A Comparative Analysis of Susuz Yaz and Kurak Günler in the Context of Changing Socio-Political Symbolism of Water

Pınar Üzeltüzenci

Makale detayları

A Comparative Analysis of Susuz Yaz and Kurak Günler in the Context of Changing Socio-Political Symbolism of Water

Yazarlar:

Pınar Üzeltüzenci

Yayıncı:

Istanbul University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Filmvisio Issue 5, pp.27-45

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001355429

pISSN:

2980-3101

Anahtar kelimeler:

Özet:

 This study examines the similarities and differences in the representations of water between two Turkish films, Metin Erksans Susuz Yaz 1963 and Emin Alpers Kurak Günler 2022, produced in different historical periods and political contexts. Water in these films is used as a semiotic intersection where social dynamics, power relations, and ecological crises converge. However, the specific constructions of this common theme in each film reflect the socioeconomic and ideological conditions of their respective periods. In this context, water functions both as a metaphor reflecting the spirit of the times and as a lens through which to analyze the countrys political and social transformation. Hence, this article explores the relationship between water and decay, sovereignty, and systemic crises through its visual and sonic representations, using an interdisciplinary methodology informed by political ecology, psychoanalytic film theory, and film sound theory. Through a close reading of the narrative function of water, its visual aesthetics, and its use in film sound, this study aims to reveal how water has become a carrier of meaning in Türkiyes transition from a social structure based on agricultural production to a new political-economic plane shaped by neoliberal crises. The study proposes considering cinema as a multilayered narrative field that incorporates not only visual but also psycho-political and ecological dimensions. Ultimately, this research highlights the role of water symbolism in cinema as a dynamic force that embodies both cultural anxieties and shifting power structures.

 This study examines the similarities and differences in the representations of water between two Turkish films, Metin Erksans Susuz Yaz 1963 and Emin Alpers Kurak Günler 2022, produced in different historical periods and political contexts. Water in these films is used as a semiotic intersection where social dynamics, power relations, and ecological crises converge. However, the specific constructions of this common theme in each film reflect the socioeconomic and ideological conditions of their respective periods. In this context, water functions both as a metaphor reflecting the spirit of the times and as a lens through which to analyze the countrys political and social transformation. Hence, this article explores the relationship between water and decay, sovereignty, and systemic crises through its visual and sonic representations, using an interdisciplinary methodology informed by political ecology, psychoanalytic film theory, and film sound theory. Through a close reading of the narrative function of water, its visual aesthetics, and its use in film sound, this study aims to reveal how water has become a carrier of meaning in Türkiyes transition from a social structure based on agricultural production to a new political-economic plane shaped by neoliberal crises. The study proposes considering cinema as a multilayered narrative field that incorporates not only visual but also psycho-political and ecological dimensions. Ultimately, this research highlights the role of water symbolism in cinema as a dynamic force that embodies both cultural anxieties and shifting power structures.

 This study examines the similarities and differences in the representations of water between two Turkish films, Metin Erksans Susuz Yaz 1963 and Emin Alpers Kurak Günler 2022, produced in different historical periods and political contexts. Water in these films is used as a semiotic intersection where social dynamics, power relations, and ecological crises converge. However, the specific constructions of this common theme in each film reflect the socioeconomic and ideological conditions of their respective periods. In this context, water functions both as a metaphor reflecting the spirit of the times and as a lens through which to analyze the countrys political and social transformation. Hence, this article explores the relationship between water and decay, sovereignty, and systemic crises through its visual and sonic representations, using an interdisciplinary methodology informed by political ecology, psychoanalytic film theory, and film sound theory. Through a close reading of the narrative function of water, its visual aesthetics, and its use in film sound, this study aims to reveal how water has become a carrier of meaning in Türkiyes transition from a social structure based on agricultural production to a new political-economic plane shaped by neoliberal crises. The study proposes considering cinema as a multilayered narrative field that incorporates not only visual but also psycho-political and ecological dimensions. Ultimately, this research highlights the role of water symbolism in cinema as a dynamic force that embodies both cultural anxieties and shifting power structures.

 Bu çalışma, farklı tarihsel dönemlerde ve politik bağlamlarda üretilmiş iki Türk filmi olan Metin Erksanın Susuz Yaz 1963 ile Emin Alperin Kurak Günlerdeki 2022 su temsillerindeki benzerlikleri ve farklılıkları incelemektedir. Bu filmlerde su, toplumsal dinamiklerin, iktidar ilişkilerinin ve ekolojik krizlerin kesiştiği göstergebilimsel bir kavşak olarak kullanılmaktadır. Ancak, her iki filmde ortak olan bu temanın özgül inşaları, ait oldukları dönemlerin sosyoekonomik ve ideolojik koşullarını yansıtmaktadır. Bu bağlamda su, hem dönemin ruhunu yansıtan bir metafor hem de ülkenin politik ve toplumsal dönüşümünü analiz etmeye imkân tanıyan bir mercek işlevi görmektedir. Bu nedenle makale, su ve çürüme ile egemenlik ve sistemsel krizler arasındaki ilişkiyi, görsel ve işitsel temsilleri üzerinden, politik ekoloji, psikanalitik film kuramı ve sinemada ses kuramından beslenen disiplinlerarası bir metodolojiyle ele almaktadır. Suya dair anlatısal işlevin, görsel estetiğin ve ses kullanımının yakından incelenmesi yoluyla bu çalışma, Türkiyenin tarımsal üretime dayalı bir toplumsal yapıdan, neoliberal krizlerle şekillenmiş yeni bir politik-ekonomik düzleme geçişinde suyun nasıl bir anlam taşıyıcısına dönüştüğünü ortaya koymayı amaçlamaktadır. Çalışma, sinemayı yalnızca görsel değil, aynı zamanda psiko-politik ve ekolojik katmanlara sahip çoklu bir anlatı alanı olarak ele almayı önermektedir. Nihayetinde bu araştırma, sinemada su sembolizminin hem kültürel kaygıları hem de değişen iktidar yapılarının tezahürünü içeren dinamik bir güç olduğunu vurgulamaktadır.

Makale detayları

A Comparative Analysis of Susuz Yaz and Kurak Günler in the Context of Changing Socio-Political Symbolism of Water

Yazarlar:

Pınar Üzeltüzenci

Yayıncı:

Istanbul University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Filmvisio Issue 5, pp.27-45

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001355429

pISSN:

2980-3101

symbolism

water

Jung

Cinema of Türkiye

corruptionsembolizm

su

Jung

Türkiye sineması

yozlaşma

Sayı

Makale detayları

Yazarlar: Pınar Üzeltüzenci

Yayıncı: Istanbul University

Ana Başlıklar: İletişim ve Medya Çalışmaları (Diğer)

Dergi: Filmvisio Issue 5, pp.27-45

Belge Tipi: Makale

Yayın Tarihi: 7/2025

Belge Dili: İngilizce

Document ID (Org No.): 2001355429

pISSN: 2980-3101

Sayı

Yazarlar:

Pınar Üzeltüzenci

Yayıncı:

Istanbul University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Filmvisio Issue 5, pp.27-45

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

İngilizce

Document ID (Org No.):

2001355429

pISSN:

2980-3101