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Gender Representation in Turkish Melodramas
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Abstract:
Turkish melodramas present some intriguing gender relations and representation. In some cases, characters in melodrama break away from traditional gender roles. In this paper I would like to investigate why certain melodramas film between 1965 and 75 present non-traditional gender roles in Turkish society and how the hegemonic and the negotiated elements of male and female roles in theses melodramas are presented. There has been important feminist scholarship mainly in the United States and in England that examines the binary nature of the melodramas. Yet very little has been written on 'feminine elements' of male actors and 'active' female spectatorship. With my dissertation, I intend to help fill this gap. Freudian and Lacanian modes of thinking by their nature are Eurocentric and applied to third world cinema, they naturalize the Western feminist perspective as global. In this paper I will focus on elements of Turkish melodramas that cannot be explain western modes of thinking, showing that a different and unique negotiated space within which the feminine elements of male actors and active female spectatorship exists side by side with the traditional, hegemonic patriarchal gender roles in Turkish melodramas between 1965-75. Also, most Turkish melodramas follow the 'fallen but redeemed by motherhood' formula that reestablishes the patriarchal order at the end. There are, however, some films from this period that defy this formula. An alternative look at these films is imperative, as current feminist theory has not addressed this aspect.
Most Common Document Word Stems: film (61), male (46), femal (32), women (25), turkish (25), melodrama (24), mother (20), end (20), actor (19), k (19), gender (15), cinema (15), look (15), year (15), akan (14), like (14), time (14), role (14), masculin (14), love (13), patriarch (13),

Author's Keywords: film, Turkish, melodrama	Convention All Academic Convention can solve the abstract management needs for any association's annual meeting. Submission - Custom fields, multiple submission types, tracks, audio visual, multiple upload formats, automatic conversion to pdf. Review - Peer Review, Bulk reviewer assignment, bulk emails, ranking, z-score statistics, and multiple worksheets! Reports - Many standard and custom reports generated while you wait. Print programs with participant indexes, event grids, and more! Scheduling - Flexible and convenient grid scheduling within rooms and buildings. Conflict checking and advanced filtering. Communication - Bulk email tools to help your administrators send reminders and responses. Use form letters, a message center, and much more! Management - Search tools, duplicate people management, editing tools, submission transfers, many tools to manage a variety of conference management headaches! Click here for more information.
Association: Name: International Communication Association URL: http://www.icahdq.org
Citation: URL: http://www.allacademic.com/meta/p12319_index.html Direct Link: HTML Code:

Cicek, Filiz. "Gender Representation in Turkish Melodramas " Paper presented at the annual meeting of the International Communication Association, Sheraton New York, New York City, NY, Online <PDF>. 2008-06-27 <http://www.allacademic.com/meta/p12319_index.html>

Cicek, F. "Gender Representation in Turkish Melodramas " Paper presented at the annual meeting of the International Communication Association, Sheraton New York, New York City, NY Online <PDF> Retrieved 2008-06-27 from http://www.allacademic.com/meta/p12319_index.html

Publication Type: Conference Paper/Unpublished Manuscript Abstract: Turkish melodramas present some intriguing gender relations and representation. In some cases, characters in melodrama break away from traditional gender roles. In this paper I would like to investigate why certain melodramas film between 1965 and 75 present non-traditional gender roles in Turkish society and how the hegemonic and the negotiated elements of male and female roles in theses melodramas are presented. There has been important feminist scholarship mainly in the United States and in England that examines the binary nature of the melodramas. Yet very little has been written on 'feminine elements' of male actors and 'active' female spectatorship. With my dissertation, I intend to help fill this gap. Freudian and Lacanian modes of thinking by their nature are Eurocentric and applied to third world cinema, they naturalize the Western feminist perspective as global. In this paper I will focus on elements of Turkish melodramas that cannot be explain western modes of thinking, showing that a different and unique negotiated space within which the feminine elements of male actors and active female spectatorship exists side by side with the traditional, hegemonic patriarchal gender roles in Turkish melodramas between 1965-75. Also, most Turkish melodramas follow the 'fallen but redeemed by motherhood' formula that reestablishes the patriarchal order at the end. There are, however, some films from this period that defy this formula. An alternative look at these films is imperative, as current feminist theory has not addressed this aspect.

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