Travma, İntikam ve Özneleşme Seyri: Hollywood’da Domestic Noir

Yıl 2026, Sayı: 17 , 478 - 504 , 30.04.2026

Ece Erol , Emre Ertürk

https://doi.org/10.32739/etkilesim.2026.9.17.346

https://izlik.org/JA72ZF53EL

Öz

Sinema, son bir asır boyunca yalnızca izleyicileri eğlendirmekle kalmayıp, aynı zamanda üretildiği coğrafyanın toplumunu, tarihini ve kültürel dinamiklerini anlamamıza olanak tanıyan, günümüze kadar gelebilmeyi başarabilmiş önemli bir sanat dalıdır. Öyle ki 20. yüzyılda sinema Amerika Birleşik Devletleri’nde en popüler ve etkili kültür aracı olarak kabul edilirken, tür sinemasının da büyük ölçüde Hollywood merkezli olarak ortaya çıktığı görülmüştür. Bu türlerden biri olan film noir’ın alt türü olarak 2013 yılında ortaya çıkan domestic noir, odağına kadın deneyimlerini alarak feminist bir bakış sunar. Bu doğrultuda çalışmada, Amerikan sinemasında domestic noir alt türünün başlangıcı olarak kabul edilen Gone Girl ve yine bu türe ait kabul görmüş sinema uyarlamalarından olan The Girl on the Train ile The Woman in the Window filmleri, Tzvetan Todorov’un beş aşamalı akış modeli ile analiz edilmiştir. Araştırmanın temel amacı, domestic noir alt türünün film noir’dan farklılaşan anlatı yapısı ve karakter tipolojisini ortaya koymak, özellikle feminist bir perspektifle kadın karakterlerin etkinleşmesini ve erkek egemen noir anlatısının yapıbozumunu anlamaya katkı sağlamaktır. Bulgular, domestic noir’ın klasik film noir’a dair karanlık atmosferini ve anlatı unsurlarını kısmen taşımakla birlikte, anlatının merkezine kadın deneyimlerini, ev içi dinamikleri ve psikolojik travmaları koyarak özgün bir anlatı ve karakter tipolojisi geliştirdiğini göstermektedir.

Anahtar Kelimeler

Domestic Noir , Gone Girl , The Girl on the Train , The Woman in the Window , film noir

Trauma, Revenge and the Process of Subjectivation: Domestic Noir in Hollywood

https://izlik.org/JA72ZF53EL

Öz

Cinema has, for more than a century, been an important art form that not only entertains audiences but also provides insight into the society, history, and cultural dynamics of the contexts in which it is produced. Indeed, in the twentieth century, cinema was widely regarded as the most popular and influential cultural medium in the United States, while genre cinema largely emerged as a Hollywood-centered phenomenon. Domestic noir, which emerged in 2013 as a subgenre of film noir, offers a feminist perspective by focusing on women's experiences. Accordingly, this study analyzes Gone Girl, considered the starting point of the domestic noir subgenre in American cinema, as well as The Girl on the Train and The Woman in the Window, widely recognized film adaptations associated with this subgenre, using Tzvetan Todorov's five-stage narrative model. The main objective of the research is to reveal the narrative structure and character typology through which the domestic noir subgenre diverges from film noir and, in particular, to contribute to understanding the empowerment of female characters and the deconstruction of the male-dominated noir narrative from a feminist perspective. The findings indicate that although domestic noir partially retains the dark atmosphere and narrative elements of classical film noir, it develops a distinctive narrative structure and character typology by placing women's experiences, domestic dynamics, and psychological trauma at the center of the story.

Anahtar Kelimeler

Domestic Noir , Gone Girl , The Girl on the Train , The Woman in the Window , Film Noir.

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