ABSTRACT

This study investigates how the post-2010 Turkish action films portray men. Popular cinema positions all other sexual identities as secondary and often Other than (hegemonic) masculinity. In this context, this study examines masculinity in the centre of the narrative in the Turkish action films. The sample of the study consists of three action films with high production and box office hit in Turkey from 2010 to the present day, Kaos: Örümcek Ağı (Chaos: Spider Web, 2012), Çakal (The Jackal, 2010) and Panzehir (Antidote, 2014). Thus, the relationship between masculinity representations in Turkish mainstream action films and reality is discussed. In this study, the male characters can be categorized either fearless to sacrifice themselves for their family and nationality or negative subject men who never have characteristics that are not approved by the society. While there are almost no women in the narratives of these films, it can be classified that Turkish action films, as films that completely reflect the men’s world and become womanless.

摘要

本研究调查了 2010 年后的土耳其动作片如何刻画男性。流行电影将所有其他性身份定位为次要的，并且通常不是（霸权的）男性气质。在此背景下，本研究考察了土耳其动作片叙事中心的男性气质。该研究的样本包括三部从 2010 年至今在土耳其取得高产量和票房的动作片，Kaos：Örümcek Ağı（混沌：蜘蛛网，2012 年）、Çakal（豺狼，2010 年）和Panzehir（解毒剂, 2014). 因此，讨论了土耳其主流动作片中男性气质表现与现实之间的关系。在这项研究中，男性角色可以归类为无畏地为家庭和民族牺牲自己，或者从不具有不被社会认可的特征的消极主体男性。虽然这些电影的叙事中几乎没有女性，但可以将土耳其动作片归类为完全反映男性世界并变得没有女性的电影。