Abstract:

With the growth of joint productions in the 1990s, films have increasingly become a product of many countries at the same time. Although today this has become a widespread application, it also brings many topics to be discussed in terms of representative strategies used in films.  The first film of the Turkish-born director Deniz Gamze Ergüven, Mustang (2015), focuses on the pressure and resistance of the five-year-old brother who lives with his tutor grandmother and uncle in the Turkish countryside. Mustang, a French, German, Turkish and Qatar co-production, has been awarded four César prizes in addition to its success in France; it has been the 2015 French Oscar candidate. The main criticisms brought to the film include distant images from reality, surface approach to the subject, orientalism, and the diagnosis of young bodies.  Discussions such as what in films, how they are represented, the interpretation of the producer of the artwork and the discourse that arises have been in different forms for years. The period in which the work is produced and intended to be represented, the cultural and social structures are added to these discussions, the components of the equation are increasing.  Mustang, the subject of the snow has been addressed to us globally is a thirren in the local race; this is also a look that remains strange to the representation of the 'young women in the countryside' is a thirren in reality. It is intended to discuss the questions of the film's representation strategies "how representations" can lead to "ethnically" and "who's (local/global) representations established".