Representation of Archeology as a Risk Space in Movies The Exorcist and The Evil Dead

Meriç Kükrer

Article Details

Representation of Archeology as a Risk Space in Movies The Exorcist and The Evil Dead

Authors:

Meriç Kükrer

Publisher:

Süleyman Demirel University

Main Topics:

Sosyal Teori

Journal:

Süleyman Demirel Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi Issue 60, pp.45-55

Document Type:

Article

Publication Date:

12/2023

Document Language:

Turkish

Document ID (Org No.):

2001307595

pISSN:

1300-9435

Keywords:

Abstract:

 This essay approaches The Exorcist William Friedkin, 1973 and The Evil Dead Sam Raimi, 1981, which are mainly addressed within the horror subgenre of cinema, in the context of representing the science of archeology as a risk space. Archeology, and even further, science, appears as a potential risk in popular culture, serving a culture of fear in Furedis context. The examined films conceptualize archeology in a novel way by basing the source of fear on that social science. Archaeologists, on the one hand, standing at the door between the past and the present, read and reconstruct the past through material remains; on the other, they designate how time will be classified by putting forward concrete evidence of development utilizing scientific methods. Nevertheless, when it comes to archeology in popular culture, this turns into an element of fear. Both films represent archeology as risky since it explores information thought to have remained in ancient times; so, they can be read as narratives placing the past, history, and memory into the space of fear. Therefore, the use of archeology in these films also involves an interpretation of how history is writtenconstructed and perceived. In both films, the source of fear is associated with archaeological digs belonging to the Sumerian and Assyrian civilizations. Starting from this, Mesopotamia is constructed as a mystified geography and is turned into a threat. Why fear and horror originated from Mesopotamian civilizations appears as a question that needs to be pondered here. It would be appropriate to look for possible answers in Western historiography basing its spiritual destiny on this geography. In conclusion, in this study, the fear of archeology in our collective memory will be discussed through these two films.

 This essay approaches The Exorcist William Friedkin, 1973 and The Evil Dead Sam Raimi, 1981, which are mainly addressed within the horror subgenre of cinema, in the context of representing the science of archeology as a risk space. Archeology, and even further, science, appears as a potential risk in popular culture, serving a culture of fear in Furedis context. The examined films conceptualize archeology in a novel way by basing the source of fear on that social science. Archaeologists, on the one hand, standing at the door between the past and the present, read and reconstruct the past through material remains; on the other, they designate how time will be classified by putting forward concrete evidence of development utilizing scientific methods. Nevertheless, when it comes to archeology in popular culture, this turns into an element of fear. Both films represent archeology as risky since it explores information thought to have remained in ancient times; so, they can be read as narratives placing the past, history, and memory into the space of fear. Therefore, the use of archeology in these films also involves an interpretation of how history is writtenconstructed and perceived. In both films, the source of fear is associated with archaeological digs belonging to the Sumerian and Assyrian civilizations. Starting from this, Mesopotamia is constructed as a mystified geography and is turned into a threat. Why fear and horror originated from Mesopotamian civilizations appears as a question that needs to be pondered here. It would be appropriate to look for possible answers in Western historiography basing its spiritual destiny on this geography. In conclusion, in this study, the fear of archeology in our collective memory will be discussed through these two films.

 This essay approaches The Exorcist William Friedkin, 1973 and The Evil Dead Sam Raimi, 1981, which are mainly addressed within the horror subgenre of cinema, in the context of representing the science of archeology as a risk space. Archeology, and even further, science, appears as a potential risk in popular culture, serving a culture of fear in Furedis context. The examined films conceptualize archeology in a novel way by basing the source of fear on that social science. Archaeologists, on the one hand, standing at the door between the past and the present, read and reconstruct the past through material remains; on the other, they designate how time will be classified by putting forward concrete evidence of development utilizing scientific methods. Nevertheless, when it comes to archeology in popular culture, this turns into an element of fear. Both films represent archeology as risky since it explores information thought to have remained in ancient times; so, they can be read as narratives placing the past, history, and memory into the space of fear. Therefore, the use of archeology in these films also involves an interpretation of how history is writtenconstructed and perceived. In both films, the source of fear is associated with archaeological digs belonging to the Sumerian and Assyrian civilizations. Starting from this, Mesopotamia is constructed as a mystified geography and is turned into a threat. Why fear and horror originated from Mesopotamian civilizations appears as a question that needs to be pondered here. It would be appropriate to look for possible answers in Western historiography basing its spiritual destiny on this geography. In conclusion, in this study, the fear of archeology in our collective memory will be discussed through these two films.

