Teymur Hajiyev
Teymur Hajiyev is an Azerbaijani filmmaker and independent researcher working at the intersection of cinema, philosophy, and media theory. Born in Baku in 1982, he graduated from West Texas A&M University in 2006. He is a voting member of the European Film Academy and an alumnus of the Locarno Filmmakers Academy. His films include The Wound, which premiered at Palm Springs ShortsFest; Shanghai, Baku, which premiered at the Tampere Film Festival; Salt, Pepper to Taste, which premiered at the International Film Festival Rotterdam and was later included in Kinoscope’s “Top Five Shorts of 2019”; and Towards Evening, the first Azerbaijani film selected for the Critics’ Week section of the Cannes Film Festival in 2020. He is also the only Azerbaijani filmmaker to have participated at Cannes both as a director and as a producer. Alongside his filmmaking practice, Hajiyev is developing an authorial concept of de-programming as a philosophical and analytic approach to moving images, spectatorship, and subjectivity. He has recently completed his debut feature film "Le problème du datif", currently being submitted to international festivals, and is also finalising a second academic article, now in the last stage of review by close senior readers prior to submission to New Review of Film and Television Studies. His research brings together editing practice, apparatus theory, psychoanalysis, and modern continental thought.
Articles of Teymur Hajiyev
Playing Against the Program: Interval and De-Programming as Editing Practice
This article proposes a Flusserian reading of film editing as a privileged retrospective site at which the programmatic logic of the apparatus becomes legible and can be worked against. While Vilém Flusser’s canonical account of the apparatus is grounded above all in the camera and in the production of technical images, the essay argues that the editing table constitutes a derivative or second-order apparatus-condition in which already programmed material becomes available for interruption, recombination, and reflective refusal. On this basis, the article develops the interval between shots as a minimal operator of de-programming: a threshold at which continuity ceases to function as a neutral solution and begins instead to reveal the pressure of the program itself. De-programming is therefore understood not as a total escape from the apparatus, nor as a merely aesthetic gesture of rupture, but as a practical skill of sustaining legibility where automatic resolution would otherwise prevail. To clarify this claim, the article identifies three micro-operations of the editing table: refusing automatic suture, delaying attribution, and redistributing agency. In its final movement, the essay follows this argument beyond cinematic procedure toward the question of subjectivity, asking whether the deepest program at stake is not only the one that organises images, but the one that organises the subject who experiences itself as freely organising them.
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