Yolda
Küçük Resim Yok
Tarih
2024
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Beykent Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Yol filmleri, 1960'lı yıllardan itibaren özgürlük arayışı ile birlikte ortaya çıkmış ve yolculuk teması ekseninde insanların deneyim, keşif ve değişimlerini içeren hikayeler aktarmak için ortak bir dil ile gelişimini sürdürmüştür. Bu çalışma, yol filmlerinin kökenini saptayarak temel sorunlarından biri olan cinsiyetçi yapının dışına nasıl çıkılacağını inceler. Kökeni Western'lere dayanan yol filmlerinin temel sorunlarından biri, sürücü koltuğundaki ana kahramanların cinsiyetinin çoğunlukla erkek ve dilinin eril olmasıdır. Bu yapının kırılabilmesinin yollarından biri toplumsal cinsiyet rollerinden kaynaklanan geleneği değiştirmektir. Bu bağlamda kadın sürücülerin baş kahraman olarak yer aldığı "Thelma and Louise", "Transamerica", "Alice Doesn't Live Anymore Here" olmak üzere üç film ele alınmıştır. Bu üç film ekseninde geleneksel cinsiyetçi yapının dışına çıkarak şoför koltuğunda kadın karakterin konumlandırıldığı "Yolda" adlı kısa film oluşturulmuş ve kadına karşı şiddet kavramının yol filmleri kapsamında aktarılmasının mümkün olabileceği ortaya konulmuştur.
Road movies emerged with the search for freedom in the 1960s and continued to develop with a common language to convey stories involving people's experiences, deaths and changes during the journey. This study determines the origins of road movies and examines how sexist policies, one of their main problems, emerge. One of the main problems of road movies, which have their origins in Westerns, is that most of the genders of the main heroes in the driver's seat are male and the language is masculine. One of the ways this person can be offended is through a change in gender roles. In this context, three films in which female drivers are the protagonists: "Thelma and Louise", "Transamerica" and "Alice Doesn't Live Here Anymore" were discussed. In these three film regimes, a short film called "On the Road" was created, in which the female character was positioned in the free driver's seat, in favor of traditional sexist women, and it was revealed that it was possible to carry the features of violence against women within the scope of road films.
Road movies emerged with the search for freedom in the 1960s and continued to develop with a common language to convey stories involving people's experiences, deaths and changes during the journey. This study determines the origins of road movies and examines how sexist policies, one of their main problems, emerge. One of the main problems of road movies, which have their origins in Westerns, is that most of the genders of the main heroes in the driver's seat are male and the language is masculine. One of the ways this person can be offended is through a change in gender roles. In this context, three films in which female drivers are the protagonists: "Thelma and Louise", "Transamerica" and "Alice Doesn't Live Here Anymore" were discussed. In these three film regimes, a short film called "On the Road" was created, in which the female character was positioned in the free driver's seat, in favor of traditional sexist women, and it was revealed that it was possible to carry the features of violence against women within the scope of road films.
Açıklama
Anahtar Kelimeler
Radyo-Televizyon, Radio and Television, Sahne ve Görüntü Sanatları
