Öz
In the wake of the devastating 9/11 attacks in the United States, a discernible increase in cinematic narratives emerged, often portraying dystopian worlds fraught with anxiety and uncertainty. This research aims to delve into the representations of women and the role of the 'Fathers Knew Best' figure in four selected post-9/11 dystopian films, namely “The Mist” (2007), “The Invasion” (2007), “The Happening” (2008), and “The Day the Earth Stood Still” (2008). These films are scrutinized through the lens of feminist film theory, which provides an insightful perspective into the portrayal of female characters within these narratives. The chosen films exhibit a range of female character roles, including a female protagonist, leading female characters, supporting figures, and a character initially resembling a femme fatale. In the post-9/11 era, social blame was often placed on empowered women, leading to the suppression of feminine agency and the reinforcement of the ‘Fathers Knew Best’ patriarchal symbol of power. This study explores how feminist film theory, as articulated by scholars like Laura Mulvey and Claire Johnston, can shed light on these representations. This study primarily focuses on the selected four movies within the framework of feminist film theory but extends its examination to narrative analysis, semiotics, and psychoanalysis, providing fresh perspectives for feminist film theory and critical analysis of classical cinema. Ultimately, it argues that film no longer merely reflects meanings but actively constructs them.
Anahtar Kelimeler
Post-9/11 Cinema Female Representation Feminist Film Theory Dystopian Films Gender Roles
Kaynakça
- Adler, A., Understanding Human Nature. Translated by Walter Beran Wolfe, Garden City Publishing, 1927.
- Baccolini, R., “Feminine Weakness and Restored Masculinity in Post-9/11 Science Fiction Cinema.” Utopia in the Present: Cultural Politics and Change, edited by Claudia Gualtieri, Peter Lang, 2018, pp.175-92.
- Bunting, M., “Women and War.” The Guardian, 20 Sep. 2001, www.theguardian.com/education/2001/sep/20/socialsciences.highereducation. Accessed 7 Oct. 2022.
- Carter, C., “Sex/Gender and the Media from Sex Roles to Social Construction and Beyond.” The Handbook of Gender, Sex, and Media, edited by Karen Ross, Blackwell Publishing, 2012, pp.365-82.
- Dowler, L., “Women on the Frontlines: Rethinking War Narratives Post 9/11.” GeoJournal, vol.58, no.2/3, 2002, pp.159-65.
- Faludi, S., Backlash: The Undeclared War Against American Women. Three Rivers Press, 1991.
- ---. The Terror Dream Fear and Fantasy in Post-9/11 America. Metropolitan Books, 2007.
- Gill, R., Gender and the Media. Polity Press, 2007.
- Goldstein, L., “Falwell: Blame Abortionists, Feminists and Gays.” The Guardian, 19 Sep. 2001, www.theguardian.com/world/2001/sep/19/September11.usa9. Erişim Tar.: 10 Ekim. 2022.
- Hedges, I., Breaking the Frame: Film Language and the Experience of Limits. Indiana University Press, 1991. Johnston, C., “Women’s Cinema as Countercinema.” Film Manifestos and Global Cinema Cultures: A Critical Anthology, edited by Scott MacKenzie, University of California Press, 2014, pp.347-56.
- Kellner, D., Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era. Blackwell Publishing, 2010. Lukinbeal, C., “The Map that Precedes the Territory: An Introduction to Essay in Cinematic Geography.” GeoJournal, vol.59, no.4, 2004, pp.247-51.
- Melnick, J. P., 9/11 Culture: America under Construction. Wiley-Blackwell, 2009.
- Mulvey, L., “Visual Pleasure and Narrative Cinema.” Film Manifestos and Global Cinema Cultures: A Critical Anthology, edited by Scott MacKenzie, University of California Press, 2014, pp.359-69.
- Pollard, T., Hollywood 9/11: Superheroes, Supervillains, and Super Disasters. Taylor and Francis, 2011. Smelik, A., And the Mirror Cracked: Feminist Cinema and Film Theory. Macmillan Press, 1998.
