The most relatable science fiction is based on robots, including, in Turkish cinema, the films Uçan Daireler İstanbul’da (Orhan Erçin, 1955), Yılmayan Şeytan (Yılmaz Atadeniz, 1972), Turist Ömer Uzay Yolunda (Hulki Saner, 1973), Çılgın Kız ve Üç Süper Adam (Cavit Yürüklü, 1973), Dünyayı Kurtaran Adam (Çetin İnanç, 1982), Japon İşi (Kartal Tibet, 1987), G.O.R.A. (Ömer Faruk Sorak, 2004), and Arif V 216 (Kıvanç Baruönü, 2018). This study employs thematic analysis to determine how robot identity is represented in these films. It arrives at the following list of themes: robots with a name, robots with an identity and personality, servant robots, robots by social gender codes, robots by physical appearance (design), robots as the other, and robots that desire to be human. Films use robots for a purpose. The owners of robots generally aim to take over the world, and their robots function as a means toward this end. The robot/gynoid may be a “perfect housewife” who obeys social gender codes; or, in the employ of mad scientists seeking global domination, robots may be nameless automatons. Robots appear gray in color, metallic, and human in form, moving in a mechanical way. Robots are also clearly marked by their distinctive physical appearance as “the other” and are marginalized through their design, language, servitude. Yet, though often seen as lacking personality and identity, robots sometimes fall in love or desire to be human, therefore serving as reminders of what it is to be human and what it means to love.
Science fiction, robot, Turkish cinema, thematic analysis, representation
|Yayımlanma Tarihi||8 Ekim 2021|
|Yayınlandığı Sayı||Yıl 2021, Cilt 12, Sayı 2|
sinecine TR DİZİN ve FIAF tarafından taranmaktadır.