MASCULINITIES IN YILMAZ GÜNEY'S STAR IMAGE IN THE 1960S AND 1970S A Ph. D ...

260 Pages·2012·1.34 MB·English

MASCULINITIES IN YILMAZ GÜNEY’S STAR IMAGE
IN THE 1960S AND 1970S

A Ph. D. Dissertation

by

ZEYNEP KOÇER

Department of
Graphic Design
U
Ankara

May 2012
To mom and dad
MASCULINITIES IN YILMAZ GÜNEY’S STAR IMAGE
IN THE 1960S AND 1970S

Graduate School of Economics and Social Sciences
of
U

by

ZEYNEP KOÇER

In Partial Fulfillment of the Requirements for the Degree of
DOCTOR OF PHILOSOPHY

in

THE DEPARTMENT OF
GRAPHIC DESIGN
SAN O RAMACI ILKENT UNI ERSITY
ANKARA

May 2012
I certify that I have read this thesis and have found that it is fully adequate, in scope and in
quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design.

---------------------------------
Assist. Prof. Dr. Dilek Kaya
Supervisor

I certify that I have read this thesis and have found that it is fully adequate, in scope and in
quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design.

---------------------------------
Assist. Prof. Dr. Dilek C d u
Examining Committee Member

I certify that I have read this thesis and have found that it is fully adequate, in scope and in
quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design.

---------------------------------
Assist. Prof. Dr. Ahmet Gü
Examining Committee Member

I certify that I have read this thesis and have found that it is fully adequate, in scope and in
quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design.

---------------------------------
Assc. Prof. Dr. S ş Arslan
Examining Committee Member

I certify that I have read this thesis and have found that it is fully adequate, in scope and in
quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design.

---------------------------------
Assist. Prof. Dr. Öz S ş
Examining Committee Member

Approval of the Graduate School of Economics and Social Sciences

---------------------------------
Prof. Dr. Erdal Erel
Director
ABSTRACT

MASCULINITIES IN YILMAZ GÜNEY’S STAR IMAGE
IN THE 1960S AND 1970S
K ç , Z p
Ph.D., Department Graphic Design
Supervisor: Assist. Prof. Dr. Dilek Kaya

May 2012
T d pp Y z Gü d
p . I gu Gü d A w -screen
and off- u , p d ff f Y ş ç d
moralistic attitude toward women. In order to investigate this myth, the dissertation
z Gü ’ g w -economic and political discourses of
the 1960s and 1970s and points to an ambivalence, which stems from the
d Gü ’ ge. The dissertation aims to demonstrate this
b Gü ’ g b d u g ordinary and extra-ordinary
characteristic of stardom and the socio-economic and political ramifications of the
late-republican modernization project.

Keyword : M u , S S ud , Y z Gü , d z Tu

iii
ÖZET

1960LAR E 1970LER E YILMAZ GÜNEY’ N YIL IZ MGES N EK
ERKEKL K KURULUMLARI
K ç , Z p
, G f T ö ü ü
Dan ş : Y d. ç. . K

M 2012
u d z Y z Gü ’ b f
ş d . T z gö , Gü g f f -d ş u u u
d ş g d Y ş ç d z d f z
p u f üz d b A d u ş . u
d Gü ’ d z g , 1960 1970 -ekonomik ve
p ö üz d ş ş . Gü ’ d z g ç d
b d d ç ş , d ş A d u u ç d
b p uş u du u p d ş . z , bu d z g , d z
ç ş ü ü Tü d ş p j ç d -
p uç üz d d .

A K : E , Y d z Ç ş , Y z Gü , Tü
d ş
iv
ACKNOWLEDGEMENTS

First, I would like to emphasize my deepest respect and gratitude for my supervisor
Assist. Prof. Dr. Dilek Kaya. Her guidance, discipline and expertise have been
extremely valuable to this dissertation. She is a great mentor and a friend who has
inspired me through these years. More importantly, her belief in me in my times of
despair and pessimism are among the driving forces behind the completion of this
process. I have been exceptionally and extremely lucky to have her as my supervisor.
I just cannot thank her enough.

