Representations of Madness in Turkish Cinema within the Context of Gender Roles in the Film ‘Teyzem’

Yeşim Argın

Makale detayları

Representations of Madness in Turkish Cinema within the Context of Gender Roles in the Film ‘Teyzem’

Yazarlar:

Yeşim Argın

Yayıncı:

Kastamonu University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Kastamonu İletişim Araştırmaları Dergisi Issue 12, pp.177-200

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001320514

pISSN:

2667-727X

Anahtar kelimeler:

Özet:

 Throughout the ages, people have evaluated insanity as a female-specific illness, although it encompasses many social, cultural, legal, economic, political, and medical definitions. This situation is often treated in the cinema, and women described as crazy are generally described as emotional, weak and powerless. Thus, it can be said that women are transformed into victims by being represented in a passive structure and transformed within the framework of the norms imposed on them by the patriarchal structure, for those who go beyond the roles ascribed to women in a patriarchal social structure are described as disruptive, destructive, and unbalanced. In this vein, women who resist submission to the patriarchal structure in the context of gender roles are treated as part of a problem of order and labelled as mentally ill. This study focused on the problem of how the character of Üftade, the leading actress, is defined as mentally ill when she goes beyond the female roles assigned by the patriarchal system, referring to the film Teyzem Halit Refiğ, 1986. In the context of gender roles, the study employed critical discourse analysis to uncover the representations of madness in the film Teyzem and how Üftade was defined as mad when she transgressed patriarchal female roles. As a result of this analysis, Üftade, represented as a failure due to her rebellion against the social order, is seen to try to escape by seeking refuge in madness by not submitting to the existing order and then finds salvation by committing suicide. However, it has been determined that Üftade, who was bullied by her stepfather, unhappily married and then divorced, subjected to physical and psychological violence, insulted and unaccepted by the man she fell in love with, later went mad and that one of the most important factors in her madness was the pressure of the patriarchal society.

 Throughout the ages, people have evaluated insanity as a female-specific illness, although it encompasses many social, cultural, legal, economic, political, and medical definitions. This situation is often treated in the cinema, and women described as crazy are generally described as emotional, weak and powerless. Thus, it can be said that women are transformed into victims by being represented in a passive structure and transformed within the framework of the norms imposed on them by the patriarchal structure, for those who go beyond the roles ascribed to women in a patriarchal social structure are described as disruptive, destructive, and unbalanced. In this vein, women who resist submission to the patriarchal structure in the context of gender roles are treated as part of a problem of order and labelled as mentally ill. This study focused on the problem of how the character of Üftade, the leading actress, is defined as mentally ill when she goes beyond the female roles assigned by the patriarchal system, referring to the film Teyzem Halit Refiğ, 1986. In the context of gender roles, the study employed critical discourse analysis to uncover the representations of madness in the film Teyzem and how Üftade was defined as mad when she transgressed patriarchal female roles. As a result of this analysis, Üftade, represented as a failure due to her rebellion against the social order, is seen to try to escape by seeking refuge in madness by not submitting to the existing order and then finds salvation by committing suicide. However, it has been determined that Üftade, who was bullied by her stepfather, unhappily married and then divorced, subjected to physical and psychological violence, insulted and unaccepted by the man she fell in love with, later went mad and that one of the most important factors in her madness was the pressure of the patriarchal society.

 Throughout the ages, people have evaluated insanity as a female-specific illness, although it encompasses many social, cultural, legal, economic, political, and medical definitions. This situation is often treated in the cinema, and women described as crazy are generally described as emotional, weak and powerless. Thus, it can be said that women are transformed into victims by being represented in a passive structure and transformed within the framework of the norms imposed on them by the patriarchal structure, for those who go beyond the roles ascribed to women in a patriarchal social structure are described as disruptive, destructive, and unbalanced. In this vein, women who resist submission to the patriarchal structure in the context of gender roles are treated as part of a problem of order and labelled as mentally ill. This study focused on the problem of how the character of Üftade, the leading actress, is defined as mentally ill when she goes beyond the female roles assigned by the patriarchal system, referring to the film Teyzem Halit Refiğ, 1986. In the context of gender roles, the study employed critical discourse analysis to uncover the representations of madness in the film Teyzem and how Üftade was defined as mad when she transgressed patriarchal female roles. As a result of this analysis, Üftade, represented as a failure due to her rebellion against the social order, is seen to try to escape by seeking refuge in madness by not submitting to the existing order and then finds salvation by committing suicide. However, it has been determined that Üftade, who was bullied by her stepfather, unhappily married and then divorced, subjected to physical and psychological violence, insulted and unaccepted by the man she fell in love with, later went mad and that one of the most important factors in her madness was the pressure of the patriarchal society.

