Abstract:

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.