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Toplumda kadınlık ve erkekliğe ilişkin inanç, beklenti ve rolleri tanımlayan sosyal bir yapılanma olan toplumsal cinsiyet, farklı kültürlere göre değişiklik göstermektedir. Ancak toplumsal cinsiyet kodlarının oluşmasında ve nesilden nesile aktarımında aile en önemli belirleyiciler arasında yer almaktadır. Toplumda var olan bu kodların aktarımı ve meşrulaştırılmasında rol oynayan araçlardan bir tanesi de toplumdan beslenen ve toplumu etkileme gücüne sahip olan sinemadır. Genelde sinema tarihi özelde de Türk sinema tarihinde filmlerin başkahramanının sıklıkla erkek karakterler olduğu bilinmektedir. Günümüzde ise, tıpkı geçmiş örneklerine benzer olarak yeni Türk sinemasının hem popüler hem de sanatsal kanadının yine erkek karakterleri ön plana çıkardığı görülmektedir. Toplumsal cinsiyete ilişkin tanımlamalar ve toplumsal cinsiyet hiyerarşisi söz konusu olduğunda kadın-erkek arasındaki hiyerarşik ilişkinin yanı sıra erkekler arasında da bir hiyerarşiden bahsetmek mümkündür. Bu gerçekten hareketle feodal aile yapısı içerisinde erkek kimliğinin sinemadaki temsilini ele alan bu çalışma kapsamında birçok festivalden ödülle dönen Sarı Sıcak (Fikret Reyhan/2017) adlı film sosyolojik film analizi ile ele alınmakta ve sinemada feodal aile yapısı içerisinde erkek kimliğinin ne şekilde karakterize edildiğinin ortaya konulması amaçlanmaktadır. Yapılan inceleme sonucunda Türk Sinemasının sanatsal kanadında yer alan Sarı Sıcak adlı filmde erkekliklerin hegemonik erkeklik hiyerarşisine ve geleneksel yapıya uygun olarak karakterize edildikleri görülmektedir.
The social gender, a social structure that defines the beliefs, expectations and roles of femininity and masculinity in society, varies according to different cultures. But in the formation of social gender codes and in the transfer from generation to generation, it is among the family-important determiners. One of the tools that play a role in the transmission and legalization of these codes existing in society is the cinema that is fed by society and has the power to influence society. It is often known that the protagonists of the films in the Turkish film history are often male characters. Nowadays, like the past examples, it seems that the popular and artistic wing of the new Turkish cinema has again brought the male characters to the forefront. When it comes to social gender definitions and social gender hierarchy, it is possible to talk about the hierarchical relationship between women and men as well as a hierarchy between men. This work, which addresses the representation of the male identity in the cinema in the feodal family structure with real movement, is addressed by the film "Yellow Hot" (Fikret Reyhan/2017) which returns with prizes from many festivals and is aimed at revealing how the male identity is characterized in the feodal family structure in the cinema. According to the study, the film “Yellow Hot” in the art wing of the Turkish Cinema shows that men are characterized in accordance with the hegemonic masculine hierarchy and traditional structure.
Gender, which is a social structure defining beliefs, expectations and roles related to femininity and masculinity in society, varies according to different cultures. However, the family is one of the most important determinants of the formation of gender codesand their transfer from generation to generation. One of the tools involved in the transmission and legitimization of these codes that exist in the society is the cinema which is fed by the society and has the power to influence the society. Generally in the history of cinema, in particular in Turkish cinema history, it is known that the main characters of the films, are often male characters. Nowadays, justlike the examples of the past, both the popular and artistic side of the new Turkish cinema, it is seen that it brings male the characters to the fore again. When it comes to gender-related definitions and gender hierarchy, it is possible to talk about a hierarchical relationship between men and women, as well as a hierarchy between men. With this act, in this study, the film which is about there presentation of the male identity in the feudal family structure, that is named Sarı Sıcak (Fikret Reyhan / 2017), which has won awards from many festivals, has been analyzed with sociological film aspectsand it is aimed how to characterize the identity of male identity in the feudal family structure of the cinema. As a result of the examination, it is seen that masculinities are characterized in accordance with the hegemonic masculinity hierarchy and traditional structure in the movie Sarı Sıcak in the artistic wing of Turkish Cinema.
Field : Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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