Yeşilçam’da Körlüğün Temsili: Trajik, Tıbbi ve Zamansız

Year 2016, Volume: 3 Issue: 1, 1 - 12, 01.03.2016

Müjde Koca-atabey

https://doi.org/10.31682/ayna.470634

Cited By: 3

Abstract

Bu çalışmada iki Yeşilçam filminde (Hayatım Sana Feda, Adını Anmayacağım) körlüğün nasıl temsil edildiği incelenmiş ve engel modelleri kapsamında değerlendirilmiştir. Filmlerde üç kör kahraman vardır, Zeynep, Kemal ve Engin. Elde edilen verilerin değerlendirilmesinde yorumlayıcı fenomonolojik analiz kullanılmıştır. Beş son/kesin tema ortaya çıkarılmıştır. Üst temalar: Hayatım bir trajedi, Tıbbi model ve Zamansal paradokstur. Hayatım bir trajedi temasının iki alt teması mevcuttur, bunlar, eşitsizlik, pasiflik ve refakate muhtaçlık ile körlüğü abartmak olarak tanımlanmıştır. Türkiye’de 1970’lerde ve hatta günümüzde engel kavramı ile ilgili olarak tıbbi model ile birlikte trajedi modelinin merkeze oturduğu anlaşılmıştır. Engelle ilgili olarak toplum tarafından kırılması zor bir kısır döngü yaratılmıştır. Filmlerde kahramanlar bir anda ve tamamen kör olmakta ve yine aynı hız ve kesinlikte iyileşmektedirler. Bu da sunulan körlük tanımlamasının da gerçeklikten uzak olduğunu göstermektedir. Farklı araştırma soruları ve desenlerle senaristlerin ve yönetmenlerin de katılabileceği takip eden çalışmalar yapılabilir. Filmlerin toplumsal cinsiyet perspektifinden de incelenmesi mümkündür

Keywords

Türk Sineması, Türkiye’de engel, sosyal temsiller, yorumlayıcı fenomonolojik analiz, engel modelleri

The Representations of Disability within Turkish Cinema (Yeşilçam): Tragic, Medical, and Ill Timed

Abstract

The study aimed to investigate two films within Turkish Cinema (called Yeşilçam) in relation to disability representations. The results were interpreted in accordance with the models of disability. Medical model conceptualizes disability within clinical terms and defines it as an illness. Within this model impairment and disability are equated. On the other hand, according to the social model, society is the major oppressor and the main creator of disability. The medical model is closely linked with the tragedy model, which argues that disabled people are living in a continuous tragedy. The discourses and the behaviors of the three blind characters namely Zeynep, Kemal, and Engin were investigated within this paper. Interpretive phenomenological analysis was used as the analysis tool. Five final themes emerged where the superordinate themes were: My life is a tragedy, Medical model, and Time paradox. My life is a tragedy theme was further divided into two sub-themes. The first sub-theme was inequality, being passive and in need of accompaniment. Exaggerating blindness was the other sub-theme. It is argued that the tragedy model together with the medical model were central in Turkey. Although this was the case in 1970s, the current situation does not seem to be different. The current attitude in Turkey regarding the disabilities is also coercive and unfriendly. An enduring vicious cycle in relation to disability was created by the society. The characters in the films were becoming blind all of a sudden and in a total manner. Similarly, the recovery was quick and definite. This kind of a blindness depiction was far from being valid. With different research questions and designs further studies might include the scriptwriters and directors. It might be also possible to investigate the films within the gender perspective

Keywords

Turkish Cinema, disability in Turkey, social representations, interpretive phenomenological analysis, models of disability

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