspectives that so often possess film analysis, directing attention instead to the significance and agency of objects themselves. By anchoring this discussion in the framework of objectoriented ontology OOO, I argue that every object in a film can act not merely as part of the backdrop but also as an agentic presence in its own right. I propose conceptualising the object as an ontological unit existing beyond its outward attributes, independent of human experience. Focusing on Stanley Kubricks The Shining 1980, I contend that the Overlook Hotel is depicted as an almost living, ominous entity, enveloping the audience in a way that aesthetically reveals the films phenomenalnoumenal duality. I then connect OOOs ideassuch as the tension between object and its qualities, the asymmetry of metaphor, and vicarious causationto the films visual and auditory components. I summarise this approach as the films process of reframing itself as a new object and thereby making the viewers experience a constitutive element of its ontology. Therefore, in the case of The Shining, I argue that the Overlook Hotelladen with cultural codesoperates as an independent subject within the cinematic universe, thereby prompting a thorough re-evaluation of the ontological position of objects.

 In this article, I move beyond the usual human-centred perspectives that so often possess film analysis, directing attention instead to the significance and agency of objects themselves. By anchoring this discussion in the framework of objectoriented ontology OOO, I argue that every object in a film can act not merely as part of the backdrop but also as an agentic presence in its own right. I propose conceptualising the object as an ontological unit existing beyond its outward attributes, independent of human experience. Focusing on Stanley Kubricks The Shining 1980, I contend that the Overlook Hotel is depicted as an almost living, ominous entity, enveloping the audience in a way that aesthetically reveals the films phenomenalnoumenal duality. I then connect OOOs ideassuch as the tension between object and its qualities, the asymmetry of metaphor, and vicarious causationto the films visual and auditory components. I summarise this approach as the films process of reframing itself as a new object and thereby making the viewers experience a constitutive element of its ontology. Therefore, in the case of The Shining, I argue that the Overlook Hotelladen with cultural codesoperates as an independent subject within the cinematic universe, thereby prompting a thorough re-evaluation of the ontological position of objects.

 In this article, I move beyond the usual human-centred perspectives that so often possess film analysis, directing attention instead to the significance and agency of objects themselves. By anchoring this discussion in the framework of objectoriented ontology OOO, I argue that every object in a film can act not merely as part of the backdrop but also as an agentic presence in its own right. I propose conceptualising the object as an ontological unit existing beyond its outward attributes, independent of human experience. Focusing on Stanley Kubricks The Shining 1980, I contend that the Overlook Hotel is depicted as an almost living, ominous entity, enveloping the audience in a way that aesthetically reveals the films phenomenalnoumenal duality. I then connect OOOs ideassuch as the tension between object and its qualities, the asymmetry of metaphor, and vicarious causationto the films visual and auditory components. I summarise this approach as the films process of reframing itself as a new object and thereby making the viewers experience a constitutive element of its ontology. Therefore, in the case of The Shining, I argue that the Overlook Hotelladen with cultural codesoperates as an independent subject within the cinematic universe, thereby prompting a thorough re-evaluation of the ontological position of objects.

 Bu makalede, film analizini sıklıkla egemenliği altına alan alışıldık insan merkezli bakış açılarının ötesine geçiyor ve bunun yerine nesnelerin kendilerinin önemine ve failliğine dikkat çekiyorum. Tartışma nesne-yönelimli ontoloji NYO çerçevesine yerleştirildiğinde, bir filmdeki her nesnenin yalnızca dekorun bir parçası olmakla kalmayıp aynı zamanda kendi başına faal bir varlık olarak hareket edebilir. Bu yüzden nesneyi dış niteliklerinin ötesinde, insan deneyiminden bağımsız olarak var olan ontolojik bir birim şeklinde kavramsallaştırmayı öneriyorum. Stanley Kubrickin The Shining 1980 filmi üzerinde, Overlook Otelinin neredeyse yaşayan varlık gibi yansıtıldığını ve filmin fenomennumen ikiliğini estetik açıdan ortaya koyacak şekilde izleyiciyi kuşattığını savunuyorum. Ardından, NYOnun nesnenitelik arasındaki gerilim, metaforik asimetri ve dolaylı nedensellik gibi kavramlarını filmin görsel ve işitsel öğeleriyle ilişkilendiriyorum. Bu yaklaşımı, filmin kendisini yeni bir nesne olarak yeniden konumlandırması ve izleyicinin deneyimini onun ontolojisinin kurucu bir unsuru haline getirmesi süreci olarak tanımlıyorum. Dolayısıyla The Shining örneğinde, kültürel kodlarla yüklü Overlook Otelinin, sinematik evrende bağımsız bir özne gibi davranarak nesnelerin ontolojik konumuna dair kapsamlı bir yeniden değerlendirme yapılmasını teşvik ettiğini iddia ediyorum.

Makale detayları

The Overlook Hotel as an Ontological Agent: Object-Oriented Ontology and Film Analysis

Yazarlar:

Mustafa Türkan

Yayıncı:

Istanbul University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Filmvisio Issue 5, pp.66-86

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001355433

pISSN:

2980-3101

object-oriented ontology

film criticism

The Shining

metaphor

metaphysicsnesne-yönelimli ontoloji

film eleştirisi

The Shining

metafor

metafizik

Sayı

Makale detayları

Yazarlar: Mustafa Türkan

Yayıncı: Istanbul University

Ana Başlıklar: Radyo-Televizyon

Dergi: Filmvisio Issue 5, pp.66-86

Belge Tipi: Makale

Yayın Tarihi: 7/2025

Belge Dili: İngilizce

Document ID (Org No.): 2001355433

pISSN: 2980-3101

Sayı

Yazarlar:

Mustafa Türkan

Yayıncı:

Istanbul University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Filmvisio Issue 5, pp.66-86

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001355433

pISSN:

2980-3101