Besieged and Liberated Women in 'Art' Films: The Problem of Private Sphere

Bu makalenin amacı, sanat filmlerindeki kadın temsilleri bağlamında kadın ve erkek arasındaki farklılığı göstermektir. Bu nedenle üç erkek ve üç kadın yönetmenin filmleri seçilmiştir: Truffaut'dan, Jules and Jim/Jules ve Jim, Antonioni'den Eclipse/Günbatımı, Bergmand'dan Cries and WhispersIÇighklar ve Fısıltılar, Campion'dan The Piano/Piyano, Gonis'den Antonio ve Goldbacher'den The Governess/ Mürebbiye. Filmlerdeki kadın karakterler erkek yönetmenler eliyle özel alanlarında kuşatılırken, kadın yönetmenler tarafından özgürleştirilir.

Sanat Filmlerinde Kuşatılmış ve Özgürleşmiş Kadınlar: Özel Alan Sorunu

The pxupose of this article is to examine the representations of women -especially the private sphere of women- in 'art' movies. To attain this aim, first what the art cinema is was determined and the issue of private sphere is explained. Then, as a case study, three male and three female directors' films have been chosen and analyzed in accordance with semiotics. These films are as follows: Truffaut's Jules and Jim, Antonioni's Eclipse, Bergman's Cries and Whispers, and the most recent films, Campion's The Piano, Gorris' Antonia, and Goldbacher's The Governess. This article reveals the male gaze in the films of three authors (male filmmakers). However, there are also three creative female filmmakers whose films have a non-sexist gaze. Briefly, there is a serious difference between the female directors who can be dealt with in art cinema and the male directors who are authors in the real sense of the word.

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