How can women escape the cages that Yeşilçam (Turkish cinema) has imprisoned them in? |
How to break free from the cages that Yeşilçam (Turkish cinema) has imprisoned women in? | #LightTopics
Çağan Irmak's film Adile Naşit, a symbolic figure of Yeşilçam's golden age and one of the first faces that comes to mind when Turkish cinema is mentioned, brought the life of this artist to the screen in classic biographical frameworks. Audiences disliked this ambitious BKM production, and the film lost most of its theaters within a short two weeks. Film critic Selin Gürel's objection to the film is directed both at the conventions dominating the biography genre, which has become a significant box office success in recent years, and at the problematic habits of Turkish cinema from Yeşilçam to the present day: cages that imprison characters, scripts that render women's experiences invisible, directorial choices that confine and parody different ethnic identities to accent comedy, and ageism that has lost none of its power in the new century of cinema. But don't we owe Adile Naşit so much more?
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