SavedAdd your journal

Journals / Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi / 2026 / Cilt: 11 Sayı: 1

COLOR, CLASS, AND GENDER: THE SOCIAL CONSTRUCTION OF WOMEN AND BEYOND IN ASGHAR FARHADI CINEMA

RENK, SINIF VE CİNSİYET: ASGHAR FARHADİ SİNEMASINDA KADININ TOPLUMSAL İNŞASI VE ÖTESİ

Zindan Çakıcı(Üsküdar Üniversitesi)0000-0002-8916-0582
Emre Meriç(İSTANBUL BİLGİ ÜNİVERSİTESİ)0000-0001-8006-7149
Pages
591–621
Publication Date
2023-03-23
🏛️Bibliographic metadata and full text access for this article are provided via DergiPark.
DergiPark Record ↗
✨

AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

These results demonstrated that the roles traditionally attributed to women in Iranian society were reinforced through the color tones.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:This study interrogates the films of Asghar Farhadi, who contributed to the international prominence of Iranian cinema, with a mixed-method approach in terms of women's representation.
📊
Key Findings & Data:Quantitative data based on content analysis were deepened by textual analysis to negotiate the positive and negative meanings attributed to femininity in Asghar Farhadi's films.
💡
Conclusion & Impact:These results demonstrated that the roles traditionally attributed to women in Iranian society were reinforced through the color tones.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:renk · temsil · kadın

Abstract

This study interrogates the films of Asghar Farhadi, who contributed to the international prominence of Iranian cinema, with a mixed-method approach in terms of women's representation. Quantitative data based on content analysis were deepened by textual analysis to negotiate the positive and negative meanings attributed to femininity in Asghar Farhadi's films. The research disclosed that all the female lead characters in the films are portrayed as passive characters who spends her days doing chores within the framework of the power relations determined by the patriarchal social structure. The social position of Iranian women in the patriarchal order was questioned by representing the female characters as economically and emotionally dependent on the males. It is discovered that the female lead characters wearing light-colored costumes are depicted as "honorable women", whereas the female lead characters wearing dark-colored costumes are depicted as "immoral women". These results demonstrated that the roles traditionally attributed to women in Iranian society were reinforced through the color tones.

Özet

Bu çalışma, İran sinemasının uluslararası alanda bilinirlik kazanmasında payı olan Asghar Farhadi'nin filmlerini, kadın temsili açısından karma yöntem yaklaşımı ile incelemiştir. İçerik analizine dayalı nicel veriler, metin analiziyle derinleştirilerek Asghar Farhadi filmlerinde kadınlığa yüklenen olumlu ve olumsuz anlamlar tartışılmıştır. Araştırma, filmlerdeki tüm başrol kadın karakterlerin ataerkil toplum yapısı içinde belirlenen iktidar ilişkileri çerçevesinde, ev işlerinden ibaret bir hayat sürdüren, pasif karakterler olarak tasvir edildiğini ortaya koymuştur. Kadın karakterler, ekonomik ve duygusal olarak erkeklere bağımlı bireyler olarak temsil edilerek, İranlı kadınların ataerkil düzendeki toplumsal konumu sorgulanmıştır. Filmlerde açık renkli kostüm giyen başrol kadın karakterlerin “namuslu kadınlar” olarak, koyu renkli kostüm giyen kadın karakterlerin “ahlaksız kadınlar” olarak temsil edildiği görülmüştür. Bu bulgular, İran toplumunda geleneksel olarak kadınlara atfedilen rollerin renk tonları üzerinden pekiştirildiğini göstermiştir

🔖

Cite This Article

Çakıcı, Z., Meriç, E. (2023). COLOR, CLASS, AND GENDER: THE SOCIAL CONSTRUCTION OF WOMEN AND BEYOND IN ASGHAR FARHADI CINEMA. Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi, Cilt: 11 Sayı: 1, 591–621. https://doi.org/10.19145/e-gifder.1190696

📄 Full Text PDF Viewer

📄

PDF görüntüleyici hazırlanıyor...

