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Bilimkurgu Sinemasında Kadının Temsili Yükseklisans Tezi Ordu Ünv

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Bilimkurgu Sinemasında Kadının Temsili Yükseklisans Tezi Ordu Ünv T.C. ORDU ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ SİNEMA VE TELEVİZYON ANABİLİM DALI BİLİMKURGU SİNEMASINDA KADININ TEMSİLİ EMRAH KURT DANIŞMAN DOÇ. DR. ŞERMİN TAĞ KALAFATOĞLU YÜKSEK LİSANS TEZİ ORDU 2019 ÖNSÖZ VE TEŞEKKÜR “Göğü (kâinat, âlem, evren, uzay, gök) kudretimizle Biz kurduk ve Biz onu (göğü) genişletmekteyiz/Biz lütfu ve gücü çok geniş olanız. Yeri de (dünya) Biz döşedik. Biz ne güzel döşeyiciyiz. Düşünüp/akledip/idrak edip/ kavrayıp/ anlayıp ibret-öğüt alasınız diye her şeyden çift çift*(*eş-zıt: erkek-kadın, yer-gök, iyi-kötü, gece- gündüz, artı-eksi, beden-ruh, madde-mana, iman-inkâr, hak-batıl, hayat-ölüm, dünya-ahiret...) yarattık.” Kur'an-ı Kerim, Zâriyât Sûresi 47-49. Ayetler Herşeyin metalaşarak aslını ve anlamını yitirdiği teknoloji çağında, insanın “oku” ilk ilahi emri gereğince yaratılış ve maneviyatının farkına vararak hakikati kavraması ve ona yönelmesi önemli ve vazgeçilmez bir gerçek olarak belirmiş bulunmaktadır. Hayatı, alemi ve insanı görüntü diliyle okuma çabasının bir ürünü olarak ortaya çıkan sinema sanatının, insanın maneviyatı keşfetmesinde ve hakikate yönelmesinde, yaratılışa ve varoluşa uygun bir şekilde icra edilmesi büyük önem arz etmektedir. Bu gereklilikle bilimkurgu türünde kadın karakterlerin incelendiği tezde, türde yoğun olarak yapay ve insan dışı tasvirlerle metalaştırılarak sömürü nesnesine dönüştürülen kadının yaratılışa uygun rollerinin tespit edilerek filmsel analizlerde daha manevi temsillerinin açığa çıkarılması amaçlanmıştır. Bilimkurguya ilgi duymam, Müslüman kadın karakterli bilimkurgu filmleri (Devlet Ana, Son Kadın) tasarlamam ve film karakterlerinin hakikat, maneviyat ve mahremiyete uygun canlandırılması gerekliliğini önemsemem bu konunun seçilmesinde etkili olmuştur. Tez çalışmasının görünür hale gelmesinde en başta değerli Ailem, Hocalarım, Akrabalarım ve Arkadaşlarım olmak üzere birçok insanın emeği, fedakârlığı, özverisi, duası, yardımı, ilhamı, tavsiyesi, desteği ve katkısı bulunmaktadır. En başta, okur-yazar olmamasına rağmen elimden ve kalbimden tutarak bana ilk harfleri ve kelimeleri belletip okur-yazar olmamda hadsiz emeği bulunan canım Anamın ellerinde öpüyorum. “Bütün insanlar şerefi için yaşar” diyerek bana en değerli hayat nasihatini veren aziz Babamın ellerinde öpüyorum. Varlıklarıyla bana hep destek olan ve yol gösteren Ablama, Abime ve ailelerine sevgi ve hürmetlerimi sunarım. Sinema alanında yaptığım senaryo ve film çalışmaları ile eğitim çabalarımı hep takdir eden ve destekleyen amcalarım, teyzelerim, halalarım, dayılarım, yeğenlerim ve değerli ailelerine sevgi, selam ve saygılarımı sunarım. Gaün Sinema Tv lisans eğitiminde birlikte filmsel düşler kurduğumuz; düşsel filmler gerçekleştirdiğimiz ve sinemanın amacına kafa yorduğumuz “sinemacı” Dostlar ile Odü yüksek lisansta aynı yollardan geçtiğimiz “akademisyen adayı” Arkadaşlarıma, tez sürecinde verdikleri yardım, tavsiye, moral ve katkılardan dolayı teşekkürlerimi sunarım. Sinema sanatına olan ilgimin tezahüründe ve şekillenmesinde Hocalarıma çok şey borçluyum. Hayata ve