Representation of Muslim Women in Post- 9/11 Cinema Movies

Yunus Namaz; Seyfettin İliter

Makale detayları

Representation of Muslim Women in Post- 9/11 Cinema Movies

Yazarlar:

Yunus Namaz | Seyfettin İliter

Yayıncı:

Mus Alparslan University

Dergi:

Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi Vol.11 Issue 1, pp.215-232

Belge Tipi:

Makale

Yayın Tarihi:

4/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001288891

pISSN:

2149-4622

Anahtar kelimeler:

Özet:

 After 9112001 Events has become important in conveying historical events and the problems experienced by people in both western and eastern cinema. Films mediate the reconstruction of the real with the effect of 911, and this fiction is equipped with ideological arguments. The directors of his films The Stoning of Soraya M. 2008 and The Patience Stone 2012 are originally from the East Iran and Afghanistan, and both directors touch on important points regarding the representation of Muslim women and men after September 11th 911. When the movies after September 11 are examined, it is examined that the directors living in different worlds and regions spread the representations of eastern men and women, Muslim women and men in the narrative process with different aspects. This study focuses on how two Eastern directors handled the representations of Muslim women and men in the post-September 11 movies. In addition, in the films of Iranian Cyrus Nowrastehs Stoaning of Soraya M. 2008 and Afghan director Atiq Rahimis Patience Stone 2012, there are references to the place of Muslim women in social life, violence, freedom and the liberation of Muslim women.

 After 9112001 Events has become important in conveying historical events and the problems experienced by people in both western and eastern cinema. Films mediate the reconstruction of the real with the effect of 911, and this fiction is equipped with ideological arguments. The directors of his films The Stoning of Soraya M. 2008 and The Patience Stone 2012 are originally from the East Iran and Afghanistan, and both directors touch on important points regarding the representation of Muslim women and men after September 11th 911. When the movies after September 11 are examined, it is examined that the directors living in different worlds and regions spread the representations of eastern men and women, Muslim women and men in the narrative process with different aspects. This study focuses on how two Eastern directors handled the representations of Muslim women and men in the post-September 11 movies. In addition, in the films of Iranian Cyrus Nowrastehs Stoaning of Soraya M. 2008 and Afghan director Atiq Rahimis Patience Stone 2012, there are references to the place of Muslim women in social life, violence, freedom and the liberation of Muslim women.

 After 9112001 Events has become important in conveying historical events and the problems experienced by people in both western and eastern cinema. Films mediate the reconstruction of the real with the effect of 911, and this fiction is equipped with ideological arguments. The directors of his films The Stoning of Soraya M. 2008 and The Patience Stone 2012 are originally from the East Iran and Afghanistan, and both directors touch on important points regarding the representation of Muslim women and men after September 11th 911. When the movies after September 11 are examined, it is examined that the directors living in different worlds and regions spread the representations of eastern men and women, Muslim women and men in the narrative process with different aspects. This study focuses on how two Eastern directors handled the representations of Muslim women and men in the post-September 11 movies. In addition, in the films of Iranian Cyrus Nowrastehs Stoaning of Soraya M. 2008 and Afghan director Atiq Rahimis Patience Stone 2012, there are references to the place of Muslim women in social life, violence, freedom and the liberation of Muslim women.

 11 Eylül 2001 Olayları sonrası hem batılı hem de doğulu sinemada tarihsel olaylara ve insanların yaşadığı sorunların izleyiciye aktarılmasında sinema filmlerinin rolü önemli hale gelmiştir. Sinema filmleri 11 Eylülün etkisiyle de gerçek olanın yeniden kurgulanmasına aracılık etmekte ve bu kurgu ideolojik argümanlarla donatılmaktadır. Süreyyayı Taşlamak 2008 ve Sabır Taşı 2012 adlı filmlerinin yönetmeni köken olarak doğuludur İran ve Afganistan ve her iki yönetmen de 11 Eylül sonrası müslüman kadının toplumsal hayatına adalet, şiddet, ayrımcılık, merhamet kavramları üzerinden odaklanmaktadır. 11 Eylül sonrası sinema filmleri incelendiğinde farklı dünyalarda ve bölgelerde yaşayan yönetmenlerin, doğulu kadın ve erkek, müslüman kadın ve erkek temsillerini farklı yönleriyle anlatı sürecine yaydıklarını incelemektedir. Bu çalışma Doğulu iki yönetmenin 11 Eylül sonrası sinema filmlerinde müslüman kadın ve erkek temsillerini nasıl ele aldıklarına odaklanmaktadır. Ayrıca İranlı Cyrus Nowrastehin Süreyyayı Taşlamak 2008 ve Afganistanlı yönetmen Atiq Rahiminin Sabır Taşı 2012 filmlerinde, müslüman kadının sosyal hayattaki yeri, şiddet, özgürlük ve müslüman kadının kurtuluşu mefhumlarına nasıl göndermeler yapıldığı çıkmaktadır.

Makale detayları

Representation of Muslim Women in Post- 9/11 Cinema Movies

Yazarlar:

Yunus Namaz | Seyfettin İliter

Yayıncı:

Mus Alparslan University

Dergi:

Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi Vol.11 Issue 1, pp.215-232

Belge Tipi:

Makale

Yayın Tarihi:

4/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001288891

pISSN:

2149-4622

9/11 Events

Representation

Politics Film

Stoaning of Soraya M.

The Patience Stone11 Eylül Olayları

Temsil

Politik Film

Süreyya’yı Taşlamak

Sabır Taşı

Sayı

Makale detayları

Yazarlar: Yunus Namaz | Seyfettin İliter

Yayıncı: Mus Alparslan University

Dergi: Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi Vol.11 Issue 1, pp.215-232

Belge Tipi: Makale

Yayın Tarihi: 4/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001288891

pISSN: 2149-4622

Sayı

Yazarlar:

Yunus Namaz | Seyfettin İliter

Yayıncı:

Mus Alparslan University

Dergi:

Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi Vol.11 Issue 1, pp.215-232

Belge Tipi:

Makale

Yayın Tarihi:

4/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001288891

pISSN:

2149-4622