Yerli filmler kadınlara sunulan dünya tasarımları: 1960-1975
Diegetic worlds presented to women in Turkish films: 1960-1975
- Tez No: 41457
- Danışmanlar: PROF. DR. NİLGÜN ABİSEL
- Tez Türü: Yüksek Lisans
- Konular: Radyo-Televizyon, Radio and Television
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1995
- Dil: Türkçe
- Üniversite: Ankara Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 162
Özet
Özet yok.
Özet (Çeviri)
This M. A. thesis is about the pleasures that women spectator recieves from the“happy ending”Turkish melodramas produced between 1960 and 1975. In the introduction, the importance of the period examined in the analysis is underlined. The fifteen year period was picked because of the popularity of the melodramas at that time and especially because of its private bond with the women spectator. The type of these melodramas are defined as feminine, because the central character is woman and the central theme is love. This thesis, on the other hand, describes the melodramas as one of the cultural forms. This particular point of view to culture and cultural forms originates from the approach the cultural studies which altered the direction of the discussions about“high”and“low”art. This study defines the melodramatic narration as a genre not only that reproduces the dominant patriarchal system but also one that offers alternative pleasures to the women spectator because of its structural dilemmas. The aim is to discover which narrative strategies were present in this narrative structure that appeals the women spectator. Women spectator becomes the 'ideal other1 represented by the 'woman star1 by means of transforming the identification and the filmic reality to a fantastic reality. She also experiences the pleasure of the courtship prosess. The specific nature of movie-watching -darkness, being isolated from others and the illuminated screen- causes the psychological processes come into effect and give personal pleasures. At the same time, it causes a relief because of the sense of the collectivity that makes one think the feeling is shared by the others. The conventions of the Turkish melodramas leads the spectator to watch the movies with a feeling of familiarity'. However, these conventions 154with their effect of awareness also makes the spectator distance herself from the film. That is, the exaggerated similarity of conventions causes this genre to become a parody. In this context, the fact that fictional world places the woman in traditional position is distorted because of its parodical quality. In conclusion, the analysis of the films“Ayşem”and“Seni Sevmek Kaderim”is to prove that the motive for watching melodramas cannot be explained by the reproduction of the dominant patriarchal ideology. The women spectator, in fact, experiences the pleasure of the excitement derived from the conflicts between man and woman and of the tensions of love presented with close-up's. Melodramatic narration as a genre that eliminates the unconscious fears and desires that are kept under pressure offers the women 'the life of the other1.
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