sinemaya dair fikirleriyle, geliştirmeye çalıştığım Manevi Sinema anlayışını temellendirmeme ilham ve katkı sağlayan değerli hocam Dr. Öğr. Üyesi Sadık Battal’a; Tez süreci boyunca yaptığı öneri, görüş ve tavsiyeler ile tezi kapsamlı şekilde hazırlamama zemin oluşturarak süreç içinde Manevi Film Teorisi ve Eleştirisi yönteminin oluşturulması gereğini keşfetmemi sağlayan değerli danışman hocam Doç. Dr. Şermin Tağ Kalafatoğlu’na; Danışman hocamla birlikte tez çalışmasında Manevi Temsil’i tezin en önemli kazanımı ve neticesi olarak kavramsal boyutta da olsa görünür hale getirmeme katkı sağlayan değerli hocam Prof. Dr. Mehmet Yılmaz’a teşekkürlerimi bir borç bilirim. Tezde sinema sanatının film türleri ve karakterleri üzerinden incelenmesinde mevcut teori ve kuramlara ek olarak ideolojik çıkarımların da ötesinde manevi bakış ve kavrayışlarla analiz edilmesi ve çözümlenmesi yaklaşımı geliştirilmesi gereken kuramsal bir teori ve değerli bir yöntembilimsel tespit olarak belirmiş bulunmaktadır. Bu minvalde alanla ilgili özgün akademik çıkarımlara ulaşılması gerekliliği de tezde sağlanmaya çalışılmıştır. Lisans ve yüksek lisans eğitimim boyunca ve hayatta talebesi olmaktan her daim onur duyduğum, bilgi ve birikimleriyle sinemaya, sanata, hayata ve dünyaya bakışımı zenginleştiren değerli hocalarım; Doç. Dr. Şermin Tağ Kalafatoğlu, Öğr. Gör. Menekşe Meriç Avşar, Dr. Öğr. Üyesi Özge Nilay Erbalaban Gürbüz, Doç. Ali Sait Liman, Doç. Dr. Cavit Yavuz, Yrd. Doç Dr. Ufuk Uğur, Prof. Dr. Mehmet Yılmaz ve Dr. Öğr. Üyesi Sadık Battal’a tekraren teşekkürlerimi ve hürmetlerimi sunarım. Emrah Kurt / Temmuz 2019 / Bayram Köyü i İÇİNDEKİLER ÖNSÖZ VE TEŞEKKÜR.…..……………………………….………...………….i İÇİNDEKİLER..……..……………………………………………………………ii ÖZET……..……………..………………………………………………………..iv ABSTRACT…..……………………………………………………….…………..v KISALTMALAR DİZİNİ……….………………………………………..……...vi TABLOLAR DİZİNİ ………...……………………………………...…………..vii GÖRSELLER DİZİNİ ………………………………..………………………...viii GİRİŞ .…………………………………….…………………………………....…1 PROBLEM….………………………………………………………..…….….4 AMAÇ ..…….……………………………………………………………...….6 ÖNEM ..…………………………………….………………………….……...6 VARSAYIMLAR……………………………………………….….………....8 SINIRLILIKLAR..………………….……………………………………...….9 TANIMLAR...…………………………….……………………….………....10 YÖNTEM ….………………………………………………………...….…...10 KAPSAM .….………………………………………………………......…....12 1. BÖLÜM BİLİMKURGU SİNEMASI………………….………………………...…....15 1.1. EDEBİ BİR TÜR OLARAK BİLİMKURGU……………………..…....15 1.1.1. Bilimkurgunun Doğuşu ve Tanımı ……………………………....15 1.1.2. Bilimkurgu Edebiyatının Gelişimi ……………………………….17 1.2. POPÜLER BİR TÜR OLARAK BİLİMKURGU SİNEMASI ……..….21 1.3. BİLİMKURGU SİNEMASININ TARİHSEL GELİŞİMİ ……………..22 1.3.1. Sessiz Dönem Bilimkurgu Filmleri (1900-1930)……………..….23 1.3.2. Erken Dönem Bilimkurgu Filmleri (1930-1950)…..…..…………25 1.3.3. Bilimkurgu Sinemasının Altın Çağı (1950’ler)……….……...…..27 1.3.4. Bilimkurgu Sinemasının Olgunlaşma Dönemi (1960-1980)……..30 1.3.5. Popüler Bilimkurgu Sinemasının Yükselişi (1980-2000)……..…32 1.3.6. Görsel Tekrarlar ve Dijital Aşırılıklar Çağı (2000 ve Sonrası)…..36 2. BÖLÜM BİLİMKURGU VE KADIN....……….…………………………..………….40 2.1. FEMİNİST BİLİMKURGUNUN TANIMI VE GELİŞİMİ. ….………..41 2.2. FEMİNİST BİLİMKURGUNUN ÖNCÜLERİ ………………………...43 2.3. FEMİNİST BİLİMKURGUNUN TEMA VE KAVRAMLARI.…..