- Stiehm, J. H., “Neither Male nor Female: Neither Victim nor Executioner.” Male Roles, Masculinities and Violence: A Culture of Peace Perspective, edited by Ingeborg Breines, Robert Connell and Ingrid Eide, UNESCO Publishing, 2000, pp.223-30.
- Takacs, S., “Monsters, Monsters Everywhere: Spooky TV and the Politics of Fear in Post-9/11 America.” Science Fiction Studies, vol.36, no.1, 2009, pp.1-20.
- Tickner, A., “Feminist Perspectives on 9/11.” International Studies Perspectives, vol.3, no.4, 2002, pp.333-50. Walliss, J., “Doomsday America: The Pessimistic Turn of Post-9/11 Apocalyptic Cinema.” The Journal of Religion and Popular Culture, vol.23, no.1, 2011, pp.53-64.
- Young, I. M., “The Logic of Masculinist Protection: Reflections on the Current Security State.” W Stands for Women: How the George W. Bush Presidency Shaped a New Politics of Gender, edited by Michaele L. Ferguson and Lorl Jo Morso, Duke University Press, 2007, pp.114-39.
Öz
Amerika Birleşik Devletleri’ndeki yıkıcı 9/11 saldırılarının ardından, genellikle endişe ve belirsizlikle dolu distopik dünyaları tasvir eden sinematik anlatılarda gözle görülür bir artış gözlemlenebilir. Bu araştırma, 9/11 sonrası seçilmiş, “Sis” (2007), “İstila” (2007), “Olan Biten” (2008), “Dünyanın Durduğu Gün” (2008), adlı dört distopik filmde “En İyisini Babalar Bilir” figürünün kadın temsillerini ve rolü üzerindeki etkisini araştırmayı amaçlamaktadır. Bu filmler, kadın karakterlerin bu anlatılar içindeki temsillerine derinlemesine bir bakış açısı sağlayan feminist film teorisi ışığında incelemektedir. Seçilen filmler, bir kadın kahraman, önde gelen kadın karakterler, destekleyici figürler ve başlangıçta ölümcül bir kadına benzeyen karakter de dahil olmak üzere farklı durum ve şartlardaki kadın karakter rollerini öne çıkarmaktadır. 9/11 sonrası dönemde, toplumsal suçlama genellikle güçlenmiş kadın figürlerinin üstüne yüklendi, bu durum ise kadın iradesinin bastırılmasına ve ataerkil güç sembolü olan ‘Babalar En İyisini Bilir’ temsilinin güçlendirilmesine yol açtı. Bu çalışma, Laura Mulvey ve Claire Johnston gibi araştırmacıların geliştirdiği feminist film teorisinin bu temsillere nasıl ışık tutabileceğini araştırmaktadır. Araştırma öncelikle feminist film teorisi çerçevesinde seçilen dört filme tematik olarak odaklanır; anlatı analizi, göstergebilim ve psikanaliz okumaları aracılığı ile feminist film teorisi ve klasik sinemanın eleştirel analizine yönelik yeni perspektifler sunar. Sonuç olarak bu çalışma, filmlerin sadece anlamları ve anlatıları olduğu gibi bire bir aktarmadığını, hatta bu süreçleri aktif olarak inşa ettiğini savunmaktadır.
Anahtar Kelimeler
9/11 Sonrası Sinema Kadın Temsili Feminist Film Teorisi Distopik Filmler Toplumsal Cinsiyet Rolleri
Kaynakça
- Adler, A., Understanding Human Nature. Translated by Walter Beran Wolfe, Garden City Publishing, 1927.
- Baccolini, R., “Feminine Weakness and Restored Masculinity in Post-9/11 Science Fiction Cinema.” Utopia in the Present: Cultural Politics and Change, edited by Claudia Gualtieri, Peter Lang, 2018, pp.175-92.
