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264 Pages·2005·3.47 MB·Turkish

PATRIARCHAL STRUCTURES AND PRACTICES IN TURKEY:
THE CASE OF SOCIAL REALIST AND NATIONAL FILMS OF 1960s

A THESIS SUBMITTED TO
THE GRADUATE SCHOOL OF SOCIAL SCIENCES
OF
THE MIDDLE EAST TECHNICAL UNIVERSITY

BY

HATİCE YEŞİLDAL ŞEN

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR
THE DEGREE OF DOCTOR OF PHILOSOPHY
IN
THE DEPARTMENT OF SOCIOLOGY

OCTOBER 2005
Approval of the Graduate School of Social Sciences

Prof. Dr. Sencer Ayata
Director

I certify that this thesis satisfies all the requirements as a thesis for the degree of
Doctor of Philosophy.

Assoc. Prof. Dr. Sibel Kalaycıoğlu
Head of Department

This is to certify that we have read this thesis and that in our opinion it is fully
adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy.

Prof. Dr. Mehmet C. Ecevit
Supervisor

Examining Committee Members

Prof. Dr. Kurtuluş Kayalı (DTCF, Hist)
Prof. Dr. Mehmet C. Ecevit (METU, Soc.)
Prof. Dr. Yıldız Ecevit (METU, Soc.)
Assoc. Prof. Dr. Filiz Kardam (Çankaya U. ADM)
Assoc. Prof. Dr. Mesut Yeğen (METU, Soc.)
I hereby declare that all information in this document has been obtained
and presented in accordance with academic rules and ethical conduct. I also
declare that, as required by these rules and conduct, I have fully cited and
referenced all material and results that are not original to this work.

Name, Last name : Hatice Yeşildal Şen
Signature :

iii
ABSTRACT

PATRIARCHAL STRUCTURES AND PRACTICES IN TURKEY:
THE CASE OF SOCIAL REALIST AND NATIONAL FILMS OF 1960s

Yeşildal Şen, Hatice

Ph. D., Department of Sociology
Supervisor: Prof. Dr. Mehmet C. Ecevit

October 2005, 249 pages

This thesis highlights the significance of patriarchal structures and their
reproduction in women’s social position through the feminist perspective.
Patriarchy is a dominant structure both on production and reproduction sphere.
Patriarchy, which is a dominant structure in every sphere of social life has
material basis and controls both women’s labour and sexuality. With this
framework some concepts such as the types of women’s labour, paid and
domestic labour, family, honour, violence and masculinity are used in order to
understand patriarchy. Patriarchy is not a fixed structure; on the contrary it has
been changed according to the different mode of production and different social
and cultural structures in which it takes place. In the scope of this thesis, the
examples of ‘social realist’ and ‘national cinema’ are analysed sociologically.
The social, economic and political structure of Turkey in between 1960-70 has
some special importance. In addition to that, the institution of cinema had some
important changes at the same period. Meantime, it is important that not many
studies were done in woman’s subordination for this period in Turkey. Not only
woman’s subordination in the scope of patriarchy, but also mutual relations of
men and the role of men in reproduction of patriarchy were analysed in the film
analysis.
Keywords: Patriarchy, Turkish Cinema, Socialist Realist and National Films.
iv
ÖZ

TÜRKİYE’DE 1960-70 ARASI ATAERKİL YAPILAR VE PRATİKLER:
1960’LARIN TOPLUMSAL GERÇEKÇİ VE ULUSAL FİLMLER ÖRNEĞİ

Yeşildal Şen, Hatice

Doktora, Sosyoloji Bölümü
Tez Yöneticisi: Prof. Dr. Mehmet C. Ecevit

Ekim 2005, 249 pages

Bu tez, feminist perspektife bağlı olarak ataerkil yapılar ve bunların yeniden
üretiminin kadının toplumsal konumun analizindeki önemine dikkat
çekmektedir. Ataerkillik hem üretim hem de yeniden üretim alanında hâkim olan
bir yapıdır. Ataerkillik, toplumsal yaşantının her alanında hâkim olan ve maddi
temelleri dolayısıyla tarihsel boyutu olan; kadının hem emeğini hem de
cinselliğini denetleyen bir yapı olarak ele alınmıştır. Bu çerçevede ataerkilliği
anlamak için kadının emek kullanma biçimleri –ücretli ve eviçi emek-, aile,
namus, şiddet ve erkeklik vb kavramlar kullanılmıştır. Ataerkillik sabit durağan
bir yapı olmayıp tersine farklı üretim biçimlerine, farklı toplumsal ve kültürel
yapılara göre değişik biçimler gösterebilen bir yapı olarak ele alınmıştır. Bu tez
kapsamında 1960–70 döneminde ‘toplumsal gerçekçi’ ve ‘ulusal sinema’
anlayışıyla geliştirilen filmlerden örnekler seçilerek bu filmlerin sosyolojik
analizi yapılmıştır. 1960–70 dönemi genel olarak Türkiye’nin toplumsal,
ekonomik ve politik yapısı anlamında belirli özelliklere sahiptir buna paralel
olarak Türk Sineması bir kurum olarak bu dönemde önemli değişiklikler
yaşamıştır. Bu dönem aynı zamanda Türkiye’de kadın tarihi anlamında da daha
az çalışılan bir dönem olduğu için önemlidir. Filmlerin analizinde ataerkillik
kapsamında yalnızca kadının ikincil konumuna değil erkekler arası ilişkilere ve
bu ilişkilerin ataerkilliğin yeniden üretilmesindeki rolüne de bakılmıştır.
Anahtar Kelimeler: Ataerkillik, Türk Sineması, Toplumsal Gerçekçi ve Ulusal
Filmler.
v
To My Little Brother Erdal