…...48 3. BÖLÜM BİLİMKURGU SİNEMASINDA KADININ TEMSİLLERİ ……….............57 3.1. DİSTOPİK KADIN TEMSİLLERİ ………………..…………..……… 62 3.1.1. Distopyada Arabulucu Kadın Temsili "Metropolis"……………..63 3.1.2. Distopyada Dönüştürücü Kadın Temsilleri………………………65 3.1.3. Distopya Filmlerinde Doğurgan Kadın Temsilleri……………….67 3.1.4. 2000 Sonrası Distopyalarda Aşk, Cinsellik ve Özgürlük.……......71 3.1.5. Distopyada Eylem Kızları ve Despot Kötü Kadınlar…………….74 3.1.6. Feminist Distopyalarda Kadın……………………………………76 3.2. BİLİM KADINI TEMSİLLERİ …………………………..………….…80 ii 3.2.1. Bilim Kadını Temsillerinin Tarihsel Gelişimi……………………80 3.2.2. İdealist Bilim Kadını Temsili "Contact"..………………………..82 3.2.3. Koruyucu Bilim Kadını Temsili "Avatar"………………………..83 3.2.4. Astronot Bilim Kadınları "Gravity ve Diğerleri"…….…………..85 3.2.5. Aracı Bilim Kadını Temsilleri: "Arrival ve Annihilation"….…. .86 3.3. UZAY KADINI/ GALAKTİK KADIN TEMSİLLERİ ...….…….….…90 3.3.1. Uzay Operaları ve Kadın Stereotipleri…………………………...90 3.3.2. Gezgin Kadın Temsilleri: "Forbidden Planet ve Barbarella"…….91 3.3.3. Uzay Kadını Temsilleri: "Star Trek ve Star Wars"………………93 3.3.4. 1980-2000 Arası Uzay Kadınları ………………………………...95 3.3.5. 2000 ve Sonrasında Uzay Kadınları…………………………….96 3.4. YABANCI/ YARATIK/ CANAVAR KADIN TEMSİLLERİ …........102 3.4.1. Canavar Kadınlar:1930’lar ve 1950’ler………………………....103 3.4.2. Yabancı Kadınlar:1970’ler ve 1980’ler…………………………105 3.4.3. Yaratık/Yapay Kadınlar: (1990’lar ve 2000’ler)……………......106 3.4.4. Femme Fatale Uzaylı Kadın Temsili: "Under The Skin"...…….109 3.4.5. Empatik (Yabancı/Yaratık) Kadın Temsilleri…………………..111 3.5. SÜPER KAHRAMAN KADIN VE EYLEM KIZI TEMSİLLERİ......116 3.5.1. Kız Arkadaş, Sevgili ve Yardımcı Karakterler………………….117 3.5.2. Eylem Kızı Stereotipleri………………………………………...121 3.5.3. Süper Kahraman Ekiplerinde Militarist Kadınlar…………….…127 3.5.4. "Feminist" Kadın Süper Kahraman Filmleri…………………....134 3.6. SANAL/ SİBER/ DİJİTAL/ GÖRSEL KADIN TEMSİLLERİ ……....142 3.6.1. Sanal Kadınlar: Sanal Dünyada Cinsellik, Şiddet ve Aşk………143 3.6.2. Siber Kadınlar: Siberuzayda Kadın Görünümleri ………………151 3.6.3. Dijital Kadınlar: Fanilik, Bedensizlik ve Ölüm…………………156 3.6.4. Görsel Kadınlar: Kusursuz Güzellik Efektleri…………….….…161 3.7. ROBOT/ CYBORG/ ANDROİD KADIN TEMSİLLERİ.……… …...164 3.7.1. Kötücül Kadın Androidler: Terörize Edilen Kadınlar …………164 3.7.2. Eş, Sevgili, Partner ve Arkadaş; Romantize Edilen Robotlar…..175 3.7.3. Savaşçı Kadın Cyborglar: Militarize Edilen Kadınlar………….184 3.8. BİLİMKURGU SİNEMASINDA GÜÇLÜ KADIN TEMSİLLERİ.…196 3.8.1. Koruyucu Anne Arketipleri: "Ellen Ripley ve Sarah Connor"….199 3.8.2. Doğa Koruyucu Kadın Arketipleri:"Neytiri ve Furiosa".…….....209 3.9. BİLİMKURGU SİNEMASINDA KADIN KARAKTERLER VE TEMSİLLERİ: TABLO 4 GENEL DEĞERLENDİRME..…..…..…....229 SONUÇ……………………………………………………………………..….. 243 KAYNAKÇA ………………………………………………….…………….....257 EK-1. FİLM LİSTESİ ………………………….…….………………..….........263 EK-2.TANIMLAR VE KAVRAMLAR………………………………...….......268 EK-3. KADIN KARAKTERLİ BİLİMKURGU FİLMİ AFİŞLERİ……….......275 ÖZGEÇMİŞ …………..……….……………………….………………..…......283 iii ÖZET BİLİMKURGU SİNEMASINDA KADININ TEMSİLİ Kurt, Emrah Yüksek Lisans, Sinema Televizyon Anabilim Dalı Tez Danışmanı: Doç. Dr. Şermin TAĞ KALAFATOĞLU Temmuz
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