References (44)

  1. ABEDINIFARD, Mostafa. (2019). Asghar Farhadi’s nuanced feminism: Gender and marriage in Farhadi’s films from Dancing in the Dust to A Separation. Asian Cinema, 30(1), 109-127. https://doi.org/10.1386/ac.30.1.109_1
  2. AHMADGOLI, Kamran. and YAZDANJOO, Morteza. (2019). Multimodal representation of social discourses in Asghar Farhadi’s a Separation: a social semiotic study, Social Semiotics, 30(5), 699-719. https://doi.org/10.1080/10350330.2019.1629568
  3. AL SHARJI, Alshaatha. (2016). Negotiating the Politics of Representation in Iranian Women’s Cinema before and after the Islamic Revolution. (Master’s Thesis, University of Arkansas, Fayetteville, United States). https://scholarworks.uark.edu/etd/1699
  4. AMIRI, Amir., & BOLKHARI QAHI, Hassen. (2013). A sociological look at the dialogue A Separation film directed by Asghar Farhadi. Interdisciplinary Journal of Contemporary Research in Business 4(12), 426-433. https://journal-archieves31.webs.com/426-433.pdf
  5. AZAR, Farnaz Sarani. (2018). Asghar Farhadi Sinemasında Gerçekçiliğin Yansıması:“Elly Hakkında” Filmi Üzerinde Değerlendirme. Tarih Okulu Dergisi, 11(34), 1005-1038. https://doi.org/10.14225/Joh1288
  6. BABUÇCU, Reşide. (2018). Asghar Farhadi sinemasında toplumsal cinsiyet: Çarşamba Ateşi, Elly Hakkında ve Bir Ayrılık filmleri üzerine bir inceleme. (Master Thesis, Akdeniz University, Antalya, Turkey). https://tez.yok.gov.tr/UlusalTezMerkezi/tezDetay.jsp?id=4UdcgmYsLJYqpKk2AfLO4A&no=juYE5QQfw6W5ndpq_TR6_A
  7. BAKI, Adnan. and GÖKÇEK, Tuba. (2012). Karma Yöntem Araştırmalarına Genel Bir Bakış. Elektronik Sosyal Bilimler Dergisi, 11(42), 1-21. https://dergipark.org.tr/en/pub/esosder/issue/6156/82721
  8. BANEINIA, Masoumeh., and DERSAN ORHAN, Duygu. (2021). Women As a Political Symbol in Iran: A Comparative Perspective Between Pahlavı Regime and Islamic Revolution. Nevşehir Hacı Bektaş Veli Üniversitesi SBE Dergisi, 11(4), 1906-1919. https://dergipark.org.tr/en/pub/nevsosbilen/issue/67629/1003864
  9. BAROKAS, Safiye Kırlar. (1994). Reklam ve Kadın. İstanbul: Türkiye Gazetecileri Cemiyeti Yayınları.
  10. BALTACI, Ali. (2018). Nitel Araştırmalarda Örnekleme Yöntemleri ve Örnek Hacmi Sorunsalı Üzerine Kavramsal Bir İnceleme. Bitlis Eren Üniversitesi Sosyal Bilimler Dergisi, 7 (1), 231-274. BERKTAY, Fatmagül. (2004). “Kadınların İnsan Haklarının Gelişimi ve Türkiye”, Sivil Toplum ve Demokrasi Konferans Yazıları, No:7, Sivil Toplum Kuruluşları Eğitim ve Araştırma Birimi, Bilgi Üniversitesi. http://stk.bilgi.edu.tr/docs/berktay_std_7.pdf.
  11. CHAN, Amanda. (2016). Cultural frontiers: women directors in post-revolutionary New Wave Iranian cinema (Doctoral dissertation, University of Pittsburgh, United States). http://d-scholarship.pitt.edu/27767/
  12. CRESWELL, John Ward., and CLARK, Plano (2017). Designing and conducting mixed methods research. Sage publications.
  13. ÇINAR, Ezgi Büşra. (2019). Yerellik ve Evrensellik Bağlamında Asghar Farhadi Sineması: “Bir Ayrilik” ve “Satıcı” Filmlerinin İncelenmesi (Master Thesis, Marmara University, İstanbul,Turkey). https://tez.yok.gov.tr/UlusalTezMerkezi/tezDetay.jsp?id=fbsaNp0GUnn6xeJ1Ga7uAg&no=Bii8SZWumODw8qNBQOzYjw
