1960'larda Türk ve Fransız sinemasında modernite ve kadın imgesi: Vesikalı Yarim ve Domicile Conjugal karşılaştırması

The main question of the thesis is the relationship between modernity and the image of woman in the cinema of late1960s and beginning of 70s, which is being explored through two films of the decade, Vesıkali Yarım [1968] and Domicile Conjugal [1970]. The first film is Turkish, and the later is French, which gives the thesis two different cultures and statuses of woman within the cultures to be examined and compared as well. The concept of individuality can be found from the core of modernity, and to expand the term 'individuality' and the different meanings it holds for men and women, gender studies are applied. After clearing the terms, they're being used for the two films chosen, in order to examine modernity and the status of woman in the society of 1960s. Also, Turkish and French cinema are explained with directors of films Ömer Lütfi Akad and François Truffaut in order to see image of women in cinema. To analyze the characters, especially the female characters of the films carefully, and to set the question of the image of woman as an object, psychoanalytic film theory is being benefited. Scenes showing the images of different female characters are being chosen in order to analyze and compare them with each other. As a result, in a Turkish and a French film of the same epoch, the level of modernity and the pressure of traditions can be found different, but the perception of woman as a sexual object can be found similar.