EDITING ONESELF: ON ESSAYISTIC PRACTICES, PERFORMATIVITY, PARTICIPATION AND COLLAGE IN WITCHES

Semra Civelek

Makale detayları

EDITING ONESELF: ON ESSAYISTIC PRACTICES, PERFORMATIVITY, PARTICIPATION AND COLLAGE IN WITCHES

Yazarlar:

Semra Civelek

Yayıncı:

Erciyes University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Erciyes Akademi Vol.39 Issue 2, pp.425-451

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001351710

pISSN:

2757-7031

Anahtar kelimeler:

Özet:

 In Witches 2024, Elizabeth Sankey creates a platform that facilitates the sharing of her own personal experiences and those of other women who have experienced postpartum depression and psychosis. The film serves as a medium for the director to confront her own experiences and convey them to the audience. By becoming one of the other social actors in the documentary, the director realizes the potential for meeting with other women who share similar experiences and exploring the emotional impact of their lived experiences. The directors performance within the narrative extends beyond her presence as a social actor; she also assumes the role of a fictional character-actor in the sequences where the fictional reenactment takes place. The sections created using the collage method, based on sections taken from numerous fictional films in which witchcraft and various female characters experiencing psychological problems are represented, are noteworthy both in terms of indicating an archival practice and in terms of being arranged with a subjective and personal voice-over that allows the director to convey his subjective views and experience in a way that points to an essay film. By establishing a connection between the representations indicated by the relevant fictional film sections and both her own and other womens psychotic experiences, the director disconnects these representations from their context and appropriates them. The narrative and formal elements of the Witches, which can also be included in the practice of experimental film, are subjected to a descriptive analysis. In this regard, Witches can be considered a productive field for the renewal of the relationship between the performative and participatory modes with collage and appropriation in documentary narrative.

 In Witches 2024, Elizabeth Sankey creates a platform that facilitates the sharing of her own personal experiences and those of other women who have experienced postpartum depression and psychosis. The film serves as a medium for the director to confront her own experiences and convey them to the audience. By becoming one of the other social actors in the documentary, the director realizes the potential for meeting with other women who share similar experiences and exploring the emotional impact of their lived experiences. The directors performance within the narrative extends beyond her presence as a social actor; she also assumes the role of a fictional character-actor in the sequences where the fictional reenactment takes place. The sections created using the collage method, based on sections taken from numerous fictional films in which witchcraft and various female characters experiencing psychological problems are represented, are noteworthy both in terms of indicating an archival practice and in terms of being arranged with a subjective and personal voice-over that allows the director to convey his subjective views and experience in a way that points to an essay film. By establishing a connection between the representations indicated by the relevant fictional film sections and both her own and other womens psychotic experiences, the director disconnects these representations from their context and appropriates them. The narrative and formal elements of the Witches, which can also be included in the practice of experimental film, are subjected to a descriptive analysis. In this regard, Witches can be considered a productive field for the renewal of the relationship between the performative and participatory modes with collage and appropriation in documentary narrative.

 In Witches 2024, Elizabeth Sankey creates a platform that facilitates the sharing of her own personal experiences and those of other women who have experienced postpartum depression and psychosis. The film serves as a medium for the director to confront her own experiences and convey them to the audience. By becoming one of the other social actors in the documentary, the director realizes the potential for meeting with other women who share similar experiences and exploring the emotional impact of their lived experiences. The directors performance within the narrative extends beyond her presence as a social actor; she also assumes the role of a fictional character-actor in the sequences where the fictional reenactment takes place. The sections created using the collage method, based on sections taken from numerous fictional films in which witchcraft and various female characters experiencing psychological problems are represented, are noteworthy both in terms of indicating an archival practice and in terms of being arranged with a subjective and personal voice-over that allows the director to convey his subjective views and experience in a way that points to an essay film. By establishing a connection between the representations indicated by the relevant fictional film sections and both her own and other womens psychotic experiences, the director disconnects these representations from their context and appropriates them. The narrative and formal elements of the Witches, which can also be included in the practice of experimental film, are subjected to a descriptive analysis. In this regard, Witches can be considered a productive field for the renewal of the relationship between the performative and participatory modes with collage and appropriation in documentary narrative.

