Hegemonik Erkeklik Temsili, Parasosyal Etkileşim ve Ulusötesi Çevrimiçi (Online) Topluluklar: “Erkenci Kuş” Dizisi Örneği

Genelde kadınlar, media tarafından sunulan ve temsil edilen geleneksel erkeksi özellikler aracılığıyla baştan çıkartılmakta ve hegemonik toplumsal cinsiyet ilişkilerine yönelik rızaları kazanılmaktadır. Bu makale, bir Facebook grubundaki kadın izleyicilerin, Türk dizisi Erkenci Kuş’taki Can Divit karakterinin hegemonik erkeklik temsili üzerinden kurdukları parasosyal etkileşimleri irdelemektedir. Gözlemlerle beraber, 486 gönderinin tematik nitel analizini yaparak yazarlar, yaygın bir biçimde tartışılan izleyici katılımı kavramına ampirik bir perspektif eklemekte ve izleyicilerin, gösteriye katılmak ve dahil olmak için algılanan motivasyonlarının, erkeğin nesneleştirilmesi olarak anlaşılması gereken olguyu yaratan, ana erkek karakter üzerinden gerçekleştiği iddiasını öne sürmektedirler. Çalışma, yalnızca erkekliğin temsili üzerine odaklanmamakta; bunun ötesinde, söz konusu makale, izleyicilerin bakışı üzerine odaklanarak, izler kitlenin bu sunumları nasıl tükettiğini ve söz konusu hegemonik erkeksi ideallerle kendilerini nasıl ilişkilendirdilerini aydınlatmayı hedeflemektedir. Makale ayrıca, hegemonik erkekliğin etki alanına giren, genel anlamda tüm medya kullanıcılarının, özelde ise çevrimiçi toplulukların, tükettikleri metinle kurdukları ilişkilerin analizi bağlamında, parasosyal etkileşimin bir çerçeve olarak nasıl kullanılabileceğine ilişkin metodolojik bir katkı sunmaktadır.

The Presentation of Hegemonic Masculinity, Parasocial Interaction and Transnational Online Communities: A Case Study of the Turkish Series “Erkenci Kuş”

Women in general are still enticed and their consent regarding hegemonic gender relations isbeing gained by the traditional masculine traits presented and portrayed by the media. This articleaddresses how the audience of women from a Facebook group create parasocial interaction through thepresentation of the hegemonic masculinity of the male character - Can Divit in a Turkish series ErkenciKuş. Employing a qualitative thematic analysis of 486 posts combined with observations, the authors addan empirical perspective to the widely discussed concept of audience participation and make a claim thatthe audience perceived motivations for their involvement and their engagement of the show is through themain male character creating what should be known as male objectification. The study doesn’t focusesonly upon the representation of masculinity, further it also concentrates on the gaze of the audiences, andseeks to illuminate how they (audiences) consume these representations and how they relate themselvesto these hegemonic masculine ideals.

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