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SILENT REPRESENTATIONS OF WOMEN IN THE NEW CINEMA OF TURKEY

Yıl 2010, Cilt: 1 Sayı: 2, 71 - 85, 15.05.2019

Öz

This article focuses on the representational form of the silent female that emerged in Turkish cinema after the mid-1990s. It not only explores the thematic and formal tendencies that the silent female characters share, but also reveals the different forms of verbal and visual control that is maintained over them by the filmic elements. Drawing upon representative examples, different types of silence -silencing silence, resisting silence, complete silence and speaking silence- in the new cinema are discussed on the verbal and visual levels. A close reading of the film Gemide (On Board) is drawn upon in order to reveal in detail the thematic and formal conventions of the most prevalent type, silencing silence.

Kaynakça

  • Akar, S. (Director/ Writer). (1998). Gemide [Motion picture]. Turkey: Yeni Sinemacılık.
  • Akbal-Süalp, Z.T. (1999). Allegori ve Temsil: Korkunun Yüzü ve Çığlığın İzleği Filmler III [Allegory and Representation: The Films as the Face of Horror and as the Course of Scream III]. 25. Kare, 26, 13-20.
  • Akbal-Süalp, Z. T. (2008). Violence: Muted Women in Scenes of Glorified Lumpen Men. In M. Grzinic & R. Reitsamer (Eds.), New Feminism: Worlds of Feminism, Queer and Networking Conditions (pp. 91-96). Vienna: Löcker.
  • Akbal-Süalp, Z. T. (2009). The Glorified Lumpen “Nothingness” versus Night Nevigations. In D. Bayrakdar (Ed.), Cinema and Politics: Turkish Cinema and The New Europe (pp. 221-231). Newcastle: Cambridge Scholars.
  • Algan, N. (1999). Türk Sineması’ 98: Avcı, Ağır Roman ve Gemide [Turkish Cinema’ 98: Hunter, Heavy Roman and On Board]. 25. Kare, 26, 55-58.
  • Altıoklar, M. (Director/ Writer). (1995). İstanbul Kanatlarımın Altında [Motion picture]. Turkey, Spain, Netherlands: Umut Sanat.
  • Arslan, S. (2009). New Cinema of Turkey. New Cinemas: Journal of Contemporary Film, 7(1), 83-97.
  • Ceylan, N. B. (Director/ Writer). (2002). Uzak [Motion picture]. Turkey: NBC Film.
  • Ceylan, N. B. (Director/ Writer). (2006). İklimler [Motion picture]. Turkey, France: Pyramide Films, NBC Film.
  • Chion, M. ( [1947] 1999). The Voice in Cinema. New York: Columbia University Press.
  • Çetin, S. (Director/ Writer). (1999). Propaganda [Motion picture]. Turkey: Plato Film.
  • Çetin, S. (Director/ Writer). (2007). Romantik [Motion picture]. Turkey: Plato Film, Geopoly.
  • Dallery, A. B. (1989). The Politics of Writing (the) Body: Écriture Féminine. In A. M. Jagger & S. R. Bordo (Eds.), Gender/Body/Knowledge. Feminist Reconstructions of Being and Knowing (pp. 52-67). New Brunswick & London: Rutgers University Press.
  • Demirkubuz, Z. (Director/ Writer). (1997). Masumiyet [Motion picture]. Turkey: Mavi Film.
  • Dorsay, A. (2004). Back from Neon Oblivion: Turkish Cinema Gets a New Lease on Life. Film Comment, 34(6), 11-12.
  • Dönmez-Colin, G. (2004). Women Islam and Cinema. London: Reaktion Books.
  • Giritlioğlu, T. (Director). (1999). Salkım Hanımın Taneleri [Motion picture]. Turkey: Avşar Film.
  • Gökçe, Ö. (2009). Landscapes of Loss in Contemporary Turkish Cinema. In D. Bayrakdar (Ed.), Cinema and Politics: Turkish Cinema and the New Europe (pp. 268-279). Newcastle: Cambridge Scholars Publishing.
  • Grosz, E. (1994). Volatile Bodies: Toward a Corporeal Feminism. Bloomington: Indiana University Press.
  • Irmak, Ç. (Director/ Writer). (2008). Ulak [Motion picture]. Turkey: Avşar Film.
  • Kuhn, A. (1997). The Body and Cinema: Some Problems for Feminism. In K. Conboy, N. Medina & S. Stanbury (Eds.), Writing on the Body (pp. 195-207). New York: Columbia University Press.
  • Lauretis, T. de. (1990). Eccentric Subjects: Feminist Theory and Historical Consciousness. Feminist Studies, 1, 115- 150.
  • Minh-ha, T. T. (1989). Woman, Native, Other. Indianapolis: Indianapolis University Press.
  • Modleski, T. (2005). The Women Who Knew Too Much: Hitchcock and Feminist Theory. London: Routledge.
  • Mulvey, L. (1989). Visual and Other Pleasures. Bloomington and Indianapolis: Indiana University Press.
  • Oğuz, A. (Director/ Writer). (2003). Asmalı Konak: Hayat [Motion picture]. Turkey: ANS Production.
  • Oktan, A. (2008). Türk Sinemasında Hegemonik Erkeklikten Erkeklik Krizine: Yazı-Tura ve Erkeklik Bunalımının Sınırları [From Hegemonic Masculinity to Masculinity Crisis in Turkish Cinema: Yazı Tura and the Limits of Masculinity Crisis]. Selçuk İletişim, 5(2), 152-166.
  • Pateman, C. (1988). The Sexual Contract. Cambridge: Polity Press.
  • Rich, A. (1979). On Lies, Secrets, and Silence. New York: W.W.Norton.
  • Sabancı, K. (Director/ Writer). (1999). Laleli'de Bir Azize [Motion picture]. Turkey: Yeni Sinemacılık.
  • Silverman, K. (1988). The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press.
  • Silverman, K. (1990). Dis-Embodying the Female Voice. In P. Erens (Ed.), Issues in Feminist Film Criticism (pp. 309-327). Bloomington and Indiana: Indiana University Press.
  • Turgul, Y. (Director/ Writer). (1996). Eşkıya [Motion picture]. Turkey: Filma Cass.
  • Ulusay, N. (2004). Günümüz Türk Sinemasında “Erkek Filmleri”nin Yükselişi ve Erkeklik Krizi [The Rise of “Male Films” and the Masculinity Crisis in Contemporary Turkish Cinema]. Toplum ve Bilim, 101, 144-161.
  • Ussher, J. M. (1997). Fantasies of Femininity: Reframing the Boundaries of Sex. New J.: Rutgers University Press.
  • Ustaoğlu, Y. (Director/ Writer). (2003). Bulutları Beklerken [Motion picture]. Turkey, Greece, France, Germany: Silkroad, Flying Moon Filmproduktion, Ideefixe Films.
  • Ünal, Ü. (Director/ Writer). (2001). 9 [Motion picture]. Turkey: PTT Film & Sayısal Video.

