80'ler Türkiye sinemasında kadın temsili: Atıf Yılmaz sinemasında sınırları zorlayan kadınlar
Küçük Resim Yok
Tarih
2024
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Düzce Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Sinema varoluş sürecini sağlarken salt seyir eğlencesi olmadığını kapsamında birçok işlevi de taşıdığını yapılan akademik çalışmalar neticesinde göstermiştir. İlk evrede bir sanat olarak tanımlanabilecek sinema taşıdığı söylem ve ilettiği mesaj ile ideolojik yönünü açığa çıkarmıştır. Sinemada fark edilen başat tartışmalardan biri kadının temsil problematiği olmuş ve buna bağlı olarak bu alanda birçok akademik çalışma yapılmıştır. Ataerkinin toplumsal alandaki varlığı ise sinemada kendini kadın temsili bağlamında ortaya çıkarmıştır. Dolayısıyla bu çalışma ilk olarak Türkiye sinemasında kadının temsil sorununa ilişkin bulgulara ulaşıp, bu bulgular ışığında gerçek temsile alternatif sayılabilecek temsillerin olup olmadığını anlamaya çalışmıştır. Nitekim çalışma Türkiye'de feminist teorinin güç kazandığı 1980'li yılları kıskaca alarak bu yıllarda kameraya alınan Atıf Yılmaz filmlerine yönelmiştir. Bunun nedeni ise aynı yıllarda yönetmen Atıf Yılmaz'ın "kadın filmleri" olarak tanımlanan bir dizi film çekmiş olmasıdır. Çalışmanın sorunsalı ise bu noktada ortaya çıkmaktadır; yönetmenin filmlerinde yarattığı kadın temsili geleneksel kodlarla tasarlanmış temsil bulanıklığına alternatif oluşturur mu? Bu soru ekseninde yönetmenin filmografisinden seçilen dört filmi; Mine (1983), Adı Vasfiye (1985), Aaah Belinda (1986) ve Kadının Adı Yok (1988) filmlerindeki kadın temsilleri feminist teori eleştiri yöntemi kullanılarak çözümlenmiştir. Bunun için de Laura Mulvey'in Visual Pleasure and Narrative Cinema (Görsel Haz ve Anlatı Sineması) adlı ünlü makalesi referans alınmıştır. Bu çalışma ile birlikte literatürde tartışılan ancak detaylı bir şekilde işlenmeyen bu konu, tüm yönleri ile bir kez daha dikkate alınarak kadının bir figür veya imge olmanın ötesine geçip geçmediği toplumsal ve siyasal süreç de gözetilerek açıklığa kavuşmuştur.
As a result of academic studies, it has been shown that while cinema provides the process of existence, it is not just entertainment for viewing, but also carries many functions. Cinema, which can be defined as an art in its first phase, has revealed its ideological aspect with the discourse it carries and the message it conveys. One of the dominant debates in cinema has been the problematic representation of women, and accordingly, many academic studies have been conducted in this field. The existence of patriarchy in the social sphere has revealed itself in the context of female representation in cinema. Therefore, this study firstly reached findings regarding the problem of women's representation in Turkish cinema and tried to understand whether there are representations that can be considered alternatives to real representation in the light of these findings. As a matter of fact, the study focused on the 1980s, when feminist theory gained strength in Turkey, and focused on Atıf Yılmaz's films shot during these years. The reason for this is that in the same years, director Atıf Yılmaz shot a series of films defined as "women's films". The problematic of the study emerges at this point; Does the female representation created by the director in his films constitute an alternative to the blurred representation designed with traditional codes? In the context of this question, four films selected from the director's filmography are; Female representations in the films Mine (1983), Adı Vasfiye (1985), Aaah Belinda (1986) and Kadının Adı Yok (1988) were analyzed using the feminist theory and criticism method. For this, Laura Mulvey's famous article titled Visual Pleasure and Narrative Cinema was taken as reference. With this study, this issue, which has been discussed in the literature but not covered in detail, has been taken into consideration once again in all its aspects, and it has been clarified by taking into account the social and political process whether women have gone beyond being a figure or image.
As a result of academic studies, it has been shown that while cinema provides the process of existence, it is not just entertainment for viewing, but also carries many functions. Cinema, which can be defined as an art in its first phase, has revealed its ideological aspect with the discourse it carries and the message it conveys. One of the dominant debates in cinema has been the problematic representation of women, and accordingly, many academic studies have been conducted in this field. The existence of patriarchy in the social sphere has revealed itself in the context of female representation in cinema. Therefore, this study firstly reached findings regarding the problem of women's representation in Turkish cinema and tried to understand whether there are representations that can be considered alternatives to real representation in the light of these findings. As a matter of fact, the study focused on the 1980s, when feminist theory gained strength in Turkey, and focused on Atıf Yılmaz's films shot during these years. The reason for this is that in the same years, director Atıf Yılmaz shot a series of films defined as "women's films". The problematic of the study emerges at this point; Does the female representation created by the director in his films constitute an alternative to the blurred representation designed with traditional codes? In the context of this question, four films selected from the director's filmography are; Female representations in the films Mine (1983), Adı Vasfiye (1985), Aaah Belinda (1986) and Kadının Adı Yok (1988) were analyzed using the feminist theory and criticism method. For this, Laura Mulvey's famous article titled Visual Pleasure and Narrative Cinema was taken as reference. With this study, this issue, which has been discussed in the literature but not covered in detail, has been taken into consideration once again in all its aspects, and it has been clarified by taking into account the social and political process whether women have gone beyond being a figure or image.
Açıklama
Anahtar Kelimeler
Radyo-Televizyon, Radio and Television
