StudentShare
Contact Us
Sign In / Sign Up for FREE
Search
Go to advanced search...
Free

The Representation of Women in New Turkish Cinema - Essay Example

Cite this document
Summary
Turkish films have been in existence for a considerable amount of time. The Turkish cinemas started in the 18th century with the introduction of the cinema halls by people from the neighboring Istanbul and various individuals of the Turkish origin…
Download full paper File format: .doc, available for editing
GRAB THE BEST PAPER98.4% of users find it useful
The Representation of Women in New Turkish Cinema
Read Text Preview

Extract of sample "The Representation of Women in New Turkish Cinema"

? The Representation of Women in New Turkish Cinema Task Turkish films have been in existence for a considerable amount of time.The Turkish cinemas started in the 18th century with the introduction of the cinema halls by people from the neighboring Istanbul and various individuals of the Turkish origin. Ever since this period, the Turkish cinema has grown tremendously to the current state. However, many questions have been put across, and even some answered by cinema directors concerning the concepts put across in the movies, as well as the identity of the women characters in the new cinema. The improvement in the popularity of the movies is seen as a greater contrast with the yester years of the Turkish movies. This has seen the rise of new directors into the film industry who immensely contributed to a new wave of the Turkish cinema (Cetin, 2008, 2). The local nature of the cinema most often is portrayed meaning movies that exhibit unique cultural fundamentals and terms of Turkish custom, amusement and historical context, could be grounds that viewers are drawn to these general movies of regional directors. These features are striking for a social order that wishes to identify themselves in movies but also nationality and distinctiveness in all its descriptions, profiles and forms are linked to this particular acknowledgment in cinema (Cetin, 2008, 5). However, New Turkish cinema has been hit by a wave of criticism over the representation of women. Presently, women are still being represented pessimistically in Turkish cinema. According to the observation of the various movies by Zeki Demirkubuz’s, the role of women has considerably been ignored by the fact that these movies put emphasis on the male characters (Suner, 2009). Failure to include women in these movies has sparkled protest on the representation of the male perspective and impartiality in the female role. In spite, the poor representation of women in the movies, prostitution prevails as a subtheme for most movies. The absence can be attributed to be negative in relation to gender politics (Suner, 2010, 21). These films have profoundly subordinated women to men. The absence is a representation of the patriarchal practices that are still prevalence within the Turkish society. This has never been in any way considered a coincidence as there female parts are extremely silenced. However, in reviews, the issue of silencing of women has never been addressed but only in a few articles around Turkey (Dadak & Kostepen, 2007). The case of imitating patriarchal customs is the basis of debates surrounding Zeki Demirkubuz movies. Demirkubuz’s role in challenging or reproducing patriarchy is indistinguishable. In a dialogue, with Altyaz? magazine, Zeki Demirkubuz castoffs that he does not include women in most of his movies; however he rejects feminist consideration of the person focusing on patriarchal affairs, sexism and male aggression (Ziraman, 2008). Demirkubuz’s declaration makes evident that he is not behind the patriarchal aggression on women, and physical, as well as spoken violence wielded on prostitutes (Operli & F?rat, 2007). The existence of patriarchal associations between actors, insults and domestic violence can be understood as awkward analysis of the social order, which is also subjected by gender social orders and patriarchy. Possible tribulations faced by women such as infidelity, rape, domestic brutality, rumors about morality are revealed in the movie in a normal way, which can be understood as the upholding of the patriarchy. The female standpoints and stories are set aside in most of these movies a complete show of the patriarchal practices. Turkish cinema can be considered a better source to understand the females struggle against silence in an attempt to ensure equality, as well as their identity (Ulusoy, 2010). Conversely, women feel lost within the dominated society where they are discriminated against (Umut, 2009). Despite the inclusion of women in various movies, they get included because