Serdar Özturk

Can films contribute to the production of thought? Or, to put the question more radically, can films generate thought on their own, or can there be films that think the unthought? When thought is equated with rationality, logic, concepts, generalizations, and abstractions, the answer can be “no” at the outset, particularly when ordinary people in the flow of their daily lives typically turn to mass films for escapism. On the other side of the spectrum, among the philosophers and social scientists who argue that cinema might contain serious intellectual elements, there is no general approach that radically challenges the meaning that ordinary people may attach to films. By focusing on Deleuze’s concepts of “body-cinema” and “brain-cinema”, this article aims to showcase how films can philosophize on their own. While going beyond the traditional association of thought with mind and reasoning, this article explores the diffused location of thought, existing in our very sensations and emotions. This article analyzes some of the significant films from the Turkish art cinema—both old and recent—to explore how thought is constituted with reference to the human body and brain in cinema.

Alain Badiou in his philosophy on ethics underscores four fields of truth procedures—love, politics, art, and science—that seek to break with the existing order or conventional flow of things. These four fields indicate both collective (politics, art, and science) as well as individual (love) instances of the subject’s relationships and actions. The individual realm of ‘love’, which is the central focus of this study, however, as a generic, complex category does not clearly explicate the significance of the associated concept, friendship. Akira Kurosawa’s filmography is illustrative as it opens up a possibility for disentangling the concept of friendship from love along with making significant contributions to the ethics of truth, particularly with respect to the “friendship event”. His films vividly capture some of the essential themes of Badiou’s philosophy of truth ethics, including “break”/“encounter”, referred to as ‘event’, “keep going”/“perseverance”, and “fidelity”. Even if the philosophers Badiou and Kurosawa do not make direct references to each other’s works, this research reveals significant parallels between cinephilosophy created through “cine-images” and the written philosophy. By analyzing Kurosawa’s films in the light of Badiou’s philosophy of truth ethics, and vice versa, this study embarks on exploring the complementarities between the works of the two. The study showcases how love and friendship as truth procedures are formed in particular contexts in Kurosawa’s filmography, and how they intersect with other truth events, particularly politics. Most importantly, this study does not view Badiou’s “truth events” such as love, friendship, and politics as mutually exclusive categories; rather, they are seen as complementary in practice.