2010-2019 arası Türk korku filmlerinde kadın temsilleri: Siccin film serisi örneği
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Dosyalar
Tarih
2020
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Ege Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Dünya üzerindeki pek çok toplumda ataerki, erkeğin karşısında bir öteki olarak konumlandırdığı kadını çeşitli olumsuz niteliklerle tanımlandırıp onu kötülüğün ortaya çıkışıyla ilintilendirmiştir. İdeal kadın tipi, anne ve eş görevine indirgenmiş; cinselliği yadsınan kadının bedeni, erkeğin cinsel hazzı ve soyunun devamı için bir araç halini almıştır. Kadının itaatkar ve denetlenebilir toplumsal rolüne uygun davranmaması, eril imgelemde karşılığını çeşitli korku unsurlarıyla göstermiş; kadın ve onun cinselliğinden duyulan korku, ataerkil imgelemde cadı, büyücü kadın ve çeşitli kadın şeytani varlıklar ile görsel boyut kazanmıştır. Evrensel olarak, korku filmleri, ataerkil imgelemdeki korku imgelerini sıklıkla kullanırken; kronolojik olarak adil dünya inancı çerçevesinde toplumsal bağlamda olumlu özellikler taşıyan karakterlerin ödüllendirilip olumsuz özellikler taşıyanların cezalandırılmasıyla sonlanmaktadır. Toplumsal cinsiyet bağlamında korku sineması, güzel kadın bedeninin teşhirinin yanı sıra eril düzenin varlığını tehdit eden; kadın çirkinliğiyle vücut bulmuş kaosu kontrol altına almasını anlatmaktadır. Daha önceki yıllarda birkaç istisna dışında varlığından söz etmenin mümkün olmayacağı Türk Korku Sineması, 2000'li yıllardan günümüze kadar ele aldığı temalar, beslendiği kaynaklar ve sürekli ürettiği klişeler itibariyle bir akım halini almıştır. Bu yıllarda üretilen filmlerde, İslami anlamda cin, en yaygın kullanılan korku unsuru olarak kullanılmakta olup bu filmler, ilk kez Hollywood'da ortaya çıkan şeytan çıkarma filmlerinin yerel uyarlamaları olarak tarif edilebilir. Evrensel korku imgelerinin kullanılıp klişelerin yeniden üretilmesiyle ortaya konan bu filmlerin büyük bir kısmı özgünlük ve sinema estetiğinden uzak, ticari kaygılarla üretilmiş filmler olarak biçimlenmektedir. Yakın dönemde, kendi içinde bir özgünlük ve film dili yakalayabilmiş bazı filmler de mevcut olup yönetmen Alper Mestçi'nin 2014-2019 yılları arasında çektiği altı filmden oluşan Siccin film serisi, bu filmlere örnek verilebilir. Bu çalışmada, Siccin film serisinin tamamı, niteliksel içerik analizi yöntemiyle incelenmiş; her film çeşitli tablolar vasıtasıyla toplumsal cinsiyet bağlamında değerlendirilerek yorumlanmıştır.
In many societies around the world, patriarchy has defined the woman that positioned as another in front of the man with various negative qualities and associated the emergence of evil. The ideal female type is reduced to the duty of mother and wife; the body of the woman whose sexuality is denied has become a tool for the continuation of the male's sexual pleasure and lineage. The woman's failure to act in accordance with her obedient and auditable social role showed her response in masculine imagination with various horror elements; the fear of women and her sexuality has gained a visual dimension with the witch, sorceress and various female demonic beings in patriarchal imagination. Universally, horror films often use horror images in patriarchal imagery; chronologically, within the framework of fair world belief, it ends with rewarding the characters who have positive features and punishing those who have negative features. In the context of gender, horror cinema threatens the existence of the masculine order as well as the exposure of the beautiful female body; It tells the woman to control the chaos that has been incarnated by her ugliness. Turkish Horror Cinema, in which it will not be possible to mention its existence with a few exceptions in previous years, has become a trend in terms of the themes it has handled, the resources it has fed and the stereotypes it has produced since the 2000s. In the films produced in these years, the jinn is used as the most commonly used horror element in the Islamic sense, and these films can be described as the local adaptations of the exorcism films that first appeared in Hollywood. Most of these films, which are created by using universal horror images and reproducing stereotypes, are shaped as films produced with commercial concerns, far from originality and cinema aesthetics. Recently, there are some films that have been able to capture an originality and language of film in itself, and the Siccin film series, which consists of six films shot by director Alper Mestçi between 2014-2019, can be given as an example for these films. In this study, the entire Siccin movie series was analyzed by the method of qualitative content analysis; each film was evaluated in the context of gender through various tables and interpreted.
In many societies around the world, patriarchy has defined the woman that positioned as another in front of the man with various negative qualities and associated the emergence of evil. The ideal female type is reduced to the duty of mother and wife; the body of the woman whose sexuality is denied has become a tool for the continuation of the male's sexual pleasure and lineage. The woman's failure to act in accordance with her obedient and auditable social role showed her response in masculine imagination with various horror elements; the fear of women and her sexuality has gained a visual dimension with the witch, sorceress and various female demonic beings in patriarchal imagination. Universally, horror films often use horror images in patriarchal imagery; chronologically, within the framework of fair world belief, it ends with rewarding the characters who have positive features and punishing those who have negative features. In the context of gender, horror cinema threatens the existence of the masculine order as well as the exposure of the beautiful female body; It tells the woman to control the chaos that has been incarnated by her ugliness. Turkish Horror Cinema, in which it will not be possible to mention its existence with a few exceptions in previous years, has become a trend in terms of the themes it has handled, the resources it has fed and the stereotypes it has produced since the 2000s. In the films produced in these years, the jinn is used as the most commonly used horror element in the Islamic sense, and these films can be described as the local adaptations of the exorcism films that first appeared in Hollywood. Most of these films, which are created by using universal horror images and reproducing stereotypes, are shaped as films produced with commercial concerns, far from originality and cinema aesthetics. Recently, there are some films that have been able to capture an originality and language of film in itself, and the Siccin film series, which consists of six films shot by director Alper Mestçi between 2014-2019, can be given as an example for these films. In this study, the entire Siccin movie series was analyzed by the method of qualitative content analysis; each film was evaluated in the context of gender through various tables and interpreted.
Açıklama
Anahtar Kelimeler
Türk Korku Sineması, Toplumsal Cinsiyet, Çirkin Estetiği, Korku Sinemasında Öteki, Kadın Çalışmaları, Turkish Horror Cinema, Gender, Aesthetic of Ugliness, The Other in Horror Cinema, Women Studies