they ought to be there based on their sex (Asli, 2010). According to some people, their belief is that cinema brings the awareness and tolerance for various cultures within individual nations. With respect to the early cinemas in the Turkish community, the cinemas were based on the Islamic patterns where women got beatings and insults as punishment. They believed that women are prone to frequent mistakes and should be punished regularly (Asli, 2010). The new era of these Turkish movies, show the women full of tears as well as pains of different levels as some of them are forced in being prostitutes. However, this gives a wrong impression of the Turkish women within the community as they are always made victims in the films (Aziz, 2010). The women are shown or depicted as the objects to fulfill men desires and not as the active subjects in the new wave of Turkish cinema (Suner, 2010, 21). Most Zeki Demirkubuz’s movies have political views although never engaged in any politics. The principal depiction is the gender politics although certainly not realistic; it can also be a way of creating self-awareness. The issue of representation of woman can be of paramount importance in the reflection of the gender equality in the Turkish cinema (Aytac & Onaran, 2009). In my opinion, the women within the Turkish society need to fight back and engage in the direction of some few movies a greater step to achieving the recognition in a male setting. Awareness should be created by the few women who think they are bold enough to take up the task of ensuring their influence is felt. Failure to address the issue will see more tarnishing of the Turkish woman in more cinemas that come up in the future. The feelings of suppression on the issue seem to indicate that the reflection on the cinema has some truth in it. To ensure that this uncertain situation does not seem to be true, the women should come up with strategies to counter the representation in the cinemas. In the modern world, everyone has the privilege to fight against what he or she thinks is unfair treatment. This can be achieved by taking the initiative on the matters at hand. The women should put up an end to the patriarchal practices that men bestow on them rather than keeping cool on the issue that has seen considerable undermining of female role within the Turkish society. The women in the Turkish setting should try to find identity and remove the grim impression about them that has already been portrayed. The directors within the Turkish cinema industry have to stop the patriarchal practices. Since they never admit to practices these norms or customs, then they ought to include the feminine role in their cinema. The tarnishing of the women image within the community should not be the paramount issue on the movies as these movies act as the cultural implications. Works Cited Asli, Ceyda, 2010, Women in Turkish Cinema, Web. November 15, 2011, Accessed at: Aytac, Senem & Onaran, Gozde, 2009, Young Turkish Cinema, Web. November 15, 2011, Accessed at: Aziz, Asyel, 2010, Research on Turkish Women in Media, Web. November 15, 2011, Accessed at: Dadak, Zeynep & Kostepen, Enis, 2007, Mental Minefields: The Dark Tales of Zeki Demirkubuz, Graphis Printing, Istanbul. Suner, Asuman, The Absent Women of New Turkish Cinema in New Turkish Cinema: Belonging, Identity and Memory. New York, NY, 2009. Suner, Asuman, ‘The Cinema of Zeki Demirkubuz’, New Turkish Cinema Belonging, Identity and Memory. New York, NY, 2010. Ulusoy, Nihal, 2010, Two Against To One: Women Interdependence in Turkish Cinema after 80’s, Web. November 15, 2011, Accessed at: Umut, Melis, The Transformation of the Representations of Motherhood in Turkish Cinema: From Angelic to Voluptuous Mothers, Web. November 15, 2011, Accessed at: Operli, Nadir & F?rat, 2007, Interview with Zeki Demirkubuz, Web. November 15, 2011, Accessed at: Ziraman, Zehra, 2008, Zeki Demirkubuz And “Kader”: Was It Fated To Be? Web. November 15, 2011, Accessed at: Read More
Cite this document
  • APA
  • MLA
  • CHICAGO
(“The Representation of Women in New Turkish Cinema Essay”, n.d.)
The Representation of Women in New Turkish Cinema Essay. Retrieved from https://studentshare.org/visual-arts-film-studies/1436758-discuss-the-representation-of-women-in-new-turkish
(The Representation of Women in New Turkish Cinema Essay)
The Representation of Women in New Turkish Cinema Essay. https://studentshare.org/visual-arts-film-studies/1436758-discuss-the-representation-of-women-in-new-turkish.
“The Representation of Women in New Turkish Cinema Essay”, n.d. https://studentshare.org/visual-arts-film-studies/1436758-discuss-the-representation-of-women-in-new-turkish.
  • Cited: 0 times

