Çeviri Makale | Açık Erişim
UFÜ Sosyal ve Beşeri Bilimler Dergisi 2026, Clt. 2(3) 237-257
ss. 237 - 257 | DOI: https://doi.org/10.29329/ufusobed.2026.1410.10
Yayın Tarihi: Ocak 09, 2026 | Görüntüleme Sayısı: 4/4 | İndirilme Sayısı: 11/3
Özet
Bu makalenin amacı, otobiyografik bir yaklaşımla çekilen filmlerde ev filmlerinin kullanımını incelemektir. Bu tür filmlerde, film yapımcıları kendi ve ailelerinin yaşantıları üzerine bir anlatı kurma arayışında ev içi malzemeyi kişisel arşivler olarak kullanırlar. Ev filmlerinin dönüşü münü bu bağlamda üç farklı şekilde ele alacağım: doğallaştırma, çelişki ve tarihselleştirme. Bu üç yaklaşım, kişisel arşivlerin otobiyografik filmlerde kamusal hale geldiklerinde kazandıkları anlamların çeşit liliğini ve zenginliğini göstermektedir. Bu analiz için Ross McElwee, Lise Yasui, Alina Marazzi veya Michal Aviad gibi film yapımcılarının çalışmalarından yararlanacağım.
Eng.
The aim of this article is to study the use of home movies in films made with an autobiographical approach, in which the film-makers employ domestic material as personal archives in their quest to build a narrative out of their lives and the lives of their families. I will propose three different ways in which home movies are recycled in this context: naturalization, contradiction and historicization. These three approaches show the diversity and richness of meanings that these personal archives acquire when they become public in autobiographical films. For this analysis, I will draw from the work of filmmakers such as Ross McElwee, Lise Yasui, Alina Marazzi or Michal Aviad.
Anahtar kelimeler: : belgesel, otobiyografi, arşivler, ev, filmleri, aile anısı, geri dönüştürme
APA 7th edition
Andic, E.C.-.C.U.D. (2026). Otobiyografik Belgesellerde Kişisel Arşiv Olarak Ev Filmleri / Home Movies as Personal Archives in Autobiographical Documentaries. UFÜ Sosyal ve Beşeri Bilimler Dergisi, 2(3), 237-257. https://doi.org/10.29329/ufusobed.2026.1410.10
Harvard
Andic, E. (2026). Otobiyografik Belgesellerde Kişisel Arşiv Olarak Ev Filmleri / Home Movies as Personal Archives in Autobiographical Documentaries. UFÜ Sosyal ve Beşeri Bilimler Dergisi, 2(3), pp. 237-257.
Chicago 16th edition
Andic, Efrén Cuevas - Ceviren: Utku D. (2026). "Otobiyografik Belgesellerde Kişisel Arşiv Olarak Ev Filmleri / Home Movies as Personal Archives in Autobiographical Documentaries". UFÜ Sosyal ve Beşeri Bilimler Dergisi 2 (3):237-257. https://doi.org/10.29329/ufusobed.2026.1410.10
Bazin, A. (2005), What is Cinema, Berkeley and Los Angeles: University of California Press.
Burke, P. (1992), New Perspectives on Historical Writing, University Park: Pennsylvania State University Press.
Cook, T. (2001), Fashionable Nonsense or Professional Rebirth: Postmodernism and the practice of archives, Archivaria, 51: 4–35.
Cuevas, E. (2010), La casa abierta. El cine doméstico y sus reciclajes contemporáneos/The Open House: Home Movies and Their Contemporary Recycling, Madrid: Ocho y medio.
Cuevas, E. and García, A. N. (2008), Landscapes of the Self: The Cinema of Ross McElwee, Madrid: Ediciones Internacionales Universitarias.
Eakin, P. J. (1999), How Our Lives Become Stories: Making Selves, Ithaca: Cornell University Press.
Highmore, B. (2002), “Questioning Everyday Life”, in B. Highmore (ed.), Everyday Life Reader, London: Routledge: 1–34.
Hirsch, M. (1997), Family Frames: Photography, Narrative and Postmemory, Cambridge: Harvard University Press.
Hirsch, M. (2008), “The Generation of Postmemory”, Poetics Today, 29:1. 103–28.
Kydd, E. (2012), “Looking for Home in Home Movies: The home mode in Caribbean diaspora first person film and video practice”, in Alisa Lebow (ed.), The Cinema of Me: The Self and Subjectivity in First Person Documentary, London and New York: Wallflower Press. 183–200.
Lejeune, P. (1989), On Autobiography, Minneapolis: University of Minnesota Press.
Moran, James M. (2002), There’s No Place Like Home Video, Minneapolis: University of Minnesota Press.
Noordegraaf, J. J. and Pouw, E. (2009), Extended Family Films: Home movies in the state-sponsored archive, The Moving Image, 9:1. 83–103.
Odin, R.(1995), Le film de famille dans l’institution familiale, in R. Odin (ed.), Le film de famille. Usage privé, usage public, Paris: Meridiens Klincksieck. 27– 41.
Odin, R. (2008), Reflections on The Family Home Movie as Document: A semio-pragmatic approach, in K. Ishizuka y and P. R. Zimmermann (eds), Mining the home movies: excavations in histories and memories, Berkeley and Los Angeles: University of California Press. 255–71.
Renov, M. (1999), Domestic Ethnography and The Construction of the “Other Self”, in J. M. Gaines and M. Renov (eds), Collecting Visible Evidences, Minneapolis: University of Minnesota Press. 140–55.
Steedman, C. (2001), Dust, Manchester: Manchester University Press.
Swender, R. (2009), Claiming the found: Archive footage and documentary practice, The Velvet Light Trap, 64: 3–10.
Van Dijck, J. (2007), Mediated Memories in the Digital Age, Stanford: Stanford University Press.
Zimmermann, P. R. (2008), The Home Movie Movement: Excavations, artifacts, minings, in K. Ishizuka and P. R. Zimmermann (eds), Mining the Home Movies: Excavations in Histories and Memories, Berkeley and Los Angeles: University of California Press.1–28.