Reflections of racial segregation and social injustice in the movies: Mudbound and the help
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Tarih
2023
Yazarlar
Dergi Başlığı
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Cilt Başlığı
Yayıncı
İstanbul Beykent Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Günümüzde ten rengi ile zekâ arasında herhangi bir ilişkinin olmadığı, dolayısıyla aşağılık göstergesi olmadığı, bilinen bir gerçektir. Kültürel ve fiziksel farklılıklar sadece ırklar arasındaki çeşitliliği oluşturur. Dolayısıyla bugün ırkçılık olarak bilinen yanılgının, beyazların Afrika'dan köle olarak getirilen siyahlara hükmetmek için kullandıkları sosyal bir kurgu olduğu iddia edilmektedir. Eleştirel Irk Teorisyenlerine göre, yaklaşık 250 yıl boyunca yasal ve toplumsal olarak kasıtlı olarak uygulandığı için, ırkçılık sadece bilimsel bir hata da değildir. Afrika kökenli Amerikalı yönetmen Diandrea Rees, Hillary Jordan'ın aynı adlı romanından uyarlanan önemli filmi Mudbound'da (2017), 1940'lı yılların savaş sonrası döneminde, Amerika'nın güneyinde uygulanan ayırımcılık ve Jim Crow yasaları ile Siyahi Amerikalıların maruz kaldığı sosyal ve yasal eşitsizlik ve adaletsizlikleri, ustaca tasvir ederek eleştirir. Beyaz Amerikalı yönetmen Tate Taylor, Kathryn Stockett'in aynı adlı romanından uyarlanan The Help (2011) adlı filminde, 1960'lı yıllarda Amerika'nın güneyindeki ayrımcı ve önyargılı toplumun, özellikle hizmetçi olarak çalışan Siyahi Amerikalı kadınların sömürülmesindeki adaletsizlik ve eşitsizlikleri yansıtır. Her iki film de karakterlerin yaşamlarına ışık tutarak, Siyahi Amerikalılar için ayrımcılığın zorluklarını ve sonuçlarını yansıtsa da yönetmenlerin konuya yaklaşımları önemli ölçüde farklılık göstermektedir. Bu tez, Diandrea Rees'in Mudbound ve Tate Taylor'ın The Help filmlerini analiz ederek, iki yönetmenin Amerika'nın güneyindeki ırk ayrımcılığına yaklaşımları ve tasvirleri arasındaki farkları Kritik Irk Teorisi perspektifinden aydınlatmayı amaçlamaktadır.
Today it is a well-known fact that there is no relation between skin colour and intelligence; hence no sign of inferiority. Cultural and physical differences constitute only the variety among the races. Thus, today it is claimed that the delusion known as racism is just a social construct used by whites to dominate blacks brought from Africa as enslaved people. According to Critical Race Theorists, racism is not merely a scientific error either since, for about 250 years, it was legally and socially practised deliberately. In her great movie, Mudbound (2017), based on the novel by Hillary Jordan, Diandrea Rees, an African American director, skilfully portrays and criticises the social and legal inequalities and injustices endured by Blacks during the post-war era in the 1940s in segregated Southern America. Tate Taylor, a white American director, also reflects on the injustice and inequalities of a segregated and prejudiced society in 1960s Southern America, particularly the exploitation of Black American women working as maids, in his movie The Help (2011), based on the novel by Kathryn Stockett. Although both films reflect the difficulties and consequences of discrimination against Blacks by shedding light on the lives of the characters, the directors' approaches to the subject differ significantly. By analysing Diandrea Rees's Mudbound and Tate Taylor's The Help, this thesis aims to illuminate the differences between the two directors' approaches and portrayals of racial segregation in the American South through the perspective of Critical Race Theory.
Today it is a well-known fact that there is no relation between skin colour and intelligence; hence no sign of inferiority. Cultural and physical differences constitute only the variety among the races. Thus, today it is claimed that the delusion known as racism is just a social construct used by whites to dominate blacks brought from Africa as enslaved people. According to Critical Race Theorists, racism is not merely a scientific error either since, for about 250 years, it was legally and socially practised deliberately. In her great movie, Mudbound (2017), based on the novel by Hillary Jordan, Diandrea Rees, an African American director, skilfully portrays and criticises the social and legal inequalities and injustices endured by Blacks during the post-war era in the 1940s in segregated Southern America. Tate Taylor, a white American director, also reflects on the injustice and inequalities of a segregated and prejudiced society in 1960s Southern America, particularly the exploitation of Black American women working as maids, in his movie The Help (2011), based on the novel by Kathryn Stockett. Although both films reflect the difficulties and consequences of discrimination against Blacks by shedding light on the lives of the characters, the directors' approaches to the subject differ significantly. By analysing Diandrea Rees's Mudbound and Tate Taylor's The Help, this thesis aims to illuminate the differences between the two directors' approaches and portrayals of racial segregation in the American South through the perspective of Critical Race Theory.
Açıklama
Anahtar Kelimeler
İngiliz Dili ve Edebiyatı, English Language and Literature
