Grotesque and Carnivalesque Elements in Bruce Gilden Photography: A Bakhtinian Approach

Savaş Onur Şen

Makale detayları

Grotesque and Carnivalesque Elements in Bruce Gilden Photography: A Bakhtinian Approach

Yazarlar:

Savaş Onur Şen

Yayıncı:

Duzce University

Ana Başlıklar:

Fotoğraf | Video ve Lens Tabanlı Uygulama

Dergi:

Tykhe Sanat ve Tasarım Dergisi Vol.8 Issue 14, pp.131-141

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001291401

pISSN:

2667-6818

Anahtar kelimeler:

Özet:

 Mikhail Bakhtins ideas about carnival and grotesque probably stem from his emphasis on folk culture, particularly the element of laughter in this culture. Carnival laughter, which has a complex structure, refers to a second world created by laughter for the people, in which hierarchies have been destroyed for a specific period. This new level, more significant than ordinary entertainment or celebration, also includes a wide range of social reflections. Carnival, according to Bakhtin, appears at this point as a second world in which all hierarchies are destroyed, and grotesque reality is the imaginary fabric that determines the representations of this destruction. The grotesque can be considered in relation to the carnival, even though it appears to be a depiction or reflection of the carnival on an imaginative level. At this point, Bakhtins primary criteria for the grotesque are incomplete, in motion, and undergoing alteration. The grotesque body in the making is turned upside down as a topography, just like in the carnival. In this study, Bruce Gildens photographs will be analyzed from the Bakhtinian point of view within the framework of the concepts of carnival and grotesque. The contribution and consequences of Gildens photography production strategy, the subjects he chose to work with, and his style to strengthen the carnivalesque and grotesque elements in his photography will be discussed.

 Mikhail Bakhtins ideas about carnival and grotesque probably stem from his emphasis on folk culture, particularly the element of laughter in this culture. Carnival laughter, which has a complex structure, refers to a second world created by laughter for the people, in which hierarchies have been destroyed for a specific period. This new level, more significant than ordinary entertainment or celebration, also includes a wide range of social reflections. Carnival, according to Bakhtin, appears at this point as a second world in which all hierarchies are destroyed, and grotesque reality is the imaginary fabric that determines the representations of this destruction. The grotesque can be considered in relation to the carnival, even though it appears to be a depiction or reflection of the carnival on an imaginative level. At this point, Bakhtins primary criteria for the grotesque are incomplete, in motion, and undergoing alteration. The grotesque body in the making is turned upside down as a topography, just like in the carnival. In this study, Bruce Gildens photographs will be analyzed from the Bakhtinian point of view within the framework of the concepts of carnival and grotesque. The contribution and consequences of Gildens photography production strategy, the subjects he chose to work with, and his style to strengthen the carnivalesque and grotesque elements in his photography will be discussed.

 Mikhail Bakhtins ideas about carnival and grotesque probably stem from his emphasis on folk culture, particularly the element of laughter in this culture. Carnival laughter, which has a complex structure, refers to a second world created by laughter for the people, in which hierarchies have been destroyed for a specific period. This new level, more significant than ordinary entertainment or celebration, also includes a wide range of social reflections. Carnival, according to Bakhtin, appears at this point as a second world in which all hierarchies are destroyed, and grotesque reality is the imaginary fabric that determines the representations of this destruction. The grotesque can be considered in relation to the carnival, even though it appears to be a depiction or reflection of the carnival on an imaginative level. At this point, Bakhtins primary criteria for the grotesque are incomplete, in motion, and undergoing alteration. The grotesque body in the making is turned upside down as a topography, just like in the carnival. In this study, Bruce Gildens photographs will be analyzed from the Bakhtinian point of view within the framework of the concepts of carnival and grotesque. The contribution and consequences of Gildens photography production strategy, the subjects he chose to work with, and his style to strengthen the carnivalesque and grotesque elements in his photography will be discussed.

 Mikhail Bakhtinin karnaval ve grotesk üzerine düşünceleri onun halk kültürüne ve özellikle de bu kültür içerisindeki gülme unsuruna gösterdiği önemden kaynaklanmaktadır. Kompleks bir yapı barındıran karnaval gülüşü, belirli bir dönem için hiyerarşilerin yerle bir edildiği halk için gülmenin oluşturduğu ikinci bir dünya anlamına gelir. Sıradan bir eğlence ya da kutlamanın çok ötesinde önem taşıyan bu yeni düzlem toplumsal açıdan çok farklı yansımaları da içerisinde barındırır. Bakhtin açısından karnaval bu noktada, bütün hiyerarşilerin yerle bir edildiği ikinci bir dünya olarak karşımıza çıkmakta, grotesk gerçeklik ise bu yerle bir edilişin temsillerini belirleyen imgesel dokuyu oluşturmaktadır. Grotesk, karnavalın imgesel düzeydeki temsili ya da yansıması olarak karşımıza çıkarken, karnavalla ilişki içerisinde anlaşılabilir. Bakhtinin bu noktada groteske ilişkin temel kriteri onun tamamlanmamış devinim ve dönüşüm halinde olmasıdır. Oluş halindeki grotesk beden bir topografya olarak tıpkı karnavalda olduğu gibi alt üst edilmiştir. Bu çalışmada Bruce Gildenın fotoğrafları Bakhtinci anlamda karnaval ve grotesk kavramları çerçevesinde incelenecektir. Gildenın fotoğraf üretim stratejisinin, çalışmak için seçtiği konuların ve üslubunun onun fotoğrafında karnavalesk ve grotesk unsurların güçlenmesine yaptığı katkı ve sonuçları ele alınacaktır.

Makale detayları

Grotesque and Carnivalesque Elements in Bruce Gilden Photography: A Bakhtinian Approach

Yazarlar:

Savaş Onur Şen

Yayıncı:

Duzce University

Ana Başlıklar:

Fotoğraf | Video ve Lens Tabanlı Uygulama

Dergi:

Tykhe Sanat ve Tasarım Dergisi Vol.8 Issue 14, pp.131-141

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001291401

pISSN:

2667-6818

Mikhail Bakhtin

Bruce Gilden

Photography

Grotesque

CarnivalMikhail Bakhtin

Bruce Gilden

Fotoğraf

Grotesk

Karnaval

Sayı

Makale detayları

Yazarlar: Savaş Onur Şen

Yayıncı: Duzce University

Ana Başlıklar: Fotoğraf | Video ve Lens Tabanlı Uygulama

Dergi: Tykhe Sanat ve Tasarım Dergisi Vol.8 Issue 14, pp.131-141

Belge Tipi: Makale

Yayın Tarihi: 6/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001291401

pISSN: 2667-6818

Sayı

Yazarlar:

Savaş Onur Şen

Yayıncı:

Duzce University

Ana Başlıklar:

Fotoğraf | Video ve Lens Tabanlı Uygulama

Dergi:

Tykhe Sanat ve Tasarım Dergisi Vol.8 Issue 14, pp.131-141

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001291401

pISSN:

2667-6818