2000 sonrası Türkiye komedi sinemasında erkeklik inşası

The pressure of society on the genders is not limited to the pressure of men on women. Women were carefully concealed, and where they were not, they were included as types that were either poor or as passive as possible. Additionally, the ideal-hegemonic male, who is nationalist, heterosexual, physically strong and who possesses a variety of methods of violence and rejects anyone who is not similar to him, creates a certain pressure on other males. So much so that even if he is guilty, he is perceived as forgivable because he is a "hot-blooded young man". He might be a bad father, but it is perceived that he can make up for this fault. The important thing is to somehow capture the ideal hegemonic masculinity created by patriarchal ideology. Based on the idea that the construction of masculinity is an ideological process, this ideology needs to be preserved, reproduced and maintained. The society attributes roles on men. These roles each have a representation and it constructs meaning that make up these representations. The construction of all of these concepts also construct the ideological masculinity. The aim of this study is to reveal how masculinity is constructed in accordance with the structure of ideology in Turkish comedy cinema after 2000, in consideration of all these concepts. The study consists of the examination of seven films based on Greimas' Actantial Model. These films, respectively, are Vizontele (2001), Maskeli Besler: Intikam Pesinde (2005), Yahsi Bati (2009), Kolpaçino: Bomba (2011), Cakallarla Dans: Sifir Sikinti (2014), Recep Ivedik 5 (2017), Organize İsler: Sazan Sarmali (2019).