vi
ACKNOWLEDGMENTS

I thank all who have contributed towards this thesis.
Firstly, I would to give my utmost thanks to my supervisor Mehmet Ecevit who
not only helped me in all stages of this thesis but supported me throughout. He
was the one contributed the most from start to finish. His support was not only
on an individual basis, but in believing that academic life should require
collective collaboration. He also managed to form a sociology dissertation group.
I also would thank to my friends in this dissertation group for their contribution
by listening and commenting in my presentations.
I owe the deepest gratitude to Yıldız Ecevit and Kurtuluş Kayalı who joined our
dissertation group’s meeting from time to time. Yıldız Ecevit read this thesis and
made some valuable suggestions. Kurtuluş Kayalı always shared his knowledge
with me. Both Yıldız Ecevit and Kurtuluş Kayalı hold a special place for me, not
only academically, but also personally.
This study was funded by a grant from The Turkish Academy of Sciences
(TÜBA) to carry out my research in the University of West of England in the
UK. A special thanks to Harindranath Ramaswami for his academic support.
I would also like to thank both the examining committee members, who provided
me with further feedback.
The films I have analyzed in this thesis were from Anadolu University
Department of Cinema and TV, Ankara University Faculty of Communication
vii
Department of Cinema, Tümay Arslan and Uğur Ün. I thank all those who in
some ways helped me to find these films.
I would like to thank Charles Sant for giving comments and proof reading the
text.
Special thanks to my colleagues Ayşin Koçak, Yasemin Özgün, Nadide
Karkıner, and Oya Beklan Çetin for their help during my thesis. They always
support me ambitiously. Thanks to my dear friend Elif Uğurlu for her emotional
support and delicious meals.
I am very lucky to have friends like Güray Topaç and Göksel Turan and would
like to thank them for their support and help. I also thank to Emrah and Burcu for
helping me out in cassette transcriptions.
This thesis would not have been completed without Aynur Özuğurlu’s tireless
efforts, help, and her detailed and incisive comments.
I would like to thank to my dear family for their support over the years. Without
them I would not reached this stage. Finally, I am indebted to my friend Tamer
Şen. He, always, in all circumstances has stood besides me and gave me all his
support. He not only shared the whole thesis process, but still plays a big part in
my life.
viii
This thesis was supported by Turkish Academy of Sciences as part of
Fellowship Program for Integrated Doctoral Studies in Turkey and Abroad
in Social Sciences and Humanities.

ix
TABLE OF CONTENTS

PLAGIARISM ......................................................................................................... iii
ABSTRACT ........................................................................................................... iv
ÖZ .......................................................................................................................... v
ACKNOWLEDGMENTS ....................................................................................... vii
TABLE OF CONTENTS .......................................................................................... x
CHAPTER
1. INTRODUCTION .......................................................................................... 1
2. RESTORING WOMEN TO HISTORY BY QUESTIONING
THE LEGITIMATION OF PATRIARCHY .................................................... 6
2.1. Introduction ............................................................................................ 6
2.2. Questioning Patriarchy as Criticism of Social Order ................................ 7
2.3. Explaining Patriarchy on Production Sphere............................................. 9
2.4. Analysing Patriarchy with the Togetherness of Gender and
Class.................................................................................................... 13
2.5. Invisibility of Women’s Labour in Turkey ............................................. 24
2.5.1. Changes of Women's Employment from Rural to
Urban........................................................................................... 25
2.5.2. Marriage and Fertility.................................................................... 30
2.5.3. Studies on the Situation of Women's Employment......................... 32
2.5.4. Educational Level of Women and Working Issues......................... 35
2.6. Conclusion ............................................................................................. 36
3. RESEARCHING PATRIARCHY VIA CINEMA: A
SOCIOLOGICAL APPROACH .................................................................... 37
3.1. Introduction ........................................................................................... 37
3.2. Methodological Trajectory of Feminist Film Analysis ............................ 38
x