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Women in New Turkish Cinema

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Women in New Turkish Cinema Women in New Turkish Cinema: An Analysis of “Climates”, “Three Monkeys” and “Once upon a time in Anatolia” Öykü Peksel *Scene is from the film ” Three Monkeys” by Nuri Bilge Ceylan (2008 NBC Fılm) JMK, Journalism, Media and Communication Masters Degree, 30 hp Master Theses Media and Communications Studies Master Program (120 hp) Autumn 2011/Spring term 2012 Supervisor: Sven Ross The date of submission: 24th of May, 2012 1 Women in new Turkish Cinema: An Analysis of “Climates”, “Three Monkeys” and “Once upon a time in Anatolia” Öykü Peksel Abstract This study investigated the cinematic representations of women in ‘Climates’ ‘Three Monkeys’ and ‘Once upon a time in Anatolia’ created by Nuri Bilge Ceylan. It explored the image of women and the ideologies that affects them in the aforementioned films. For the analysis, semiotics is used and feminist film theory is applied. The findings indicated that the women images are affected by patriarchal ideology. Female characters were portrayed as weak or weakened by men regardless of their representative social group. The results showed similarities to Mulvey’s argument and to Friedan’s definition of feminine mystique. Male gaze dominates the visual pleasures and the female characters showed similar features as described by Mulvey and Friedan. Keywords new Turkish cinema, women, patriarchy, femininity, masculinity, film, feminist film theory, Mulvey, Semiotics 2 Contents 1. Introduction ........................................................................................................................................................... 4 2. Background ........................................................................................................................................................... 5 2. 1. Background of Turkish Republic and Its Relation with the Modernity: .......................................................... 5 2. 2. Turkish Cinema and the Arise of New-Wave movement ................................................................................. 6 3. Research Problem………………………………………………………………………………………………..8 3.1. Why Climates, Three Monkeys, Once upon a time in Anatolia are selected for this study? .......................... 10 4. Theoretical Framework: ...................................................................................................................................... 11 4.1. Feminist Film Theory and Mulvey: ................................................................................................................. 12 4.2 Friedan's classical term 'The feminine mystique'…………………………………………………………......14 4. 3. The Absence of Woman ................................................................................................................................. 15 5. Data collection and Methodology ....................................................................................................................... 15 5.1 Structural Semiology: ....................................................................................................................................... 17 5.2. Limitations of semiotics .................................................................................................................................. 19 6. The Analysis: ...................................................................................................................................................... 19 “Climates”, “Three Monkeys”, “Once upon a time in Anatolia” ........................................................................... 19 6.1 CLIMATES ...................................................................................................................................................... 20 6.1.1 The plot of Climates: ..................................................................................................................................... 20 6.1.2. Narrative, Characters and Meaning in Climates: Females are represented as good and valuable or bad and punishable. .............................................................................................................................................................. 21 6.1.3. Scenes, Moving Images and Meaning in Climates: ...................................................................................... 22 6.2. THREE MONKEYS ....................................................................................................................................... 27 6.2.2. Narrative, Characters and Meaning in Three Monkeys: When there is guilt it is usually a woman who causes that. .............................................................................................................................................................. 28 6.2.3. Images and Meaning in Three Monkeys: .................................................................................................... 29 6.3. ONCE UPON A TIME IN ANATOLIA ......................................................................................................... 31 6.3.2. Narrative, Characters and Meaning in Once upon a Time in Anatolia: Once more, the cause of the biggest problem is a woman. ............................................................................................................................................... 33 6.2.3. Images and Meaning in Once upon a time in Anatolia ................................................................................ 34 7. Conclusions ......................................................................................................................................................... 36 7.1. Analysis in Summary………………………………………………………………………………...………………...35 7.2. Limitations…………………………………………………………………………………….…………………...........39 7.3. Discussion……………………………………………………………………………………..………………………...39 8. Further research…………………………………………………………………………………………………………...40 9. References: .......................................................................................................................................................... 41 3 1. Introduction A neoliberal economic model has influenced Turkish nation since the 1980’s. During the 1980’s, a military coup had come to an end, initiating discussion of Turkey’s full integration into the global capitalist system started. The ensuing process of integration not only affected Turkey's economy and politics but also brought legal and technological changes that influenced particularly to the national cultural products and spurred Turkey’s modernization (see Keyder 1987). Although, the modernization and the liberalization processes were not entirely new to Turkish society, this period led to greater social change and has brought new aspects to the society. Despite modernization, however, Turkey, like many other countries in the world, still remains a patriarchal and male dominated state. Accordingly, throughout cinema history, cinematic representation of women has always been under patriarchal discourse (Erdogan cited in Soykan 1993). The aforementioned features of modernization have also had its effects on the new Turkish cinema. The researcher’s consideration for this study is that; how women are represented in the films of the globally respected Turkish filmmaker as Nuri Bilge Ceylan? Ceylan is distinctive from many new wave filmmakers, as his films ignore the larger political issues and rather focusing on individual stories. Despite undergoing political changes in Turkish society, he makes rather decidedly apolitical films. Recently, new Turkish cinema has become an appealing research area with studies centred around Turkey’s politics and identity crisis. Asuman Suner’s book, New Turkish Cinema: Belonging, Identity and Memory (2010), describes Turkish cinema’s awakening process after the military coup in 1980. In this book, Suner mainly reflects upon political issues in Turkey and their effects on the Turkish cinema. There has, however, been very little academic work done concerning the representation of women and/or how femininity and masculinity are represented in Turkish cinema. For instance, Deniz Derman wrote several reviews in 1996 on scholar Soykan’s book called The Woman in Turkish Cinema, 1920-1990, which investigates the representation of women in film during this period. However, Soykan’s book only covers the years from 1920 to 1990. Besides, another scholar Eylem Atakav, published a book named; Women and Turkish Cinema: Gender Politics, Cultural Identity and Representation 4 (2011) which focuses on women and Turkish cinema in the context of gender politics, cultural identity and representation throughout cinema history. While these studies explore some aspects of gender and cultural identity, neither has specifically focused on the cinematic representation of women in new Turkish cinema. Furthermore, a case study of a film by a Turkish director has never been conducted in academic terms. This study investigates the representation of women in Turkish cinema in relationship to patriarchal norms and values using three films. These three films are ‘Once upon a time in Anatolia’, ‘Three Monkeys’ and ‘Climates’ created by the modern Turkish director, Nuri Bilge Ceylan. Semiology will be the key method used to identify the signs, codes and myths and to distinguish between the naturalized and stereotyped representation of women. The study will be presented as following: Chapter 2, background of Turkish Republic and Turkish cinema will be given. In chapter 3, the research problem will be presented.
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