- Bunting, M., “Women and War.” The Guardian, 20 Sep. 2001, www.theguardian.com/education/2001/sep/20/socialsciences.highereducation. Accessed 7 Oct. 2022.
- Carter, C., “Sex/Gender and the Media from Sex Roles to Social Construction and Beyond.” The Handbook of Gender, Sex, and Media, edited by Karen Ross, Blackwell Publishing, 2012, pp.365-82.
- Dowler, L., “Women on the Frontlines: Rethinking War Narratives Post 9/11.” GeoJournal, vol.58, no.2/3, 2002, pp.159-65.
- Faludi, S., Backlash: The Undeclared War Against American Women. Three Rivers Press, 1991.
- ---. The Terror Dream Fear and Fantasy in Post-9/11 America. Metropolitan Books, 2007.
- Gill, R., Gender and the Media. Polity Press, 2007.
- Goldstein, L., “Falwell: Blame Abortionists, Feminists and Gays.” The Guardian, 19 Sep. 2001, www.theguardian.com/world/2001/sep/19/September11.usa9. Erişim Tar.: 10 Ekim. 2022.
- Hedges, I., Breaking the Frame: Film Language and the Experience of Limits. Indiana University Press, 1991. Johnston, C., “Women’s Cinema as Countercinema.” Film Manifestos and Global Cinema Cultures: A Critical Anthology, edited by Scott MacKenzie, University of California Press, 2014, pp.347-56.
- Kellner, D., Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era. Blackwell Publishing, 2010. Lukinbeal, C., “The Map that Precedes the Territory: An Introduction to Essay in Cinematic Geography.” GeoJournal, vol.59, no.4, 2004, pp.247-51.
- Melnick, J. P., 9/11 Culture: America under Construction. Wiley-Blackwell, 2009.
- Mulvey, L., “Visual Pleasure and Narrative Cinema.” Film Manifestos and Global Cinema Cultures: A Critical Anthology, edited by Scott MacKenzie, University of California Press, 2014, pp.359-69.
- Pollard, T., Hollywood 9/11: Superheroes, Supervillains, and Super Disasters. Taylor and Francis, 2011. Smelik, A., And the Mirror Cracked: Feminist Cinema and Film Theory. Macmillan Press, 1998.
- Stiehm, J. H., “Neither Male nor Female: Neither Victim nor Executioner.” Male Roles, Masculinities and Violence: A Culture of Peace Perspective, edited by Ingeborg Breines, Robert Connell and Ingrid Eide, UNESCO Publishing, 2000, pp.223-30.
- Takacs, S., “Monsters, Monsters Everywhere: Spooky TV and the Politics of Fear in Post-9/11 America.” Science Fiction Studies, vol.36, no.1, 2009, pp.1-20.
- Tickner, A., “Feminist Perspectives on 9/11.” International Studies Perspectives, vol.3, no.4, 2002, pp.333-50. Walliss, J., “Doomsday America: The Pessimistic Turn of Post-9/11 Apocalyptic Cinema.” The Journal of Religion and Popular Culture, vol.23, no.1, 2011, pp.53-64.
- Young, I. M., “The Logic of Masculinist Protection: Reflections on the Current Security State.” W Stands for Women: How the George W. Bush Presidency Shaped a New Politics of Gender, edited by Michaele L. Ferguson and Lorl Jo Morso, Duke University Press, 2007, pp.114-39.
Ayrıntılar
| Birincil Dil | Türkçe |
|---|---|
| Konular | İletişim ve Medya Çalışmaları (Diğer) |
| Bölüm | Uluslararası Toplumsal Bilimler Dergisi Cilt 7 Sayı 3 |
| Yazarlar | |
| Erken Görünüm Tarihi | 20 Ekim 2023 |
| Yayımlanma Tarihi | 21 Ekim 2023 |
| Gönderilme Tarihi | 19 Ekim 2023 |
| Kabul Tarihi | 20 Ekim 2023 |
| Yayımlandığı Sayı | Yıl 2023 Cilt: 7 Sayı: 3 |
