Atıf Sayısı
2
Görüntüleme
97
İndirme
16
Nadine Labaki, Lübnan’ın yetiştirdiği önemli yönetmenlerden birisidir. Eğitimini Lübnan’da tamamlaması ve filmlerini burada yapması, onu diğer Lübnanlı ve Ortadoğulu yönetmenlerden ayırmaktadır. Labaki’nin filmlerindeki kadın temsilinin incelenmesi, kadın sorunlarının genelde Ortadoğu özelde ise Lübnan sinemasında nasıl işlendiğinin ortaya konulması açısından önemli veriler sunar. Bu çalışmada Labaki’nin çektiği üç uzun metraj film olan Karamel (2007), Peki Şimdi Nereye? ve Kefernahum (2018) filmlerinde kadınların ve kadın sorunlarının nasıl temsil edildiği incelenmiştir. Yapılan analizler neticesinde incelenen filmlerin, toplumsal cinsiyet rol kalıplarını ve ataerkil ahlaki normları onayan bir anlatı yapısına sahip olması nedeniyle ana akım sinemaya benzer özellikler taşımakla birlikte aktif, mücadeleci ve çözümler üreten kadın karakterlere yer vererek ana akım sinema filmlerinden farklılaştığı sonucuna ulaşılmıştır. İncelenen filmlerdeki kadınların genellikle güçlü karakterler olduğu ve çoğu zaman diğer kadınlarla dayanışma içerisinde, birlikte hareket ederek başarıya ulaştıkları bunun mümkün görünmediği durumlarda kaderlerine razı olmadıkları ve mücadeleyi sürdürdükleri, erkek egemenliğine boyun eğen pasif kadın karakterlerin ise genellikle kaybeden taraf olarak konumlandırıldığı tespit edilmiştir. Ayrıca filmler boyunca ele alınan kadın sorunlarının ekonomik nedenleri üzerinde durulmadığı sorunların bireyselleştirilerek kolay çözülebilir hale getirildiği belirlenmiştir.
Nadine Labaki is one of the most significant directors raised by Lebanon. She is distinguished from other Middle Eastern and Lebanese directors because she completed her education in Lebanon and made her films there. Analyzing female representation in Labaki's films reveals important data in terms of explaining how women's problems are handled in the Middle East in general and in Lebanese cinema in particular. In this study, how women and issues of women are represented in Labaki's three full-length films, Caramel (2007), Where Do We Go Now? (2011), and Capernaum (2018) are examined. As a result of the analyses, it is concluded that although the films have similar features with mainstream cinema in that they approve gender role patterns and patriarchal moral codes, they differ from mainstream cinema films in terms of placing emphasis on active, combative, problem-solver female characters. It is determined that the women in the analyzed films are generally strong characters and they often succeed in solidarity with other women by acting together; in cases where this is not possible, they do not accept their destiny, and they struggle; passive female characters who are submissive to male domination are generally positioned as the losing side. In addition, it is determined that the economic causes of women’s problems dealt with throughout the films are not emphasized, and the problems are made easy to solve by individualizing them.
Nadine Labaki is one of the most significant directors raised by Lebanon. She is distinguished from other Middle Eastern and Lebanese directors because she completed her education in Lebanon and made her films there. Analyzing female representation in Labaki’s films reveals important data in terms of explaining how women’s problems are handled in the Middle East in general and in Lebanese cinema in particular. In this study, how women and issues of women are represented in Labaki’s three full-length films, Caramel (2007), Where Do We Go Now? (2011), and Capernaum (2018) are examined. As a result of the analyses, it is concluded that although the films have similar features with mainstream cinema in that they approve gender role patterns and patriarchal moral codes, they differ from mainstream cinema films in terms of placing emphasis on active, combative, problem-solver female characters. It is determined that the women in the analyzed films are generally strong characters and they often succeed in solidarity with other women by acting together; in cases where this is not possible, they do not accept their destiny, and they struggle; passive female characters who are submissive to male domination are generally positioned as the losing side. In addition, it is determined that the economic causes of women’s problems handled throughout the films are not emphasized, and the problems are made easy to solve by individualizing them.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Ulusal
Makale Detay 
Atıf Yapanlar
Benzer Makaleler
PDF Görüntüle
Dergi Bilgisi
Eseri Dinleyin
Bu Sayfayı Yazdırın
Paylaş
Mendeley