CHECK THESE SAMPLES OF The Representation of Women in New Turkish Cinema

Color in the Examples of Art Deco

The treasuries during his exhibit had large impact all over and the colors and design of the jewelries were bold and rich and launched a mania for Egyptian, turkish and various other exotic styles of ornamentation.... The treasuries during his exhibit had large impact all over and the colors and design of the jewelries were bold and rich and launched a mania for Egyptian, turkish and various other exotic styles of ornamentation.... Art Deco Movement was introduced to the world by the collective effort of various artists and designers, who converged together to present the world with new vision of future....
6 Pages (1500 words) Essay

British Film Culture

The presence of women in the film seems a little cursory, largely restricted to Lesley Sharp, Emily Woof, a few mouthy passers-by, and the crowds of the club scenes.... The joke is that the men aren't really learning a new skill that will alter their lives.... Then they see some women queuing to see a troupe of male strippers.... Meanwhile, Sheffield's women are still in work and ruling the roost.... They've even taken over the working men's club for women-only nights....
8 Pages (2000 words) Essay

Is Educating Rita a Comedy of Gender or Social Class

nbsp;… In general, it is essential to state that the film is a 'woman's film' in certain respects that dwell upon the conditions of women's lives and foreground questions of female desire.... So when these two characters from disparate social and economic backgrounds cross paths, new and interesting developments take place in both their lives....
7 Pages (1750 words) Movie Review

Locating Maus A Survivors Tale as Part of but also Distinct from Holocaust Literature

This paper, Locating Maus A Survivor's Tale, seeks to affirm that Maus: A Survivor's Tale is a distinctive account of the Holocaust.... It occupies its own space in the vast body of literature and art that has been generated in response to the Holocaust.... hellip; The paper will look into the question of the effectiveness of personal accounts....
8 Pages (2000 words) Research Paper

Movie The Charge of the Light Brigade

The paper "Movie The Charge of the Light Brigade" discusses that some subject matter is so interesting that it compels the movie makers to make films on the same topic.... The movies are still different in their setting and presentation though the background remains the same.... hellip; Woodham Smith in his 'The Reason Why' presents the events of the Charge of the Light Brigade in a way not done earlier in the British history and he shows truly that how the obstinacy and mismanagement of the Army can lead to a fatal consequence....
8 Pages (2000 words) Coursework

Role of Colour in the Film

Film communicates; it communicates the message conceived in the minds of its producer.... After forming the idea, a case in which is after identifying a story, a producers sets out to marshal all… There are several tools that a producer can possibly use to package a story; these are called elements of film production....
15 Pages (3750 words) Essay

How Representations of the Lola Figure Challenge Mainstream Ideas on Gender and Sexuality

nbsp;  This has lead to the call for images that are positive in terms of women in cinema soon however there is the insight that has dawned that the positive images were not sufficient in changing the underlying frameworks that were in the cinema industry (Finney, 2006, p.... The film was written in turkish and German but has subtitles that are in English and it runs for 94 minutes....
9 Pages (2250 words) Coursework

Gallipoli: Film Analysis

A six-year effort in the making, the photographs, diaries and letters of three Australians, two Britons, three New Zealanders and two turkish soldiers are presented from the beginning of the campaign to its end.... Interspersed with commentaries by war historians and re-enactments of shell-fire battles, trench-warfare and beach onslaughts, there is a wealth of grainy, black and white archival footage of the landings and the troops on both the Allies' and the turkish side....
16 Pages (4000 words) Essay
sponsored ads
We use cookies to create the best experience for you. Keep on browsing if you are OK with that, or find out how to manage cookies.
Contact Us