YENİ TÜRKİYE SİNEMASINDA SESSİZ KADIN TEMSİLLERİ

Yıl 2010, Cilt: 1 Sayı: 2, 71 - 85, 15.05.2019

Öz

Bu makale, Türk sinemasında 1990’lı yılların ortalarında boy gösteren yeni bir kadın temsil formuna odaklanmaktadır: sessiz kadınlar. Makale, sessiz kadın karakterlerin tematik ve biçimsel açıdan paylaştıkları eğilimleri araştırmakla kalmayıp, aynı zamanda bu karakterler üzerinde çeşitli filmsel unsurlarla sağlanan söylemsel ve görsel kontrolün farklı formlarını da ortaya koymaktadır. Yeni sinemadaki farklı tip sessizlikler –susturan sessizlikler, direnen sessizlikler, mutlak sessizlikler ve konuşan sessizlikler- örnekler üzerinden, söylemsel ve görsel açılardan tartışılmaktadır. Yaygın olarak görülen tipin –susturan sessizliklerin- tematik ve biçimsel özelliklerini detaylıca ortaya koymak için Gemide filminin ayrıntılı okumasından yararlanılmaktadır.

Kaynakça

  • Akar, S. (Director/ Writer). (1998). Gemide [Motion picture]. Turkey: Yeni Sinemacılık.
  • Akbal-Süalp, Z.T. (1999). Allegori ve Temsil: Korkunun Yüzü ve Çığlığın İzleği Filmler III [Allegory and Representation: The Films as the Face of Horror and as the Course of Scream III]. 25. Kare, 26, 13-20.
  • Akbal-Süalp, Z. T. (2008). Violence: Muted Women in Scenes of Glorified Lumpen Men. In M. Grzinic & R. Reitsamer (Eds.), New Feminism: Worlds of Feminism, Queer and Networking Conditions (pp. 91-96). Vienna: Löcker.
  • Akbal-Süalp, Z. T. (2009). The Glorified Lumpen “Nothingness” versus Night Nevigations. In D. Bayrakdar (Ed.), Cinema and Politics: Turkish Cinema and The New Europe (pp. 221-231). Newcastle: Cambridge Scholars.
  • Algan, N. (1999). Türk Sineması’ 98: Avcı, Ağır Roman ve Gemide [Turkish Cinema’ 98: Hunter, Heavy Roman and On Board]. 25. Kare, 26, 55-58.
  • Altıoklar, M. (Director/ Writer). (1995). İstanbul Kanatlarımın Altında [Motion picture]. Turkey, Spain, Netherlands: Umut Sanat.
  • Arslan, S. (2009). New Cinema of Turkey. New Cinemas: Journal of Contemporary Film, 7(1), 83-97.
  • Ceylan, N. B. (Director/ Writer). (2002). Uzak [Motion picture]. Turkey: NBC Film.
  • Ceylan, N. B. (Director/ Writer). (2006). İklimler [Motion picture]. Turkey, France: Pyramide Films, NBC Film.
  • Chion, M. ( [1947] 1999). The Voice in Cinema. New York: Columbia University Press.
  • Çetin, S. (Director/ Writer). (1999). Propaganda [Motion picture]. Turkey: Plato Film.
  • Çetin, S. (Director/ Writer). (2007). Romantik [Motion picture]. Turkey: Plato Film, Geopoly.
  • Dallery, A. B. (1989). The Politics of Writing (the) Body: Écriture Féminine. In A. M. Jagger & S. R. Bordo (Eds.), Gender/Body/Knowledge. Feminist Reconstructions of Being and Knowing (pp. 52-67). New Brunswick & London: Rutgers University Press.
  • Demirkubuz, Z. (Director/ Writer). (1997). Masumiyet [Motion picture]. Turkey: Mavi Film.
  • Dorsay, A. (2004). Back from Neon Oblivion: Turkish Cinema Gets a New Lease on Life. Film Comment, 34(6), 11-12.
  • Dönmez-Colin, G. (2004). Women Islam and Cinema. London: Reaktion Books.
