Abstract:

A good woman, a good wife, a good lover, a good mother, and so on. is expected to be. The cinema, which is a mass communication medium, is responsible for strengthening this printing and understanding that society is charged with the woman. In the cinema, under the domination of the Eril speech, the woman is in a secondary position and in the framework of certain patterns; weak, in need of help, in the roles that entertain the man, entertain, and often represented as a sexual object. The image of the woman that reflects on the peyzperde is not the reflection of the woman itself, but the reflection of the desire of the man. The feminist critics, who are disturbed by the fact that the woman becomes a sex object in the hands of the man through the cinema, are struggling to make the woman a woman in the cinema. In the cinema, the films that try to break the judge's eril speech are generally called feminist films. In Turkey, in recent period, female directors and feminist filmmakers have managed to influence the audience with their original stories and different narrative styles. Excluding the image of the woman imposed on society; one of the directors who entered into the effort to produce films in which the woman is represented by her identity is the First Success. In his films, the first film of the director who managed to get out of the dominant speech with the way of dealing with female and male characters, Love in Other Languages (2009), will be studied in the framework of feminist theory. Love in the Other Languages, translated by a female director, is important in terms of both speaking and breaking the traditional female look, and in this way leaving a strong female image in the cinema.

Abstract:

The woman, who is positioned according to the man in the Patriarchal order, is expected to be a good wife, a good lover, a good mother etc. Cinema, a medium of mass communication, undertakes the task of reinforcing this stereotypical perception that society imposes on women. In cinema, which is under the domination of the masculine discourse, the woman is in the secondary position and in specific patterns; weak, needy, entertainer of a man, entertaining personality, and often represented as a sexual object. The female image reflected to the silver screen is not the reflection of the woman herself, but the reflection of the desire of the man. Feminist critics who are disturbed by the fact that a woman turns into a sexual object at a man’s disposal through the cinema; are struggling for women to exist as a “woman” in the cinema. The movies trying to break the masculine discourse in the cinema are generally called feminist films. In recent times, female directors and feminist filmmakers in Turkey have succeeded in impressing he audience with different narrative styles and original stories. One of the directors who entered the struggle to produce films which represent a woman’s self identity by removing the imposed female image is Ilksen Başarır. The director's first film, Love in Another Language, which has succeeded to get out of male-dominated discourse by processing male and female characters with her style, will be examined within the framework of the feminist theory. Love in Another Language, reflected to the silver screen by a female director, is important both in breaking the discourse and the traditional female perception, and in this way leaving a strong female image to the cinema.

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