I AM RECONCILING WITH MY OEDIPAL
Your Father and My Son is a film that tells about the role of the mother and father in the psychosexual development periods of a boy and the impact of the disruptions in this period on his search for identity during adolescence. It particularly focuses on the state of being a father and the role of the father. The entire film follows this focus.
Hüseyin Efendi is a man who has a considerable authority among the villagers living in an Aegean village. Hüseyin Efendi is law-abiding, follows customs and traditions, and is authoritarian. Hüseyin Efendi's biggest duty is to ensure the healthy continuation of the existing system and order through his sons. For this reason, he makes all his investments on his 2 sons. Hüseyin Efendi's expectations are so high that he enchanted his children with their names.
Sadık -Salim. Although Hüseyin Efendi had all the equipment to fulfill this task, he could not succeed. In the movie, even though the father enchants his children with names, Sadık appears with a character who is not loyal to the father, and Salim appears with an unhealthy male character. The father's main duty is to ensure a healthy end to the Oedipus complex, which is important for the development of the human child. The Oedipus complex is a necessary process leading to culture and therefore to becoming human. It is a symbolic complex. The child passes from the reality of the biological self to being a symbolic cultural subject through Oedipus. In other words, it is solved by the prohibition of the natural relationship between the mother and the child and the unconscious desire arising from this prohibition by entering into the symbolic system with the law of the Father or the name of the Father. Thus, he acquires social forms and becomes an individual-subject. Here, the father is responsible for putting an end to the direct gratification relationship between the mother and the child, which is based on innate satisfaction, and suppressing the instinctive unconscious desires and ensuring the castration that transforms the child from a biological creature into a cultural subject. Hüseyin Efendi cannot succeed at this point. Sadık will give the father the opportunity to realize this again in the later parts of the film.
Since Sadık cannot establish a healthy identification with the father, he rebels against the father and the cultural rules he represents during adolescence. He leaves the house to realize himself. The father once again cannot be the lawgiver in front of him and cannot prevent his son.
He shows us that Sadık cannot be castrated in a healthy way, and the price of breaking his father's law, with symbols in every frame of his life. Sadık is an anti-establishment journalist with a political stance. His use of cigarettes and alcohol is at the level of addiction. Sadık's life comes to a more tragic end the night his wife goes into labor. The birth begins and they cannot find anyone around because that night, the September 12 Coup took place. And Sadık had to give birth. Meanwhile, the director refers to Sadık's violation of the father's law. The September 12 coup was carried out to restore the disrupted order of that period and to suppress the disruptors. Sadık's wife dies during childbirth. Sadık welcomes the day with his son in his arms. There is no mother anymore and the boy's mother is Sadık. The director castrated Sadık with the death of the mother. The price for breaking the Father's Law was paid.
With the birth of Deniz, the director continues to explain the Oedipus complex to the audience in a different dimension through Deniz. Deniz, infancy. He appears before us as a child whose mother died, whose father was in prison, and who grew up with a very motherly caregiver. During the periods of satiation and pleasure relationship, the child does not have a mother and father and therefore is a child without an object of attachment. The father enters Deniz's life at the transition point to childhood, approximately between the ages of 3 and 4. These are the age periods when the Oedipus complex begins. Deniz needs an object to which he can transfer his libidinal energy. And that's why Sadık has to be Deniz's mother. He cannot play the role of father. Deniz needs a father in order to get over the Oedipus complex in a healthy way. At this point, the director presents Sadık with a disease that will lead to death. Sadık needs a father who will be a father for Deniz and lead Deniz to become a cultural subject. Sadık chooses his own father. He returns to his father's house in order to give his father back the power of being a father through Deniz and to ensure his own identification. The director, the unhealthy castration and the unacceptable father law, Deniz
Sadık returns to his father's house and village with Deniz. Her mother embraces the two of them with her unconditional love and takes them under her protection. The mother appears in a position that no longer allows Sadık and Deniz to leave and helps the father regain his power. The next thing to do is to ensure that Hüseyin Efendi takes this role again.
Deniz is a child who realizes his desires through fantasy. After Deniz came to his grandfather's house, his fantasies began to focus on his grandfather. The father is good and The heroic grandfather is the evil and scary one at first. This is a sign that the grandfather has started to fulfill his duty of castration. Deniz shows that he accepts that the grandfather will castrate him. One of the most important symbols of Deniz's fantasies is the locked door. In his fantasies or in reality, there is a locked door in the courtyard and Deniz is curious about it. In one scene, he was caught by his grandfather while peeping through the hole in the door. And the grandfather pulled Deniz's ear. Another symbol is the comic book. Deniz loves reading comics, or rather, since he doesn't know how to read, he likes to look at their pictures and use the heroes there in his fantasies. Sadık and Hüseyin Efendi both buy comics for Deniz to communicate with him. The door is a symbol of childlike curiosity and the pleasure-pain relationship eventually discovered in psychoanalysis. The book is a complex transformation of the energy carried by this curiosity. The door and the book are a conductive transition object between dream and reality. (Psychoanalysis of horror cinema, 2006p.17). The door has an imaginary meaning. It is the image of psychosexual curiosity. The door being locked is in psychosexual stages. It indicates a desire that has been experienced or should have been experienced, but has not been experienced. Deniz's fantasies are directed towards what is behind the locked door, and behind the locked door, Dede is feeding a monster. Deniz is afraid. In the Oedipal period, the door is the mother. The key is the father or the person identified with the father. The key to the locked door that Deniz is curious about is on her, but it is forbidden to enter. In her fantasy, the door opens and the grandfather is feeding a monster inside. He has a piece of meat in his hand. Here, the monster represents Deniz's unpleasant desire for the mother, which she tries to suppress. e represents the father who will cut off his penis because of these desires. The piece of meat in Dede's hand also tells us about the penis. Deniz has become Castre. At the end of the movie, Sadık, who is now a father, loses his mission and dies. There is one last step left to achieve such a healthy identification. The grandfather takes Deniz, who is mourning the death of his father, to the locked room. He opens the door of the room Deniz is curious about and lets Deniz in. The Oedipus complex has been resolved as it should be. Hüseyin Efendi has fulfilled his duty as a father. The conflict with Deniz has been resolved. Identification has been achieved. The spiritual tension has decreased.
With the movie My Father and My Son, Çağan Irmak, It tells the audience about the Oedipus complex and castration that enable the human child to transform from a biological creature into a cultural subject. At the end of the film, he puts the camera in Deniz's hand and offers the audience the solution of the object of love (here, the mother) that may be lost in this process.
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