Turkish films have been in existence for a considerable amount of time. The Turkish cinemas started in the 18th century with the introduction of the cinema halls by people from the neighboring Istanbul and various individuals of the Turkish origin…
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The improvement in the popularity of the movies is seen as a greater contrast with the yester years of the Turkish movies. This has seen the rise of new directors into the film industry who immensely contributed to a new wave of the Turkish cinema. The local nature of the cinema most often is portrayed meaning movies that exhibit unique cultural fundamentals and terms of Turkish custom, amusement and historical context, could be grounds that viewers are drawn to these general movies of regional directors. These features are striking for a social order that wishes to identify themselves in movies but also nationality and distinctiveness in all its descriptions, profiles and forms are linked to this particular acknowledgment in cinema. However, New Turkish cinema has been hit by a wave of criticism over the representation of women. Presently, women are still being represented pessimistically in Turkish cinema. According to the observation of the various movies by Zeki Demirkubuz’s, the role of women has considerably been ignored by the fact that these movies put emphasis on the male characters. Failure to include women in these movies has sparkled protest on the representation of the male perspective and impartiality in the female role. In spite, the poor representation of women in the movies, prostitution prevails as a subtheme for most movies. The absence can be attributed to be negative in relation to gender politics. These films have profoundly subordinated women to men. The absence is a representation of the patriarchal practices that are still prevalence within the Turkish society. This has never been in any way considered a coincidence as there female parts are extremely silenced. However, in reviews, the issue of silencing of women has never been addressed but only in a few articles around Turkey (Dadak & Kostepen, 2007). The case of imitating patriarchal customs is the basis of debates surrounding Zeki Demirkubuz movies. Demirkubuz’s role in challenging or reproducing patriarchy is indistinguishable. In a dialogue, with Altyaz? magazine, Zeki Demirkubuz castoffs that he does not include women in most of his movies; however he rejects feminist consideration of the person focusing on patriarchal affairs, sexism and male aggression (Ziraman, 2008). Demirkubuz’s declaration makes evident that he is not behind the patriarchal aggression on women, and physical, as well as spoken violence wielded on prostitutes (Operli & F?rat, 2007). The existence of patriarchal associations between actors, insults and domestic violence can be understood as awkward analysis of the social order, which is also subjected by gender social orders and patriarchy. Possible tribulations faced by women such as infidelity, rape, domestic brutality, rumors about morality are revealed in the movie in a normal way, which can be understood as the upholding of the patriarchy. The female standpoints and stories are set aside in most of these movies a complete show of the patriarchal practices. Turkish cinema can be considered a better source to understand the females struggle against silence in an attempt to ensure equality, as well as their identity (Ulusoy, 2010). Conversely, women feel lost within the dominated society where they are discriminated against (Umut, 2009). Despite the inclusion of women in various movies, they get included because they
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