  • Giritlioğlu, T. (Director). (1999). Salkım Hanımın Taneleri [Motion picture]. Turkey: Avşar Film.
  • Gökçe, Ö. (2009). Landscapes of Loss in Contemporary Turkish Cinema. In D. Bayrakdar (Ed.), Cinema and Politics: Turkish Cinema and the New Europe (pp. 268-279). Newcastle: Cambridge Scholars Publishing.
  • Grosz, E. (1994). Volatile Bodies: Toward a Corporeal Feminism. Bloomington: Indiana University Press.
  • Irmak, Ç. (Director/ Writer). (2008). Ulak [Motion picture]. Turkey: Avşar Film.
  • Kuhn, A. (1997). The Body and Cinema: Some Problems for Feminism. In K. Conboy, N. Medina & S. Stanbury (Eds.), Writing on the Body (pp. 195-207). New York: Columbia University Press.
  • Lauretis, T. de. (1990). Eccentric Subjects: Feminist Theory and Historical Consciousness. Feminist Studies, 1, 115- 150.
  • Minh-ha, T. T. (1989). Woman, Native, Other. Indianapolis: Indianapolis University Press.
  • Modleski, T. (2005). The Women Who Knew Too Much: Hitchcock and Feminist Theory. London: Routledge.
  • Mulvey, L. (1989). Visual and Other Pleasures. Bloomington and Indianapolis: Indiana University Press.
  • Oğuz, A. (Director/ Writer). (2003). Asmalı Konak: Hayat [Motion picture]. Turkey: ANS Production.
  • Oktan, A. (2008). Türk Sinemasında Hegemonik Erkeklikten Erkeklik Krizine: Yazı-Tura ve Erkeklik Bunalımının Sınırları [From Hegemonic Masculinity to Masculinity Crisis in Turkish Cinema: Yazı Tura and the Limits of Masculinity Crisis]. Selçuk İletişim, 5(2), 152-166.
  • Pateman, C. (1988). The Sexual Contract. Cambridge: Polity Press.
  • Rich, A. (1979). On Lies, Secrets, and Silence. New York: W.W.Norton.
  • Sabancı, K. (Director/ Writer). (1999). Laleli'de Bir Azize [Motion picture]. Turkey: Yeni Sinemacılık.
  • Silverman, K. (1988). The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press.
  • Silverman, K. (1990). Dis-Embodying the Female Voice. In P. Erens (Ed.), Issues in Feminist Film Criticism (pp. 309-327). Bloomington and Indiana: Indiana University Press.
  • Turgul, Y. (Director/ Writer). (1996). Eşkıya [Motion picture]. Turkey: Filma Cass.
  • Ulusay, N. (2004). Günümüz Türk Sinemasında “Erkek Filmleri”nin Yükselişi ve Erkeklik Krizi [The Rise of “Male Films” and the Masculinity Crisis in Contemporary Turkish Cinema]. Toplum ve Bilim, 101, 144-161.
  • Ussher, J. M. (1997). Fantasies of Femininity: Reframing the Boundaries of Sex. New J.: Rutgers University Press.
  • Ustaoğlu, Y. (Director/ Writer). (2003). Bulutları Beklerken [Motion picture]. Turkey, Greece, France, Germany: Silkroad, Flying Moon Filmproduktion, Ideefixe Films.
  • Ünal, Ü. (Director/ Writer). (2001). 9 [Motion picture]. Turkey: PTT Film & Sayısal Video.
Toplam 37 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Makale
Yazarlar

Özlem Güçlü Bu kişi benim

Yayımlanma Tarihi 15 Mayıs 2019
Yayımlandığı Sayı Yıl 2010 Cilt: 1 Sayı: 2

Kaynak Göster

APA Güçlü, Ö. (2019). SILENT REPRESENTATIONS OF WOMEN IN THE NEW CINEMA OF TURKEY. Sinecine: Sinema Araştırmaları Dergisi, 1(2), 71-85.

sinecine TR DİZİN ve FIAF tarafından taranmaktadır.