IN TURKEY CINEMA; DIRTY WOMEN & INNOCENT WOMEN

While women who are shy, vulnerable, virgin are introduced us as innocent women, women who are strong, can stand on its own feet, have sex with different males are introduced us as dirty women. Thats the motto of Turkey. Because, people, living in this Country, have been assimilated by Eastern essence. According to Eastern's traditions, women should serve to men and adhere to their partner's. Despiting the fact that Some people inherent and live in European side of the country, some of these people still have the eastern essence and reflect this to their characters.

The reflection of the subject, mentioned above, can be seen sometimes in abstract way, sometimes melodramatic, sometimes realistic on Turkish Cinema and Turkish Tv Series. But, regardless the form of expression, this subject has being worked many times and will still being worked.

In Turkish Cinema, Women has always come forward with the roles that these roles match with the real life. Women devotes themselves to their husbands and they usually are loyal mothers. Especially in the past Turkish cinema period, in Melodrams, Women's role in Turkey are shown in exaggerated way. Woman always encounters with problems that these reveals the protagonist's characters. The stereotypes of these women are; fatalistic and self-sacrificing women. These women are capable of tolerating many things. On the other hand, the stereotype of bad women are prominence sexuality and they usually wear racy outfits.

Turkish people assimilate the Islam that It is so normal for women to stay in backgroung according to men. According to previous laws, men would have more rights than women. The all of them can be appearantly seen in Turkish movies especially in Melodrams.

If we consider all countries in World actually, In almost all countries of the world have the same issue and handles with this issue by Cinema. There is a patriarchal society fact that This society continues for a long time in history. Even, the word itself 'history' displays this fact that this word is the combination of 'his' and 'story' !

Woman, who have being considered as a secondary person, always become a plot for movies in all around the world. A Chinese movie called 'raise the red lantern' is a perfect movie, handles with this issue. If we turn to Turkish movies, ' to be the second person' issue have being handled in terms of many phenomenon. Inspite of the fact that it is not as much as common as past, women are still not equal with man. In Herd (Sürü), directed by Zeki Ökten, it can be encountered with a women who can not give a birth, is exclused by her husband's father. Because not giving a birth is seen like a curse. The woman shows her response with silence that most women still react with silence in front of the injustice. The events happen in rural area. Actually, mostly, the injustice, suffered by woman, usually happens in underdeveloped places. Still, there are blood feud, polygamy for men, at the east side. If it is thought about the movie named ' Kızım Ayşe (1974), the protagonist woman migrates from rural area to urban area. She moves next to her sister that her sister has grown in urban area. While the woman , raised in rural area, is shown as the pure one, the other one is shown as the seductive and evil woman in the movie. The protagonist has been raised depends on the region that in muslim, there are lots of restrictions for woman.

If the Iranian Cinema is considered, it can be encountered with most of movies including these kind of women issues, too.

Being the second woman can not just be encountered in Turkish Cinema but also can be encountered in Turkish Tv Series. Especially in this period, woman who has a leading role in series, is usually shy, unprotected, virgin. This type of woman creates an ideal innocent image that this image match with the Turkey's tradition. This kinds of subjects always result with high rating, since, public feel this issue close. 

MARXISM AND MARXIST APPROACHES ON CINEMA

Karl Marx's Theory, includes class differentiation, revolution, socialism, capitalism, has been influencing the film history for years.

Before mentioning about the marxist approaches on cinema, firstly it should be focused on the meaning of the term called 'Marxism'. Marxism, developed by Karl Marx in the 19th Century, is based on analyzing the dynamics in social change. In Marxist theory, it can be mentioned about materialism, labors, alienation. Marxism brings next the most known world related to this marxism system called capitalim. In capitalism, it can be mentioned about a social system again but in this system, production and exchange of wealth is maintained mainly by private individuals or corporations.

In Marxist Theory, there are two classes in the capitalist stage of production that one of them iis bourgeoisie, the capitalists who own the means of production, and the other one is proletariast who must sell their own labour power.

