"Sevgi de Yetmiyormuş": Türk Filmlerinde Bağlanma Paradigmasını Düşünmek

Yıl 2021, , 68 - 87, 30.12.2021

Gizem Parlayandemir

https://doi.org/10.33464/mediaj.996258

Öz

İlişkiler, sinemasal anlatılarda temsil edilen konulardandır. Film metinlerindeki karakterlerin ilişki kalıpları, toplumsal cinsiyet uzlaşımlarının temsilini üretir, yeniden üretir ve yayar. Film metinlerindeki karakterler arasındaki ilişkiler, özellikle neoliberal paradigmanın yaydığı bireyciliği ve insan ilişkilerini onarmak için gereken emeğin yokluğunu normalleştiren söylemi oluşturur. Aynı zamanda temel ihtiyaçlarımız ve çatışmalarımız olan bağlanma kalıplarımız hakkında düşünmeyi de sağlarlar.
Bağlanma paradigması, bağlanma teorisi ve modellerine odaklanan davranışsal yaklaşımı tanımlar. Bağlanma kalıpları hem hikayelere hem de karakterlere göre değişebilir.
Bu çalışmada, 1965-2020 yılları arasında geniş bir zaman aralığından seçilen on Türk filmi, farklı bağlanma kalıplarını ve cinsiyet uzlaşımlarını tartışmak için söylem analizi ile analiz edilmiştir. Popüler filmler Vesikalı Yarim, Selvi Boylum Al Yazmalım Issız Adam ve Biz Böyleyiz; ve bağımsız filmler Sevmek Zamanı, Kader, Körleşme kaçınan, kaygılı, kaygılı-kaçınan bağlanma örneklerini tartışıyor. Popüler filmler Mucize ve Nadide Hayat, güvenli bağlanmayı farklı açılardan sorgulamaya örnektir. Gerçek Kesit: Manyak, güvensiz bağlanma ile erkeklik krizinin şiddetle ilişkisini ortaya koyduğu için uç bir örnek olarak seçilmiştir.

Anahtar Kelimeler

Bağlanma Paradigması ve Sinema, Bağlanma Paradigması ve Türk Filmleri, Türk Filmleri ve Toplumsal Cinsiyet Temsili.

“Even Love Was Not Enough”: Thinking About Attachment Paradigm Through Turkish Films

Öz

The relationships are the subjects represented in the cinematic narratives. The relationship patterns of the characters in the film texts produce, reproduce, and promulgate the representation of gender conventions. The relationships between the characters in the film texts form the discourse that normalizes the individualism propagated especially by the neoliberal paradigm and the absence of the labor that is required to repair human relations. They also allow thinking about our attachment patterns, which are our basic needs and conflicts at the same time.
The attachment paradigm describes the behavioral approach focusing on attachment theory and models. Attachment patterns can vary depending on both stories and characters.
In this study, ten Turkish films were selected from a wide range of time between 1965 and 2020 and analyzed with discourse analysis to discuss the different attachment patterns and gender conventions. The popular films Vesikalı Yarim, Selvi Boylum Al Yazmalım Issız Adam, and Biz Böyleyiz; and the independent films Sevmek Zamanı, Kader, and Körleşme are examples to discuss examples of avoidant, anxious, anxious-avoidant attachment. The popular films Mucize and Nadide Hayat are examples to question secure attachment from different perspectives. Gerçek Kesit: Manyak is chosen as an extreme example because it reveals the relationship between insecure attachment and the masculinity crisis with violence.

Anahtar Kelimeler

Attachment Paradigm and Cinema, Attachment Paradigm and Turkish Films, Turkish Films and Gender Representation.

Kaynakça

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