  14. DÖNMEZ-COLIN, Gönül. (2004). Women, Islam, and cinema. University of Chicago Press.
  15. GHORBANKARIMI, Maryam. (2015). A Colourful Presence: The Evolution of Women's Representation in Iranian Cinema. Cambridge Scholars Publishing.
  16. HABIBIAN, Maryam. (1999). Under Wrap or the Stage: Women in the Performing Arts in the Post-Revolutionary Iran. CEMOTI, 28(1), 295-311. https://journals.openedition.org/cemoti/603?lang=en
  17. İNCEOĞLU, İrem., AKÇALI, Elif. & TÜSİAD (2018). Televizyon Dizilerinde Toplumsal Cinsiyet Eşitliği Araştırması. TÜSİAD. https://dspace.ceid.org.tr/xmlui/handle/1/453)
  18. JAVANSHIR GHOJEHBAGLOU, Sahar. (2020). İran sinemasında sansür: Kadın temsiline yönelik çözümleme (Master's thesis, Anadolu University, Eskişehir, Turkey). https://acikbilim.yok.gov.tr/handle/20.500.12812/330078
  19. KARAMI, Ronak. (2020). Men Should Stay Out and Women Should Pack the Bags at Home: The City of Mice and Gender Practice in Iran. Journal of International Women's Studies, 21(1), 359-373. https://vc.bridgew.edu/cgi/viewcontent.cgi?article=2231&context=jiws
  20. KESKIN, Fatih. and ULUSAN, Aycan. (2016). Kadının toplumsal inşasına yönelik kuramsal yaklaşımlara dair bir değerlendirme. Akdeniz Üniversitesi İletişim Fakültesi Dergisi, (26), 47-68. https://dergipark.org.tr/en/pub/akil/issue/30951/438558
  21. KOPUZLU, Kübra. (2021). Etkileşim ritüeli bağlamında Asghar Farhadi sineması: the salesman, about elly ve a separation filmleri üzerine bir inceleme (Master's thesis, Aydın Adnan Menderes University, Aydın, Turkey). http://hdl.handle.net/11607/4404
  22. LAHIJI, Shahla. (2002). Chaste dolls and unchaste dolls: Women in Iranian cinema since 1979. In R. Tapper (Ed.), The new Iranian cinema: Politics, representation, and identity (pp. 215-226) London and New York, Harvard Common Press.
  23. MINCHEVA, Dilyana., & HOOMAN, Niloofar. (2020). Between the Averted Gaze and the Male Gaze: Women in Farhadi's Films as Tentative Harbingers of Cinematic Islamic Feminism. International Journal of the Image, 11(2), 19-32. https://cgscholar.com/bookstore/works/between-the-averted-gaze-and-the-male-gaze
  24. MIR-HOSSEINI, Ziba. (2001). Iranian Cinema: Art, Society, and the State. Middle East Report, (219), 26-29. https://doi.org/10.2307/1559252
  25. MORADIYAN RIZI, Najmeh. (2015) "Iranian Women, Iranian Cinema: Negotiating with Ideology and Tradition," Journal of Religion & Film, 19(1), 1-26. https://ixtheo.de/Record/1563470969
  26. MOGHADAN, Valentine. (2002). Islamic feminism and its discontents: toward a resolution of the debate. Signs, 27(4), 1135-1171. https://doi. org/10.1086/339639
  27. MORUZZI, Norma Claire. (2015). Through the Looking Glass: Reflexive Cinema and Society in Post-Revolution Iran. In P. Decherney, B. Atwood (Eds.), Iranian Cinema in a Global Context (pp. 112-142). Routledge.
  28. MULVEY, Laura. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3),6-18. https://doi.org/10.1093/screen/16.3.6
  29. NAFICY, Hamid. (1995). Iranian cinema under the Islamic Republic. American Anthropologist, 97(3), 548-558. https://www.jstor.org/stable/683274?seq=1
