Bir Kadın Yönetmene Ait Sinemasal Dilin İnşası: Ana Yurdu (2015) Örneği

Öz

Feminist film kuramı, klasik sinemayı kadınları erkek bakışının nesnesi olarak konumlandırmakla eleştirir ve kadın yönetmenlerin sinema dilinin klasik sinema kodlarından farklı olup olmaması gerektiğini tartışır. Kadın yönetmenlerin sinemasal dili ile kadın bakışının inşasını ele alan çalışmalar alanyazında görece sınırlı kalmaktadır. Bu çalışma kadın yönetmene ait sinemasal dilde kadın bakış açısı ve söyleminin görsel, işitsel, anlatısal ve tematik unsurlar açısından nasıl inşa edildiğini ortaya koymayı amaçlamaktadır. Bu bağlamda öncelikle klasik sinemadan farklılaşan sinema akımları ile feminist sinema literatürüne yer verilmiş, ardından amaçlı ölçüt örnekleme yöntemi kullanılarak, Türk sineması kadın yönetmenlerinden Senem Tüzen’in Ana Yurdu (2015) filmi incelenmek üzere seçilmiştir. Film, sinematografi, mizansen, anlatı yapısı ve tematik analizi bütünsel olarak içeren filmsel anlatı analizi yöntemi ile analiz edilmiş ve geleneksel sinemadan farklılaşan unsurlar tespit edilmiştir. Bulgulara göre, kadın karakterin yaşadığı deneyimleri onun bakış açısından göstermek için uzun plan, tepki planı, orta ve geniş planlar, yakın plan, seçmeli netlik, montaj sekans gibi sinematografik öğeler kullanılmıştır. Karakterin duygularını seyirciye hissettiren aydınlatma, ses, dekor, mekân, kostüm ve oyunculuk gibi mizansen öğeleri gözlenmiştir. Anlatı yapısında filmin belirgin bir sonu olmaması, ana karakterin hedefinin bulanıklaşması, seyirciyi yabancılaştıran öğelerin varlığı ile anne kız ilişkileri ve kadınlar arası dayanışma gibi konuların ele alınması filmi klasik filmsel anlatı dilinden uzaklaştırmaktadır.

Anahtar Kelimeler

• Feminist Film Kuramı
• Kadının Sinemasal Dili
• Türk Sineması
• Senem Tüzen
• Ana Yurdu

Construction of a Female Director’s Cinematic Language: The Case of Motherland (2015)

Öz

Feminist film theory critiques classical cinema for positioning women as objects of the male gaze and questions whether the cinematic language of female directors should diverge from the conventions of classical cinema. Studies that address female directors’ cinematic language and the construction of the female gaze remain relatively limited in the literature. This study aims to reveal how the female perspective and discourse are constructed in visual, auditory, narrative, and thematic elements in the cinematic language of female directors. In this context, after discussing movements diverging from classical cinema and feminist film literature, Senem Tüzen’s Motherland (2015) is selected through a purposeful criterion sampling method as a case from Turkish women’s cinema. The film was analyzed through filmic narrative analysis, encompassing cinematography, mise-en-scène, narrative structure, and thematic elements to identify departures from traditional cinema. Findings indicate that long takes, reaction shots, medium and wide shots, close-ups, selective focus, and montage sequences were used to portray the female character’s experiences from her perspective. Mise-en-scène elements, including lighting, sound, set design, space, costume, and acting, contributed to conveying her emotions. The narrative structure includes an open ending, a protagonist with an unclear goal, alienation effects, and themes such as mother-daughter relationships and female solidarity, all of which deviate from classical cinema.

Anahtar Kelimeler

• Feminist Film Theory
• Women’s Cinematic Language
• Turkish Cinema
• Senem Tüzen
• Motherland

Kaynakça

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