Özet:

Seducing women / deadly women (femme fatale) theme (one of the main features of classical Hollywood cinema) is a response to the crisis of patriarch which becomes clear when the urbanization and consumption came to the forefront in 1930’s. It approves, as being the male dominant discourse’s phantasy, the power and ethics of this discourse in classical Hollywood movies. However, with the emergence of seducing woman characters in 1980’s, this characterization differs from the one in the 1940’s. The new woman character not only discards the male phantasy’s place as being a category only belong to men, but she realizes it. There is a fundamental difference between the two: First, far from threatening the male dominant discourse, it assures it; second, it puts an end to the male’s dominancy. And while doing so, puts itself in front of the male as an object (it commoditizes itself). The idea that “everything solid evaporates” spreads from commodity relations to the social life and family and destroys the patriarch. The reflections of this process show itself in the cinema and the evolution of seductive woman figure in Hollywood cinema confirms this. On the other hand it is possible to see image production evolves from representative phase to pornographic phase, from hidden image to the transparent image, to the image that stands there naked and never hiding anything behind. Finally, the fictionalization of the gaze between classical Hollywood cinema and today’s cinema may point to an ontological lapse in regard to women’s representations. However it is hard to say for this ontological lapse to cause a political/ideological disengagement on image production in Hollywood cinema.

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