 Cadılar Witches, 2024 belgeselinde Elizabeth Sankey, hem kendi deneyiminin hem de kendisiyle benzer deneyime sahip olan doğum sonrası depresyon ve psikoz yaşayan çeşitli kadınların deneyimlerinin paylaşıldığı bir platform yaratır. Film temelde, yönetmenin kişisel deneyimiyle yüzleşme ediminin ve bu deneyimi aktarmanın aracısı haline gelir. Benzer deneyimi yaşayan diğer kadınlarla aynı zeminde buluşmanın, yaşanılan deneyimin ortak ve farklı yönlerini ve nasıl bir duygu edimine yol açtığını müzakere edebilmenin imkanlılığı, yönetmenin belgeselde yer alan toplumsal oyunculardan biri haline gelmesiyle gerçekleşir. Yönetmenin anlatı içerisindeki performansı salt toplumsal oyuncu olarak varlığını kapsamaz; yönetmen kurgusal yeniden canlandırmanın olduğu kısımlarda kurgusal bir karakter-oyuncu haline de gelir. Cadılığın ve yanı sıra psikolojik sorunlar yaşayan çeşitli kadın karakterlerin temsil edildiği çok sayıda filmden alınan kesitlerden yola çıkılarak kolaj yöntemiyle oluşturulan kısımlar, hem buluntu filmin montaj türlerinden biri olan kolajın kullanımını içermesi açısından hem arşivsel bir pratiğe işaret etmesi açısından hem de tüm bu unsurların deneme filme işaret edecek biçimde yönetmenin öznel görüşlerini ve deneyimini aktarmasına olanak sağlayan mesafesiz ve kişisel bir dış ses eşliğinde düzenlenmesi açısından dikkate değerdir. Yönetmen, kolaj yöntemiyle yeniden düzenlediği çeşitli film kesitlerinin işaret ettiği temsiller ile hem kendi hem de diğer kadınların psikoz deneyimleri arasında ilişki kurarak, bu temsilleri bağlamından koparır ve kendi deneyimi için bir ifade aracı haline getirerek bir tür kendine mal etme eylemi gerçekleştirir. Deneme film pratiği içerisine de dahil edilebilecek olan Cadılar belgeselinin anlatısal ve biçimsel unsurları betimleyici bir analize tabi tutulur. Bu minvalde Cadılar, belgesel anlatısında edimsel ve katılımcı biçemin, kolaj ve kendine mal etme yöntemleri ile kurduğu yenileyici ilişkiye dair verimli bir alan sunar.

Makale detayları

EDITING ONESELF: ON ESSAYISTIC PRACTICES, PERFORMATIVITY, PARTICIPATION AND COLLAGE IN WITCHES

Yazarlar:

Semra Civelek

Yayıncı:

Erciyes University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Erciyes Akademi Vol.39 Issue 2, pp.425-451

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001351710

pISSN:

2757-7031

Performative mode

Participatory mode

Collage

Appropriation

Essay filmEdimsel biçem

Katılımcı biçem

Kolaj

Kendine mal etme

Deneme film

Sayı

Makale detayları

Yazarlar: Semra Civelek

Yayıncı: Erciyes University

Ana Başlıklar: İletişim ve Medya Çalışmaları (Diğer)

Dergi: Erciyes Akademi Vol.39 Issue 2, pp.425-451

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001351710

pISSN: 2757-7031

Sayı

Yazarlar:

Semra Civelek

Yayıncı:

Erciyes University

Ana Başlıklar:

İletişim ve Medya Çalışmaları (Diğer)

Dergi:

Erciyes Akademi Vol.39 Issue 2, pp.425-451

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001351710

pISSN:

2757-7031