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Bu çalışmada 90’lı yıllarda ana karakterin kadın üzerine yoğunlaştığı ZekiDemirkubuz’un üç filmini feminist film teorisi üzerinden incelemek ve bu anlamda literatüre katkı sağlamak amaçlanmıştır. İncelenen filmler C Blok, Masumiyet ve Üçüncü Sayfa filmleridir. Bu filmlerin feminist film teorisi bağlamında analiz edilmesinin sebebi, bu teorinin toplumun kodladığı ataerkil kalıpların sinemaya uyarlanış biçimlerini ve filmlerde sergilenen toplumsal cinsiyet algılarının tasvirlerini tartışmasıdır. Makalede söz konusu filmlerdeki ana ve yan kadın karakterlerin var olma mücadelelerinin, amaçlarının ve kendilerini ifade etme biçimlerinin temelde aynı doğrultuda olup olmadığı gibi değişkenler tartışılmıştır. Her üç filmdeki kadın karakterlerin, toplumda hangi statüyle yer aldıkları, sosyo-kültürel konumları, erkeklerle olan ilişkileri değerlendirilerek söz konusu filmlerde cinsiyetçi yaklaşımların ve kadın rollerinin nasıl betimlendiği metin analizi yöntemiyle incelenmiştir. Çalışmada söz konusu filmler analiz edilmeden önce feminist film teorisi kuramsal açıdan değerlendirilmiştir. Daha sonra söz konusu filmlerin çekildiği 1990’lı yıllardaki Türk filmlerinde kadın temsilinin değişimi ve bu değişimin kökleri irdelenmiştir. Ardından Zeki Demirkubuz sinemasındaki kadın ve erkek temsillerinin farklılıklarına ve yönetmenin diğer filmlerindeki kadın karakterlere kısa bir şekilde değinilmiştir. Akabinde makalede kullanılacak yöntem olan metin analizi modeli açıklanarak, üç film de bu yönteme göre çözümlenmeye çalışılmıştır. Buna göre belirlenen üç filmde kadınların, feminist film teorisyenlerinin karşı çıktığı kadın temsillerine uyduğu ve bu filmlerdeki kadınların sadece cinsel bir nesne konumunda tasvir edildiği görülmüştür. Yapılan analizlere göre üç filmdeki kadın karakterlerin cinsellik ve ihanet noktasında birleştiği ve bu karakterlerin erkek bakışının bir uzantısı olarak eril nazar etkisinde temsil edildiği belirlenmiştir.
This study aims to study the three films of ZekiDemirkubuz, where the main character focused on women in the 1990s, through the feminist film theory and in this sense to contribute to literature. The reviewed films are C Blok, Innocence and Third Page films. The reason for the analysis of these films in the context of the feminist film theory is the discussion of the forms of adaptation to the cinema of the atherical patterns coded by society and the images of the social gender perceptions shown in the films. The article discussed the variables of the struggles, objectives and ways of expression of the main and side female characters in the films in question, as well as whether they are basically in the same direction. The female characters in each of the three films, with what status they are in society, their socio-cultural positions, their relationships with men, were examined by the text analysis method in which the gender approaches and the role of women were described in the film. In the study, the feminist film theory was theoretically evaluated before the film was analyzed. In the 1990s, in the Turkish films where the film was filmed, the change in women’s representation and the roots of this change were drawn up. It was then briefly referred to the differences between female and male representations in the film and the female characters in the other films of the director. The text analysis model, which is the method to be used in the article, has been explained, and three films have been tried to be analyzed according to this method. Three films that were identified accordingly show that women were in line with the female representations that feminist film theorists opposed, and that women in these films were depicted only in a position of a sexual object. The analysis found that the female characters in the three films were united in the point of sexuality and betrayal, and that these characters were represented in the effect of eril nazar as an extension of the male look.
With this study, it was aimed to examine three films of Zeki Demirkubuz through the feminist theory of film in which the main character had become women in the 90’s and in this sense to contribute to the literature in general. The films are analysed C Block, Innocence and Third Page respectively. The reason why these films are analysed in the context of feminist film theory is that this theory discusses how the patriarchal patterns which are encoded by the society are adapted to the movies and the analysis of the description of the perception of the gender roles in society. In the article it is discussed whether the variables such as the main and subordinate women characters styles of expressing themselves, their aims, their fights of survival are basically in line with each other or not. In the article the role of female characters, whatever status they have in the society, their social-cultural positions, their relationships with men evaluated bearing in mind the gender approaches and the descriptions of female roles in the relevant movies, through using the method of text analysis. In this study feminist film theory evaluated in terms of theoretical view point before the analysis of the above-mentioned films. In accordance with the above intentions, the text analysis model which have been used in the article explained in order to analyse the three films in question. In conclusion it would be seen that the women identified in these 3 movies fit in the stereotypical representations of women which the film theoreticians are against, unfortunately they are only portrayed as sexual objects. According to the analysis, it was determined that the female characters in the three films converged at the point of sexuality and betrayal, and these characters were represented under the masculine perspective as an extension of the male gaze.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Ulusal
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