According to Marx's study; capitalism is based on dialectical and materialist philosophy. For the idealist, the mind is the origin of all material things. However, for the materialist, all of reality is based on matter. According to idealism from poverty is not a social phenomenon. Poverty is a personal choice. For Marx ' people make their own history without chosen by themselves. According to Marx, People cannot be liberated," wrote Marx and Engels, "as long as they are unable to obtain food and drink, housing and clothing in adequate quality and quantity. 'Liberation' is a historical and not a mental act and it is brought about by historical conditions."

Marxist approaches have been using over cinema analyses for many years that Marxist film theory is one of the oldest forms of film theory. Marxism affected film in terms of social, political, actually, still is affecting.

Sergei Eisenstein firstly applied ideas of Marxism to film theory, which concentrate in the Soviet Montage theory. His montage theories are based on the idea that montage originates in the "collision" between different shots in an illustration of the idea of thesis and antithesis. This basis allowed him to argue that montage is inherently dialectical, thus it should be considered a demonstration of Marxism.

In 1920s Soviet  Union, at the early years of revolution, when visual journalism started to be spread, Vertov's montage of images and Eisentein's work were some of the innovative works. A man with the movie camera and Battleship of Potemkin are well-known examples that can be analzed by Marxist approaches.

In ' a man with the movie camera' daily life of the people is seen from morning to evening. Labours working conditions and life are widely shown. It can be seen the ideal socialist city of the future by utilizing material from the present and dialectically transforming material from the past through the cine-eye.

At the same time , in Germany, When urban mass culture audience was rised, capitalim's enroachment on the field of culture was developed. The theorists who were identifying the liberating potential of new media were Kracauer(1995), Brecht (1964) and Benjamin (1936)  From Caligari to Hitler: A Psychological History of the German Film can be suggested for understanding this period. Siegfried Kracauer's book. The Book examines German history from 1921 to 1933 in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel.

In the mids 1930s, In France, anti-fascist  sympathizers and liberals such  Jean Renior was producing films. In China, Soviet revolutionary theory spread to China and inspired Chinese left-wing (progressive) film movement, which applied again ideas of Marxism to film industry and film theory studies.

During the Post second World war era, A new wave Italian neo-realism was emerged. These movies took up cameras to focus on lower class characters and their concerns. Non professional actors were used. There was outdoor shooting, very small budget and realistic aesthetic. These are opposite to Hollywood's star system . marxists favoured an aesthetic of progressive realism that stood against the entertainment and allowed for social criticism. Vittorio de Sica's , Bicycle Thieves, Luchino Visconti's La Terra Trema, Roberto Rosselini's open city, are acclaimed examples for that wave.

After this period, directors have still being concentrate on this issues. Ken Loach, English director, is known for his naturalistic, social realist directing style. He apply his ideas of socialism in his movie and focuses on social issues. Raining stone is one of his realist movie example. Ken Loach, makes a political point about Great Britain. Days were the early times of capitalism. Loach uses unpopuler actors, ordinary characters taken from daily life. Loach's neo-liberalist and marxist approaches can be seen at the movie. Loach himself has pointed to Bicycle Thieves as a kind of model for Raining Stones.

Around 1970 in contemporary film studies, we see the combination of Marxism, structuralism, psychoanalysis and semiotics and then was further elaborated in post-structuralist terms.

Marxism contributes to contemporary film studies in the form of historical, economic, and ideological analysis, as well as media activism.

Because of Marxism's interest in industrial and global economics, Marxism is the primary methodology of most economic analysis of film.

Today, marxism combines analysis of class with an analysis of gender, race, national, post-colonial, and other issues raised by progressive social-political movements.

                           

REFERENCES

November 5, 1999, issue of Socialist Worker. Paul D'amato

Matthew July 31st, 2015, Battleship Potemkin (1925)

J Hill & P C Gibson, Film Studies Critical Approaches, Oxford : Oxford University Press, 2000

Stavros Alifragkis, Man with the Movie Camera—Constructing Visions of Happiness in the Ideal Socialist City of the Future, Cambridge, 2009