I would also like to recognize the constructive criticism and encouragement of
A . P f. . C d u. xp g d ud b x
valuable to this dissertation.

I w u d A . P f. . A Gü f u sm
d upp . d ugg g d g Y ş ç d Tu
modernization have been indispensable.

v
I w u d A . P f. . S ş A d A . P f. . Öz
S ş f their valuable suggestions and criticism on action-adventure films and
masculinities Y ş ç .

I would like to recognize my wonderful friends in Ankara; N Y z,
E d Ş , Pelin Aytemiz, Serdar Bilici and A A d u who have
turned Ankara into a city I will always love and remember. I would especially like to
thank Serdar Bilici for bearing with me during the final revision days of my
dissertation. I would also like to recognize ü M E d f
encouragement, patience and love. I would like to thank him for being a tremendous
motivation along all these years.

However, m b gg upp A w b u , N ş Ç .
She is a kind, strong and caring woman who has been there for me since the
beginning of this journey. I would like to thank her for inspiring me in so many
ways.

F , d p g ud g p , Şü K ç d u u K ç
d b u K ç . I b x u u w d ful
and caring family who has always supported my decisions and let me find my own
voice.

vi
TABLE OF CONTENTS

ABSTRACT ................................................................................................................ iii
ÖZET........................................................................................................................... iv
ACKNOWLEDGEMENTS ......................................................................................... v
TABLE OF CONTENTS ........................................................................................... vii
CHAPTER 1 : INTRODUCTION ............................................................................ 1
1.1 The Purpose of the Study ................................................................................... 1
1.2 Statement of the Problem ................................................................................... 6
1.3 Methodology....................................................................................................... 8
1.4 Limitations of Study ......................................................................................... 10
1.5 Overview of Chapters ....................................................................................... 12
CHAPTER 2 : THEORIES ON MASCULINITY
AND MODERNIZATION....................................................................................... 14
2.1 Masculinity Theories ........................................................................................ 14
2.2 Modernization Theories.................................................................................... 27
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CHAPTER 3 : MODERNIZATION PROJECTS IN THE EARLY-
REPUBLICAN (1920-1950) AND THE LATE-REPUBLICAN (1950-1980)
ERAS ......................................................................................................................... 37
3.1 Modernization in the Early-republican Era (1920-1950) ................................. 38
3.1.1 Kemalist Femininities ................................................................................ 42
3.1.2 Kemalist Masculinities .............................................................................. 45
3.2 Modernization in the Late-republican Era (1950-1980) ................................... 57
3.2.1 Lower / Working Class Anatolian Men: Masculinity Crisis ..................... 59
3.2.2 Y ş ç d M d z L -republican Era .......................... 67
CHAPTER 4 : YILMAZ GÜNEY’S STAR IMAGE IN THE 1960S .................. 76
4.1 The Concept of Social Bandit & Eşkıya Gü ’ Ru F .................... 77
4.1.1 Characteristics of Eşkıya ............................................................................ 79
4.1.2 Femininity and Male Honor ....................................................................... 85
4.1.3 The Depiction of the Rural as a Place of Absence .................................... 92
4.1.4 A Note on Censorship and Audience Expectations ................................... 97
4.2 The Lower / Working Class Men
and The Kabadayı: Urban Masculinities .............................................................. 100
4.2.1 Working / Lower Class Masculinities ..................................................... 106
4.2.2.1 Space................................................................................................106
4.2.2.2 Physical Appearance.......................................................................117
4.2.2 The Masculinity of Kabadayı .................................................................. 119
4.3 The Similarities between the Rural and the Urban: At Avrat Silah ................ 127
4.4 Y z Gü ’ Off-screen Star Image
and Urban Masculinities in the 1960s .................................................................. 133
4.4.1 The Beaut fu & Ug : A Iş & Y z Gü ........................ 136
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