 Delilik kavramı sosyal, kültürel, hukuki, ekonomik, politik ve tıbbi alanda birçok tanımı bünyesinde barındırmakla beraber çağlar boyunca kadınlara özgü bir hastalık olarak değerlendirilmiştir. Bu durum sinemada sıklıkla işlenmiş ve deli olarak nitelendirilen kadınlar genellikle duygusal, zayıf, güçsüz olarak tanımlanmıştır. Dolayısıyla sinemada kadınların, edilgen bir yapıda temsil edilerek kurbana dönüştükleri ve ataerkil yapının onlara yüklediği normlar çerçevesinde yeniden şekillendiği söylenebilir. Çünkü ataerkil bir toplumsal yapıda kadınlara atfedilen rollerin dışına çıkanlar düzen bozucu, yıkıcı ve dengesiz olarak nitelendirilmiştir. Bu doğrultuda toplumsal cinsiyet rolleri bağlamında ataerkil yapıya boyun eğmeye direnen kadınlar, kimi zaman bir düzen problemi çerçevesinde ele alınıp deli olarak damgalanmıştır. Bu çalışmada Teyzem Halit Refiğ, 1986 filmi özelinden hareketle başrol oyuncusu olan Üftade karakterinin, ataerkil sistemin atfettiği kadınlık rollerinin dışına çıktığında nasıl delilikle tanımlandığı sorununa odaklanılmaktadır. Toplumsal cinsiyet rolleri bağlamında Teyzem filmindeki delilik temsillerinin ortaya çıkarılması ve Üftadenin ataerkil sisteme dayalı kadınlık rollerinin dışına çıkmasıyla birlikte nasıl deli olarak tanımlandığının belirlenmesi amacıyla, Eleştirel Söylem Çözümlemesi kullanılmıştır. Bu çözümleme sonucunda toplumsal düzene başkaldırı sonucunda başarısız olarak temsil edilen Üftade, var olan düzene boyun eğmeyerek kaçış yolunu deliliğe sığınarak aradığı ve ardından kurtuluşu intihar ederek bulduğu görülmüştür. Bununla beraber üvey babası tarafından tacize uğrayan, sevmeyerek evlenen ve sonrasında eşinden boşanan, fiziksel ve psikolojik şiddet gören, hakarete uğrayan ve âşık olduğu adam tarafından kabul edilmeyen Üftadenin sonradan delirdiği ve onun delirmesi üzerindeki en önemli etkenlerden birinin ataerkil toplum baskısının olduğu tespit edilmiştir.

Makale detayları

Representations of Madness in Turkish Cinema within the Context of Gender Roles in the Film ‘Teyzem’

Yazarlar:

Yeşim Argın

Yayıncı:

Kastamonu University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Kastamonu İletişim Araştırmaları Dergisi Issue 12, pp.177-200

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001320514

pISSN:

2667-727X

Women

Patriarchal Society

Madness

Turkish Cinema

Teyzem FilmKadın

Ataerikl toplum

Delilik

Türk sineması

Teyzem Filmi

Sayı

Makale detayları

Yazarlar: Yeşim Argın

Yayıncı: Kastamonu University

Ana Başlıklar: Radyo-Televizyon

Dergi: Kastamonu İletişim Araştırmaları Dergisi Issue 12, pp.177-200

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001320514

pISSN: 2667-727X

Sayı

Yazarlar:

Yeşim Argın

Yayıncı:

Kastamonu University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Kastamonu İletişim Araştırmaları Dergisi Issue 12, pp.177-200

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001320514

pISSN:

2667-727X