COLOR, CLASS, AND GENDER: THE SOCIAL CONSTRUCTION OF WOMEN AND BEYOND IN ASGHAR FARHADI CINEMA

Year 2023, , 591 - 621, 23.03.2023

Zindan Çakıcı , Emre Meriç

https://doi.org/10.19145/e-gifder.1190696

Abstract

This study interrogates the films of Asghar Farhadi, who contributed to the international prominence of Iranian cinema, with a mixed-method approach in terms of women's representation. Quantitative data based on content analysis were deepened by textual analysis to negotiate the positive and negative meanings attributed to femininity in Asghar Farhadi's films. The research disclosed that all the female lead characters in the films are portrayed as passive characters who spends her days doing chores within the framework of the power relations determined by the patriarchal social structure. The social position of Iranian women in the patriarchal order was questioned by representing the female characters as economically and emotionally dependent on the males. It is discovered that the female lead characters wearing light-colored costumes are depicted as "honorable women", whereas the female lead characters wearing dark-colored costumes are depicted as "immoral women". These results demonstrated that the roles traditionally attributed to women in Iranian society were reinforced through the color tones.

Keywords

color, representation, woman, Iranian cinema, Asghar Farhadi

RENK, SINIF VE CİNSİYET: ASGHAR FARHADİ SİNEMASINDA KADININ TOPLUMSAL İNŞASI VE ÖTESİ

Abstract

Bu çalışma, İran sinemasının uluslararası alanda bilinirlik kazanmasında payı olan Asghar Farhadi'nin filmlerini, kadın temsili açısından karma yöntem yaklaşımı ile incelemiştir. İçerik analizine dayalı nicel veriler, metin analiziyle derinleştirilerek Asghar Farhadi filmlerinde kadınlığa yüklenen olumlu ve olumsuz anlamlar tartışılmıştır. Araştırma, filmlerdeki tüm başrol kadın karakterlerin ataerkil toplum yapısı içinde belirlenen iktidar ilişkileri çerçevesinde, ev işlerinden ibaret bir hayat sürdüren, pasif karakterler olarak tasvir edildiğini ortaya koymuştur. Kadın karakterler, ekonomik ve duygusal olarak erkeklere bağımlı bireyler olarak temsil edilerek, İranlı kadınların ataerkil düzendeki toplumsal konumu sorgulanmıştır. Filmlerde açık renkli kostüm giyen başrol kadın karakterlerin “namuslu kadınlar” olarak, koyu renkli kostüm giyen kadın karakterlerin “ahlaksız kadınlar” olarak temsil edildiği görülmüştür. Bu bulgular, İran toplumunda geleneksel olarak kadınlara atfedilen rollerin renk tonları üzerinden pekiştirildiğini göstermiştir

Keywords

renk, temsil, kadın, İran sineması, Asghar Farhadi

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