  30. NAFICY, Hamid. (2000). Veiled voice and vision in Iranian cinema: the evolution of Rakhshan Banietemad's films. Social Research, 67(2), 559-576. https://www.scholars.northwestern.edu/en/publications/veiled-voice-and-vision-in-iranian-cinema-the-evolution-of-rakhsh-2
  31. NAFICY, Hamid. (2011). A Social History of Iranian Cinema, Volume 2: The Industrializing Years, 1941–1978. Duke University Press.
  32. NASEHI, Elnaz., and KARA, Nurten. (2018). Buttressing strategy: a theory to understand the neopatriarchal unconscious of Iranian society/cinema. Revista de Cercetare si Interventie Sociala, 60, 157-173. https://www.rcis.ro/images/documente/rcis60_11.pdf
  33. ÖZKAN, Hülya. (2021). İran Sinemasında Kadının Temsili ve Toplumsal Konumu: Tahmineh Milani Filmleri Üzerine Bir Çözümleme. Medya ve Din Araştırmaları Dergisi, 4(1), 105-120. https://dergipark.org.tr/en/pub/mediad/issue/63219/936483
  34. REZAI-RASHTI, Goli. (2007). Transcending the limitations: women and the post-revolutionary Iranian cinema. Critique: Critical Middle Eastern Studies, 16(2), 191-206. https://doi.org/10.1080/10669920701378895
  35. SEDANGHIAM, Negar. (2020, March 13). Iranian Women Cinema: The Female Representation Narrated by Iranian Women Filmmakers (Conference Presentation). Film Studies Conference. Belarus. https://shortmovie.club/hubble/film-study-conference/2020-program/
  36. SEHAT, Masoome., and JAHANTIGH, Hossein. (2019). Passing over Sisters: Denial of Farhadi's Unsafe Society. Theory and Practice in Language Studies, 9(8), 1001-1008. http://www.academypublication.com/issues2/tpls/vol09/08/17.pdf
  37. SEYED-GOHRAB, Asghar, & TALATTOF, Kamran. (2013). Conflict and development in Iranian film. Leiden University Press.
  38. TRAGESSER, Sophia Hernandez. (2021). Iranian Cinema and the New Woman: The Islamic Revolution’s Impact on Female Agency in Film. MHR, (5), 1-27. http://www.midlandshistoricalreview.com/iranian-cinema-and-the-new-woman-the-islamic-revolutions-impact-on-female-agency-in-film/
  39. YASINI, Sayedeh Razieh.; GHAEM, Mahdi Montazer.; amd BICHARANLOU, Abdollah. (2018). The Discursive Politics of Women's Clothing in Iran at Revolutionary Transition Era (1979-1981). Pertanika Journal of Social Sciences & Humanities. 26 (T), 103 - 124. https://api.semanticscholar.org/CorpusID:195835603
  40. YÜKSEK, Ali. (2014). İslam Aile Hukukunda Boşama Yetkisi ve Kadının Boşanması. Journal of International Social Research, 7 (32), 340-354. https://dergipark.org.tr/en/download/article-file/1208073
  41. YILDIZ, Sevgi. (2017). Sosyal Bilimlerde Örnekleme Sorunu: Nicel Ve Nitel Paradigmalardan Örnekleme Kuramina Bütüncül Bir Bakiş. Kesit Akademi Dergisi, (11), 421-442. https://dergipark.org.tr/tr/pub/kesitakademi/issue/59833/864534
  42. ZEYDABADI-NEJAD, Saeed. (2009). The politics of Iranian cinema: film and society in the Islamic Republic. Routledge.
  43. BALTACI, Ali. (2018). Nitel Araştırmalarda Örnekleme Yöntemleri ve Örnek Hacmi Sorunsalı Üzerine Kavramsal Bir İnceleme. Bitlis Eren Üniversitesi Sosyal Bilimler Dergisi, 7 (1), 231-274.
  44. YILDIZ, Sevgi. (2017). Sosyal Bilimlerde Örnekleme Sorunu: Nicel Ve Nitel Paradigmalardan Örnekleme Kuramina Bütüncül Bir Bakiş. Kesit Akademi Dergisi, (11), 421-442. https://dergipark.org.tr/tr/pub/kesitakademi/issue/59833/864534