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1990 sonrası sinema anlatılarına odaklanan çalışmalar, bu anlatılarda “erkeklik krizinin” önemli bir sorun olarak belirdiğini tespit etmektedir. Sosyolojik dönüşüme bağlı olarak hegemonik erkekliğin ve krizinin tartışıldığı koşullarda, sinema anlatıları da erkeklik sorununu merkezine taşımıştır. Bu çalışma 1990 sonrası anlatılarda ortaya çıkan çatışmayı modernleşme süreci anlatıları ile bir süreklilik içinde ele almaktadır. Geleneksel anlatılarda var olan çatışma ataerkil ideoloji’nin kadın konumunu gelenek, din, vatan ve aile gibi kavramlarla ele alması ile şekillendirilirken, 1990 sonrası anlatılarda kadın konumu bu tür toplumsal kavramlarla ilişki içinde ele alınamaz hale gelmiştir. Kadın konumunun bir üst anlatıya başvurarak ele alınamadığı bu anlatılarda erkeklerin konumu ve erkeklik belirgin bir sorunsal olarak karşımıza çıkmaktadır. Üretilen metinler bu bağlamda bazı tematik bütünlükler üretmektedir. Erkek karakterin bir anti kahraman ve negatif özne olarak sunumu, öykünün geleneksel söylemlerle kapatılamayışına karşılık karakterin ölümü ya da açık uçluluk bu metinlerde belirgin bir eğilimdir. Şimdiki zaman ve buradaki mekânda yaşanan istikrarsızlığa karşı zaman ve mekânı yadsıyarak erkek kimliğini tehdit etmeyen anlatıların üretilmesi önemli bir eğilim olarak belirmektedir. Buna karşı şimdiki zaman ve mekânı konu edinen metinlerde anlatıların kadınsızlaşması, kadın düşmanlığı ya da kadının salt arzu nesnesi olarak ele alınması belirginleşmektedir. Ek olarak erkek dayanışması ve babanın aranışı, susan ya da konuşamayan erkek karakterlerin çoğalması ve bu erkeklerin ürettiği çok yönlü şiddet bu filmlerde tekrar eden önemli bir motiftir. Öykülerin merkezini erkekliğe yönelik bunalım söylemleri alsa da öykülerin erkek merkezli olmaya devam ettiği görülmektedir. Ek olarak cinsiyet ve erkeklik kavramlarının, anlatılarda farklı alanlara yayılan konuları belirleyen bir üst-ilke şeklinde konumlandığı görülmektedir.
Studies focused on film stories after 1990 find that in these stories the "manhood crisis" appears to be a major problem. Depending on my sociological transformation, in the circumstances where hegemonic masculinity and crisis are discussed, the film stories have also brought the problem of masculinity to the center. This study discusses the conflict that arises in the stories after the 1990s in a continuity with the modernization process stories. The conflict that exists in traditional narratives is shaped by the approach of the patriarchal ideology to address the female position with concepts such as tradition, religion, homeland and family, while in the narratives after 1990 the female position has become untouchable in relation to such social concepts. In these stories that women’s position cannot be addressed by referring to a top story, the position of men and masculinity appear to us as a clear problem. Produced texts produce some thematic integrities in this context. The presentation of the male character as an anti-hero and negative substance, the death of the character or open emptiness, in response to the fact that the story cannot be closed with traditional speeches, is a clear tendency in these texts. The production of stories not threatening the male identity by denying the time and space against the instability that is present in the time and place here appears to be an important trend. On the contrary, in the texts on the present time and place, it is clear that the narratives are de-feminism, female hostility, or that the female is considered as the object of a simple desire. In addition, male tolerance and the father’s search, the multiplication of susan or unable men’s characters and the diversity of violence produced by these men are an important motivation to repeat in these films. Even if the story is focused on men's discourse, it seems that the stories continue to be men's focused. In addition, it is seen that the concepts of gender and masculinity are positioned in a top-first form that determines the topics spread to different fields in the narrative.
Studies focusing on the narratives of cinema after 1990 have found that the crisis of masculinity appears to be an important problem in this narratives. In the conditions which hegemonic masculinity and crisis discussed due to sociological transformation; cinema narrations have also brought the masculinity problem to the center. This study debates the conflict that emerged in the narratives after 1990 with a continuity of narratives of modernization process. While the conflict existing in traditional narratives is shaped by patriarchal ideology considering the position of woman in terms of tradition, religion, homeland and family, in the narratives after 1990 the position of women in narratives became inextricable in relation to such social concepts. In these narratives, where the position of women cannot be addressed by referring to a meta-narrative, the position of men and masculinity appear as a significant problematic. Produced texts contains some thematic reiterations in this context. The presentation of male character as an anti-hero and negative subject, the death of the character or openended narration is a significant tendency in these texts because of the story cannot be closed with traditional methods. The production of narratives that do not threaten male identity by denying time and space against the instability experienced in the present time and space appears as an important tendency. On the other hand it becomes evident in the narrations consist in present time and space; stories without women, enmity against women or woman such as an object of desire. In addition, male solidarity and the search for the father, the silence of male characters who are not or unable to speak and the multifaceted violence produced by these men are an important theme that repeats in these films. Although the narratives argues masculinity discourse in central to the stories it is seen that the stories continues to be male centered. In addition, it is seen that the concepts of gender and masculinity are positioned as a meta-principle that determines the subjects of narratives spreading to different fields.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Ulusal
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