TY  - JOUR
T1  - From Stage to Screen: Intermediality and Gender Performance in Queen Lear
TT  - Sahneden Beyazperdeye: Kraliçe Lear’da Medyalararasılık ve Toplumsal Cinsiyet Performansı
AU  - Yılmaz, Cansu
PY  - 2025
DA  - October
Y2  - 2025
DO  - 10.59597/akademikaci.1796110
JF  - Akademik Açı
PB  - Ankara Bilim Üniversitesi
WT  - DergiPark
SN  - 1301-0697
SP  - 130
EP  - 153
VL  - 5
IS  - 2
LA  - en
AB  - Intermediality has become one of the most significant concepts in contemporary film and media studies, highlighting the ways cinema negotiates its borders with other art forms. Pelin Esmer’s Queen Lear (2019) exemplifies this negotiation by bringing Shakespeare’s canonical tragedy into dialogue with the lived experiences of five women from the Toros Mountains. At once a documentary, a record of performance, and a cinematic re-imagining, the film becomes a space where theatre and cinema intersect, overlap, and reconfigure one another. This article explores the film as a case of cinematic intermediality, tracing how Esmer’s camera reshapes theatrical performance through framing, montage, and sound, while simultaneously opening new horizons of meaning. Yet Queen Lear is not only about intermedial crossings; it is also about how gender itself is performed, embodied, and contested. Drawing on Judith Butler’s notion of performativity, the article examines how the women’s staging of King Lear produces a double performance: enacting Shakespeare’s characters while voicing their own stories of labor, struggle, and resilience. In this sense, Esmer’s film does not merely adapt Shakespeare but re-visions him from the margins, offering a feminist intervention that destabilizes cultural hierarchies and reframes tragedy through local and collective voices. Ultimately, Queen Lear demonstrates the transformative potential of cinema as both a medium of intermediality and a site of gendered resistance.
KW  - cinematic intermediality
KW  - gender performance
KW  - Shakespearean adaptation
KW  - performative documentary
KW  - film studies
N2  - Medyalararasılık, sinemanın diğer sanat formlarıyla sınırlarını nasıl müzakere ettiğini görünür kılarak çağdaş film ve medya çalışmalarında en önemli kavramlardan biri haline gelmiştir. Pelin Esmer’in Kraliçe Lear (2019) filmi, Shakespeare’in kanonik tragedyasını Toros Dağları’ndan beş kadının yaşam deneyimleriyle diyaloğa sokarak bu müzakereyi örnekler. Hem belgesel hem bir performans kaydı hem de sinemasal bir yeniden tahayyül olarak film; tiyatro ile sinemanın kesiştiği, üst üste bindiği ve birbirini yeniden şekillendirdiği bir mekâna dönüşür. Bu makale, filmi sinemasal medyalararasılığın bir örneği olarak ele almakta; Esmer’in kamerasının kadraj, kurgu ve ses aracılığıyla tiyatral performansı nasıl dönüştürdüğünü ve aynı anda yeni anlam ufukları açtığını incelemektedir. Ne var ki Kraliçe Lear yalnızca medyalararası geçişlerle ilgili değildir; toplumsal cinsiyetin nasıl sahnelendiği, bedenselleştiği ve tartışmaya açıldığıyla da ilgilidir. Judith Butler’ın performativite kavramına dayanarak, kadınların Kral Lear sahnelemesinin ikili bir performans ürettiği tartışılmaktadır: Shakespeare’in karakterlerini canlandırırken aynı zamanda kendi emek, mücadele ve direniş hikâyelerini dile getirmek. Bu bağlamda Esmer’in filmi Shakespeare’i yalnızca uyarlamakla kalmaz; onu marjinal bir bakış açısından yeniden görür, kültürel hiyerarşileri sarsan ve tragedyayı yerel ile kolektif sesler üzerinden yeniden çerçeveleyen feminist bir müdahale sunar. Sonuçta Kraliçe Lear, sinemanın hem medyalararası bir müzakere alanı hem de toplumsal cinsiyet direnişinin mekânı olabileceğini göstererek dönüştürücü potansiyelini ortaya koyar.
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UR  - https://doi.org/10.59597/akademikaci.1796110
L1  - https://dergipark.org.tr/tr/download/article-file/5296641
ER  -