Abstract:

Turkish cinema is an important area for childhood research. It was a period in which the Turkish film industry rose between the 1960s and 1970s and there were many films. There is no television broadcasting at this time. The only entertainment is the cinema. There is a cinema in every neighborhood. The accessibility and viewability of the cinema is easy. In the 1960s, children's movies also had a significant audience. The audience of children's movies is families and especially women and children. These movies are children's melodrams. The films are the same. But this is an important topic of how the childhood representation is established in the film. Philip Aries and Neil Postman’s childhood theories can be studied in Turkish cinema’s children’s films. The main purpose of this text is to study Aries and Postman’s childhood theories on films. In the film, it is also questioned how the concepts of childhood and family are established. For this purpose, in the 1960s, two series of Ayşecik films were studied. These two films are not popular films like the other Movies. But one is suitable for the family, especially for women, and the other is suitable for the children. The film reflects the way the modern family and childhood should be. In the movie The Poor Princess, childhood is open to debate. This study has sought the traces of how childhood is culturally and historically encoded in children’s films in the Turkish cinema or how the child is represented on the film wall.

Keywords: