THE RISE OF AMERICAN MASCULINITY AFTER 9/11 IN THE POPULAR CULTURE

Year 2023, Volume: 7 Issue: 3, 414 - 426, 21.10.2023

Selçuk Şentürk , Zeynep Şentürk

Abstract

In the wake of the devastating 9/11 attacks in the United States, a discernible increase in cinematic narratives emerged, often portraying dystopian worlds fraught with anxiety and uncertainty. This research aims to delve into the representations of women and the role of the 'Fathers Knew Best' figure in four selected post-9/11 dystopian films, namely “The Mist” (2007), “The Invasion” (2007), “The Happening” (2008), and “The Day the Earth Stood Still” (2008). These films are scrutinized through the lens of feminist film theory, which provides an insightful perspective into the portrayal of female characters within these narratives. The chosen films exhibit a range of female character roles, including a female protagonist, leading female characters, supporting figures, and a character initially resembling a femme fatale. In the post-9/11 era, social blame was often placed on empowered women, leading to the suppression of feminine agency and the reinforcement of the ‘Fathers Knew Best’ patriarchal symbol of power. This study explores how feminist film theory, as articulated by scholars like Laura Mulvey and Claire Johnston, can shed light on these representations. This study primarily focuses on the selected four movies within the framework of feminist film theory but extends its examination to narrative analysis, semiotics, and psychoanalysis, providing fresh perspectives for feminist film theory and critical analysis of classical cinema. Ultimately, it argues that film no longer merely reflects meanings but actively constructs them.

Keywords

Post-9/11 Cinema, Female Representation, Feminist Film Theory, Dystopian Films, Gender Roles

9/11 SONRASI AMERİKAN ERİLLİĞİNİN POPÜLER KÜLTÜRDEKİ YÜKSELİŞİ

Abstract

Amerika Birleşik Devletleri’ndeki yıkıcı 9/11 saldırılarının ardından, genellikle endişe ve belirsizlikle dolu distopik dünyaları tasvir eden sinematik anlatılarda gözle görülür bir artış gözlemlenebilir. Bu araştırma, 9/11 sonrası seçilmiş, “Sis” (2007), “İstila” (2007), “Olan Biten” (2008), “Dünyanın Durduğu Gün” (2008), adlı dört distopik filmde “En İyisini Babalar Bilir” figürünün kadın temsillerini ve rolü üzerindeki etkisini araştırmayı amaçlamaktadır. Bu filmler, kadın karakterlerin bu anlatılar içindeki temsillerine derinlemesine bir bakış açısı sağlayan feminist film teorisi ışığında incelemektedir. Seçilen filmler, bir kadın kahraman, önde gelen kadın karakterler, destekleyici figürler ve başlangıçta ölümcül bir kadına benzeyen karakter de dahil olmak üzere farklı durum ve şartlardaki kadın karakter rollerini öne çıkarmaktadır. 9/11 sonrası dönemde, toplumsal suçlama genellikle güçlenmiş kadın figürlerinin üstüne yüklendi, bu durum ise kadın iradesinin bastırılmasına ve ataerkil güç sembolü olan ‘Babalar En İyisini Bilir’ temsilinin güçlendirilmesine yol açtı. Bu çalışma, Laura Mulvey ve Claire Johnston gibi araştırmacıların geliştirdiği feminist film teorisinin bu temsillere nasıl ışık tutabileceğini araştırmaktadır. Araştırma öncelikle feminist film teorisi çerçevesinde seçilen dört filme tematik olarak odaklanır; anlatı analizi, göstergebilim ve psikanaliz okumaları aracılığı ile feminist film teorisi ve klasik sinemanın eleştirel analizine yönelik yeni perspektifler sunar. Sonuç olarak bu çalışma, filmlerin sadece anlamları ve anlatıları olduğu gibi bire bir aktarmadığını, hatta bu süreçleri aktif olarak inşa ettiğini savunmaktadır.

Keywords

9/11 Sonrası Sinema, Kadın Temsili, Feminist Film Teorisi, Distopik Filmler, Toplumsal Cinsiyet Rolleri

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