Abstract:

Netflix entered the Turkish market in 2016. Netflix Original Turkey, on the other hand, started to broadcast local productions in 2019, with the first local series Hakan: Muhafız, and local productions in 2020. Netflix, which is known to bring innovations to series durations and watching habits, makes use of established melodrama patterns (such as good-bad contrast, poor but happy, rich but unhappy characters, emotional excesses and lack of cause and effect in the development of events) in its local production films. Formal innovations are not seen in Netflix's film language. Films often use the codes and genre characteristics of mainstream cinema, such as the brave and seen in public sphere male, the altruistic and seen in private sphere female. In films that present the oedipal trajectory of the male protagonist to the audience, the female characters are generally seen as an element of mystery or an object for the male hero to achieve his goal. While this ensures the reproduction of gender roles and stereotypes, it strengthens the power of men. In the study, digital broadcasting and Netflix, melodrama genre and melodrama in Turkish cinema and oedipal trajectory in feminist film theory will be examined. The films that are discussed in the study, Beni Çok Sev (Mehmet Ada Öztekin, 2021), Babamın Kemanı (Andaç Haznedaroğlu, 2022) and Cici (Berkun Oya, 2022) have the conventions of the melodrama genre and follow the oedipal trajectory of the male protagonist. It will be examined whether these films, which will be discussed in the themes of melodrama and oedipal orbit, stand out from the classical narrative tradition and Yeşilçam melodramas.

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