Publication: Makedonya ve Kosova sinemasında kadın temsili
Abstract
Balkan topraklarındaki sinema tarihi, Manaki Kardeşler’in filmcilikten fotoğrafçılığa katkılarından itibaren farklı görüş ve sinemotografik anlatımlarla çeşitli yaklaşımlara ve tezlere konu olup yorumlanmıştır. Tezin çatısını oluşturan Makedonya ve Kosova sinemasında kadın temsiline, bu çalışmayla ilk defâ bir ışık tutulup birtakım sorular sorulacaktır: Kadın temsili iki ülkenin sinema tarihi çerçevesinde nasıl yer bulmuştur? Kadın karakterler nasıl ortaya çıkmıştır? Olay orgüsünde kadın karakterlere nasıl roller verilmiştir? Her iki ülke sineması yeni olmasına rağmen, 1990’lardan bügüne geldiğimizde kadın temsilindeki değişimler ne yönde hareket etmiş ve nasıl bir deneyim süreci yaşanmıştır? Bu tezin amacı; 1990’lardan günümüze Balkan sinemasında öne çıkan Makedonya ve Kosova filmlerinden seçilip dünyaca ünlü festivallerde boy göstermiş üç film üzerinden kadın temsil(ler)inin nasıl değerlendirildiğinin, gösterildiğinin ve ne yönde bir değişim yaşandığının etkilerini saptamaktır. Kadın yönetmenler ve bir festival programcısı olan Kathleen McInnis’le yapılan görüşmelerdeyse onların gözünden film yapım ve yaratma süreçlerine dair zorlukların yanı sıra sinematografik çerçevede ele aldıkları meseleler araştırılmıştır. Makedonyalı yönetmen Milcho Manchevski / Milčo Mančevski’nin Pred dozhdot / Before the Rain (1994) filminde çerçeveye aldığı kadın temsilleri; Teona Mitevska’nın Gospod postoi, imeto i' e Petrunija / God Exists, Her Name Is Petrunija (2019) filminde nelerin değiştiği; yönetmen Antoneta Kastrati’nin Zana (2019) filmindeyse Kosovalı kadın karakterin toplumsal önyargılarla nasıl başa çıktığı, Balkan coğrafyasında bir “kadın” olmanın zorluklarının üstesinden gelme mücadelesinin yarattığı etkiler özelinde gözlemlenmiş ve yöntemli bir çalışma etrafında incelenmiştir. Üç yönetmenin filmlerinin içeriği feminist yöntemden yararlanılarak çözümlenmiş ve sinemada kadın(lar)ın rolü açısından yeni yüzyılda yaşanan değişim(ler) merkeze alınarak tartışmaya açılmıştır.
The history of cinema in the Balkan lands has been the subject of various approaches and theses, with different views and cinematographic expressions, starting from the Manaki Brothers' contributions to photography from filmmaking. For the first time, this study will shed light on the representation of women in Macedonian and Kosovo cinema, which forms the framework of the thesis, and some questions will be asked: How did the representation of women find a place in the cinema history of the two countries? How did the female characters appear? What roles are given to the female characters in the plot? Although the cinema of both countries is new, how did the changes in the representation of women move from the 1990s to today and what kind of experience has been experienced? The aim of this thesis; The aim of this study is to determine the effects of how women's representation(s) are evaluated, shown and what kind of change has been experienced through three films selected from Macedonian and Kosovo films that have come to the fore in Balkan cinema since the 1990s and appeared in world-famous festivals. In the interviews with female directors and a festival programmer, Kathleen McInnis, the issues they deal with in the cinematographic framework, as well as the difficulties of the filmmaking and creation processes, were investigated. Female representations framed by Macedonian director Milcho Manchevski / Milčo Mančevski in Pred dozhdot / Before the Rain (1994); What has changed in Teona Mitevska's movie Gospod postoi, imeto i' e Petrunija / God Exists, Her Name Is Petrunija (2019); director Antoneta Kastrati's film Zana (2019), how the Kosovar female character copes with social prejudices, the effects of the struggle to overcome the difficulties of being a woman in the Balkan geography has been observed and examined in a methodical study. The content of the films of the three directors was analyzed using the feminist method, and the change(s) experienced in the new century in terms of the role of women in cinema was brought to the center for discussion.
The history of cinema in the Balkan lands has been the subject of various approaches and theses, with different views and cinematographic expressions, starting from the Manaki Brothers' contributions to photography from filmmaking. For the first time, this study will shed light on the representation of women in Macedonian and Kosovo cinema, which forms the framework of the thesis, and some questions will be asked: How did the representation of women find a place in the cinema history of the two countries? How did the female characters appear? What roles are given to the female characters in the plot? Although the cinema of both countries is new, how did the changes in the representation of women move from the 1990s to today and what kind of experience has been experienced? The aim of this thesis; The aim of this study is to determine the effects of how women's representation(s) are evaluated, shown and what kind of change has been experienced through three films selected from Macedonian and Kosovo films that have come to the fore in Balkan cinema since the 1990s and appeared in world-famous festivals. In the interviews with female directors and a festival programmer, Kathleen McInnis, the issues they deal with in the cinematographic framework, as well as the difficulties of the filmmaking and creation processes, were investigated. Female representations framed by Macedonian director Milcho Manchevski / Milčo Mančevski in Pred dozhdot / Before the Rain (1994); What has changed in Teona Mitevska's movie Gospod postoi, imeto i' e Petrunija / God Exists, Her Name Is Petrunija (2019); director Antoneta Kastrati's film Zana (2019), how the Kosovar female character copes with social prejudices, the effects of the struggle to overcome the difficulties of being a woman in the Balkan geography has been observed and examined in a methodical study. The content of the films of the three directors was analyzed using the feminist method, and the change(s) experienced in the new century in terms of the role of women in cinema was brought to the center for discussion.