The concept of masculinity through the lens of hegemonic masculinity in Turkish cinema: The phenomenon/change/transformation of masculinity in Eşkıya, Gemide, Ağır Roman

Cinema, as a means of communication and an art form, reflects the meanings and values of society while simultaneously contributing to their reproduction. As a tool of power that reinforces patriarchal order and hegemonic masculinity, cinema perpetuates these structures through their continuous reproduction. In recent times, with the changes in the dynamics of gender, patriarchal structures and the masculinity concepts based on them have undergone a significant transformation. This transformation is evident not only in the social sphere but also in areas of cultural production. As a powerful art form reflecting social realities, cinema offers a fertile ground for observing the evolution of masculine identity and the reproduction processes of hegemonic masculinity. Hegemonic masculinity is first examined in a historical perspective within the context of gender, followed by an analysis of masculinity themes in Turkish cinema through the descriptive analysis method, one of the qualitative text analysis techniques. Subsequently, this thesis addresses the intellectual, narrative, and practical significance of Turkish cinema; the films are analyzed through the lens of masculinity and its changes within the framework of hegemonic masculinity in the context of gender. The selected sample focuses on the representation of masculinity in three Turkish films from the 1990s: Eşkıya (1996), Gemide (1997), and Ağır Roman (1998). These films explore traditional masculinity by portraying male characters who confront societal and individual norms, often revealing that these crises lead to a process where hegemonic masculinity is reconstructed. Particularly through themes such as power, authority, and emotional depth, this transformation demonstrates that masculinity does not merely experience crises but also evolves into a process that reinforces traditional masculinity concepts. Finally, the study discusses whether the findings on the perpetuation of hegemonic masculinity through cinema are reproduced and examines the impact of Turkish cinema on gender roles in the context of the relationship between masculinity representations and hegemonic norms. By analyzing concepts such as masculinity, gender, hegemonic masculinity, and homosociality, the study highlights the societal positions, powers, and suppressed states of men. It emphasizes that men can occupy roles as both oppressors and the oppressed, illustrating how crises in masculinity representations naturalize these identities in society. Hegemonic masculinity is accepted as a norm within the gender order, while ideal masculinity is defined as a targeted form of masculinity that varies from society to society. In this context, societal structures that are continuously reproduced and naturalized at both individual and societal levels are reflected.