İran Sinemasında Kadının Temsili ve Toplumsal Konumu: Tahmineh Milani Filmleri Üzerine Bir Çözümleme

Abstract

After the Islamic Revolution of Iran, the position of women in the public sphere has been redefined within the framework of the rules included in the constitution. The change in the position of women has brought along a new process of “identification”. The representation of women, which has become a cult in the eyes of society through the media, has been reproduced in the axis of norms. Although the image of the dominant woman in question has become widespread in Iranian cinema, some direc - tors have stepped out of this framework. In this study, the films of Tahmineh Milani, who came to the forefront with his films that break the taboos about the representation and social position of women in Iranian cinema, were examined. In this context, Milani’s Do Zen (1998) and Vakoneshe Penjom (2003) films, which were selected as samples within the scope of the study, were analyzed by the feminist critical discourse analysis method. Milani offers women solutions to Iranian women with her films, does not directly criticize the lawmakers, brings the society and problems created by the laws to the fore, and leaves the main criticism to the audience. Extended Abstract With the change in the visibility of women in the public sphere in Iran, the representation and position in social life, business life, media, visual arts started to be reshaped within the framework of the rules determined in the new constitu tional structure. This change in the representation of women in radio, television, and cinema after the Iranian Islamic Revolution has almost made a new “identifi cation” necessary. How the acceptances and values of the patriarchal order, which has a long history in Iranian society, will be transferred to the cinema has brought the post-revolution representation of women into a questionable situation. In this regard, the process of reproducing/identifying the representation of women, which has become a cult in the eyes of the society through the media and pro duced in the axis of norms, has had critical importance in shaping both the public and private sphere. and the Iranian cinema coded together sexuality, situation changed after the fact the woman was an identity left background cinema, another negation towards women, a process of distortion that repro duced feminist approach, Iranian cinema after the revolution, women were often as emotional, uncon -scious, and weak characters.