 Bu çalışma, ağırlıklı olarak sinemanın korku alt türü içinde konumlandırılan The Exorcist Şeytan, William Friedkin, 1973 ve The Evil Dead Şeytanın Ölüsü, Sam Raimi ,1981 filmlerini, arkeoloji biliminin bir risk uzamı olarak temsil edilmesi kapsamında ele alıyor. Arkeoloji, hatta daha da ilerletecek olursak bilim, popüler kültür içinde Furedinin vurguladığı bağlamda bir korku kültürüne hizmet eder biçimde, potansiyel bir risk olarak karşımıza çıkar. İncelenen filmlerde, korku kaynağının bir sosyal bilime dayandırılması bağlamında arkeolojinin farklı bir biçimde kavramsallaştırılması söz konusudur. Geçmişi maddi kalıntılar üzerinden okuyan ve yeniden inşa eden arkeologlar, bir yandan geçmiş ve bugün arasında eşik konumundayken diğer yandan da gelişmenin somut kanıtlarını ortaya koyarak zamanın nasıl tasnif edileceğini bilimsel yöntemlerle belirlerler. Fakat popüler kültürde konu arkeoloji olunca, bu durum bir korku öğesine dönüşür. Her iki filmi de, kadim zamanlarda kalması gerektiği düşünülen bilgileri araştırdığı için arkeolojiyi riskli olarak temsil eden; geçmişi, tarihi ve hafızayı da korkunun alanına yerleştiren anlatılar olarak okumak mümkündür. Dolayısıyla bu filmlerde arkeolojinin kullanımı, tarihin nasıl yazıldığıkurgulandığı ve algılandığıyla ilgili bir yorumu da içerisinde barındırmaktadır. İki filmde de korkunun kaynağı, Sümer ve Asur uygarlıklarına ait arkeolojik kazılarla ilişkilendirilmiştir. Buradan hareketle de Mezopotamya, mistifiye edilerek tehdit unsuruna dönüştürülmüş bir coğrafya olarak inşa edilir. Korkunun ve dehşetin neden Mezopotamya medeniyetlerinden köken aldığı, burada üzerine düşünülmesi gereken bir soru olarak belirir. Olası cevapları, Batı tarihyazıcılığının tinsel yazgısını bu coğrafyaya dayandırmasında aramak yerinde olacaktır. Özetle bu çalışmada, bahsi geçen iki film üzerinden kolektif hafızamızdaki arkeoloji korkusu tartışmaya açılacaktır.

Article Details

Representation of Archeology as a Risk Space in Movies The Exorcist and The Evil Dead

Authors:

Meriç Kükrer

Publisher:

Süleyman Demirel University

Main Topics:

Sosyal Teori

Journal:

Süleyman Demirel Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi Issue 60, pp.45-55

Document Type:

Article

Publication Date:

12/2023

Document Language:

Turkish

Document ID (Org No.):

2001307595

pISSN:

1300-9435

Archeology

Risk

Horror

Cinema

HistoryArkeoloji

Risk

Korku

Sinema

Tarih

Issues

Article Details

Authors: Meriç Kükrer

Publisher: Süleyman Demirel University

Main Topics: Sosyal Teori

Journal: Süleyman Demirel Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi Issue 60, pp.45-55

Document Type: Article

Publication Date: 12/2023

Document Language: Turkish

Document ID (Org No.): 2001307595

pISSN: 1300-9435

Issues

Authors:

Meriç Kükrer

Publisher:

Süleyman Demirel University

Main Topics:

Sosyal Teori

Journal:

Süleyman Demirel Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi Issue 60, pp.45-55

Document Type:

Article

Publication Date:

12/2023

Document Language:

Turkish

Document ID (Org No.):

2001307595

pISSN:

1300-9435