The narrative cinema mainly focuses on such genres as love, good vs. evil conflict, reunion of lovers, and the story of intervening evil characters. In contrast to classical cinema, independent cinema makes its way through questioning the “reality”, making an intellectual rather than emotional influence on the viewer, and preventing their identification with the story. In classical narrative structure, which can be characterized by idealized characters and where individual solutions and main characters dominate, conflict is the most important focus, which almost completely revolves around the good-evil characters created. When we look at cinema films in Turkey, we can see that films of both categories have been made, although those of narrative cinema predominate. The aim of this study is to investigate to what extent independent cinema, which started to peak especially after the 1990s and which is expected to channel viewers to thinking and questioning through an alternative structure, presents a different approach with regard to the good vs. evil character in the process of creating female characters. For this purpose, the good vs. evil distinction will be analyzed with respect to the female characters in the films Kezban, a typical example of the Turkish popular cinema and the Yeşilçam period, and İklimler, an independent production and one of the most important films of the recent Turkish cinema, and it will also be questioned whether independent cinema has created a realistic female character against the narrative cinema.
Nermin Orta, Selcuk University, Turkey
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