Akademik Veri Yönetim Sistemi
TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION, cilt.8, sa.3, ss.518-525, 2018 (ESCI)
As of 2000s, Turkish cinema has entered a new period in which female protagonists differ greatly in terms of age, class affiliation, occupation and life styles in comparison with earlier periods. The Blue Wave (2013) by Zeynep Dadak and Merve Kayan and For Both of Us (2016) by Umur Turagay are the two of specific examples within this context. In both films, female characters fall in love with their teachers. The way The Blue Wave (2013) and For Both of Us deal with their female characters within the frame of respective love affairs is of capital importance in terms of gender politics. In The Blue Wave, film narrative centers around female solidarity and friendship, namely the theme of `sisterhood'as defined by Second Wave Feminist Movement. The film's emphasis on the theme of sisterhood hinders Deniz' infatuation with her teacher from becoming a romantic relationship and also trivialize her romantic relationship with her boyfriend of the same age. On the other hand, For Both of Us puts the focus of protagonist Cicek's life and by extension whole focus of narrative on her infatuation with the teacher and relationship between the two. The film narrative isolate Cicek from everything except for love relationship in question. Within this framework, through comparative analysis of the films, this paper attempts to expose For Both of Us as a film in which women are not represented as women and exist only as myths and narrative structure is subject to male desire with reference to Lauretis, Johnston and Smelik and also to designate The Blue Wave as a film that resist and subvert the representation process in which women become metaphors through locating its female characters as historical subjects in accordance with De Lauretis' and Smelik's views.