Representation of woman in Ayşe Şasa and Işıl Özgentürk's cinema

Cinema is one of the most important discoveries of the 19th century. Two hundred years ago, the theater was the center of attention, and the century before the novel. With the developing technology, cinema has become an indispensable art. Cinema, which interprets the outside world and adds new meanings to it, owes this development to other branches of art. One of them is literary works. The literary works, which have a rich accumulation of subjects, have been the source of cinema since the first moments of cinema. Cinema has also become a medium where patriarchal codes are reproduced and traces of social, cultural and political events are encountered. In the 1970s, women filmmakers tried to give cinema an alternative perspective from a feminist critique perspective. In this study, it is examined how feminist film criticism corresponds to female screenwrite, scripts, how women are represented in these texts and how they contribute to Feminist Film Theory. Ayşe Şasa of 'Gramofon Avrat' (Work:Sabahattin Ali), and Işıl Özgentürk; 'Seni Seviyorum Rosa' (Work: Sevgi Soysal),which were determined within the scope of the sample, were analyzed as representations of women in literary adaptations. Key Words: Feminism, Cinema, Adaptation, Scenario