Man’s Tongue, Woman’s Poison: Deadloch, A Feminist Crime Comedy in the Genre of Police Crime Drama

Yıl 2025, Cilt: 9 Sayı: Toplumsal Cinsiyet Özel Sayısı, 191 - 207, 27.09.2025

Selda Tunç Subaşi , Yonca Güneş Yücel Atalay

https://doi.org/10.25295/fsecon.1704449

Öz

We argue that Deadloch transforms the conventions of the police crime drama into a feminist dark comedy that employs queer humor and “soft” methods of violence to expose and critique patriarchal, colonial, and heteronormative power structures. This study aims to analyze Deadloch, a feminist dark comedy, through multiple concepts such as discourse, gender, identity, colonial criticism, and justice. Analysis becomes possible at the intersection of these concepts. In the story set on the island, attempts are made to solve the serial murders and find the killer. In choosing the “island” spatially, its function as a closed microcosm in which social norms and power relations are reproduced is also foregrounded as a metaphor. The victims whose tongues are cut out in the murders are men. In the series where the displacement and redirection of gender identities are realized with humor, the main issue is to overcome binary oppositions such as public/private, female/male, emotion/reason, rational/irrational, love/hate, and pleasure/pain. These binary oppositions are tried to be overcome in a place where emotions are queerized. Emotions blur the fixity of identities, the performativity of masculinities, and the spatial traces of the colonial past in the stories of the series' characters, opening to the past and present. The series uses the cross-genre transitivity and captures this through humor to realize the feminist fantasy of justice. The conflict experienced in the town between the locals and the newcomers also shows the cultural embeddedness of hegemonic masculinity practices. The study asks, first, how humor functions in the aestheticization of crime and violence. Secondly, it asks how narrative structures that disrupt gender stereotypes invite the audience into a new ethico-political space and how social positions such as race, class, culture, and colonial memory intersect in this narrative where crime is coded with femininity. In the study, the method of feminist close reading is used in accordance with the concept of intersectionality, and multiple concepts (gender, identity, class, culture, culture, colonial memory) are analyzed along with the crime comedy under scrutiny. The conflict between conservatives and lesbians begins when two female detectives, Dulcie and Redcliffe, take on the murder. As the murder remains unsolved and the serial killer remains elusive, the polarization and conflict between the locals and the newcomers become more and more apparent, and the issues around sexual identity, class, and hegemonic masculinity become more and more visible.

Anahtar Kelimeler

Feminist Film Noir , Police Crime Drama , Violence , Humor , Queer

Erkeğin Dili, Kadının Zehri: Deadloch, Polisiye Türünde Bir Feminist Suç Komedisi

Öz

Bu çalışma, bir feminist kara komedi olan Deadloch dizisini söylem, cinsiyet, kimlik, kolonyalizm eleştirisi, adalet gibi çoklu kavramlarla analiz etmeyi hedeflemektedir. Bu kavramların kesiştiği noktalarda analiz mümkün hale gelebilmektedir. Adada geçen hikâyede, işlenen seri cinayetler çözüme kavuşturulmaya, seri katil bulunmaya çalışılır. Cinayetlerde dilleri kesilerek öldürülen kurbanlar erkeklerdir. Cinsiyet kimliklerinin yer ve yön değiştirmelerinin mizahla gerçekleştiği bu dizide, kamusal/özel, kadın/erkek, duygu/akıl, rasyonel/irrasyonel, sevgi/nefret, haz/acı gibi ikilikleri aşmak temel meseledir. Bu ikilikler duyguların queerleştiği yerde aşılmaya çalışılmaktadır. Duygular, dizide karakterlerin geçmişe ve şimdiye açılan hikâyelerinde kimliklerin sabitliğini, erkekliklerin performatifliğini, kolonyal geçmişe ait mekânsal izleri bulanıklaştırmaktadır. Dizi, mizahla yakaladığı türsel geçişliliği, feminist adalet fantezisini gerçekleştirmek için kullanır. Çalışmada, ilk olarak, mizahın suçun ve şiddetin estetikleştirilmesinde nasıl bir işlev gördüğü sorusu sorulur. İkinci olaraksa, cinsiyet stereotiplerini bozan anlatı yapılarının izleyiciyi nasıl yeni bir etik-politik alana davet ettiği ve suçun kadınlıkla kodlandığı bu anlatıda, ırk, sınıf, kültür ve kolonyal hafıza gibi toplumsal konumların nasıl kesişmekte oldukları soruları sorulmaktadır. Cinayet çözülemedikçe, seri katil bulunamadıkça yerli halk ve yeni gelenler arasındaki kutuplaşma ve çatışma giderek kendini belli etmeye cinsel kimlik, sınıf ve hegemonik erkeklik kavramları etrafındaki sorunlar daha da görünür olmaya başlar.

Anahtar Kelimeler

Feminist Film Noir , Suç Polisiyesi , Şiddet , Mizah , Queer

Kaynakça

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