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Toplumsal Cinsiyet Dinamiklerinin Açığa Çıkarılması: İran Sineması Üzerine Eleştirel Bir Analiz

Year 2024, Issue: 14, 1489 - 1504, 29.02.2024
https://doi.org/10.51531/korkutataturkiyat.1429290

Abstract

The main purpose of this research is to examine the portrayal of gender in Iranian cinema and the subsequent effects on today ‘society, gender dynamics, and individual identity as a result of those impacts. The historical foundation of Iranian cinema, the key films in the industry, and the impact that political and cultural forces have played are all extensively discussed throughout study. Moreover, the paper delves into the portrayal of men and women in Iranian cinema, as well as the impact of the media on the formation of cultural standards and gender identities. It also analyzes the loosening of traditional gender standards, while calling attention to the predominance of destructive female characters in contemporary Iranian cinema and emphasizing the significance of sensitive male characters in that cinema. Furthermore, the study looks at how family connections are shown in Iranian films across time, as well as the delicate interplay of distinct sex, gender, and cultural features.
As a result, women in Iranian cinema take on more prominent roles, but gender equality remains a challenge, and women continue to create meaningful films that resonate with audiences. The representation of masculinity in Iranian cinema is complex and varied, reflecting changing social and cultural norms in Iranian society. It is portrayed as heroic and honorable in some films, but violent and aggressive in others. This sparks a discussion about cinema’s role in shaping social norms and values, as well as the need for more diverse and nuanced portrayals of masculinity.

References

  • Aidani, M. (2016). Narrative and Violence: Ways of Suffering Amongst Iranian Men in Diaspora. Routledge.
  • Ashraf, A. (1993). The Crisis of National and Ethnic İdentities in Contemporary Iran. Iranian Studies, 26, 159-164.
  • Byne, W. (2006). Developmental Endocrine Influences on Gender Identity: Implications for Management of Disorders of Sex Development. The Mount Sinai Journal of Medicine, 73 (7), 950-9.
  • Costello, C. G. (2020). Beyond Binary Sex and Gender Ideology. In The Oxford Handbook of the Sociology of Body and Embodiment (p. 199). Oxford: Oxford University Press.
  • Dabashi, H. (2001). Close Up: Iranian Cinema, Past, Present, and Future. Verso Publishing.
  • Ehrhardt, A., & Meyer-Bahlburg, H.F. (1981). Effects of Prenatal Sex Hormones on Gender-Related Behavior. Science, 211 4488, 1312-8.
  • Ghorbankarimi, M. (2015). A Colorful Presence: The Evolution of Women’s Representation in Iranian Cinema. Cambridge Scholars Publishing.
  • Habibi, M., Farahmandian, H., & Mojdehi, R.B. (2016). Reflection of Urban Space in Iranian Cinema: A Review of the Last Two Decades. Cities, 50, 228-238.
  • Hanassab, S., & Tidwell, R. (1989). Cross-Cultural Perspective on Dating Relationships of Young Iranian Women: A Pilot Study. Counselling Psychology Quarterly, 2, 113-121.
  • Harris, A., & Bartlow, S. (2015). Intersectionality: Race, Gender, Sexuality, and Class. Handbook of the Sociology of Sexualities, 261-271.
  • Kazemi, F. (2018). The Object-Voice: The Acousmatic Voice in the New Iranian Cinema. Camera Obscura. Feminism, Culture, and Media Studies, 33(1), 57-81.
  • Khosravi, S. (2009). Displaced Masculinity: Gender and Ethnicity among Iranian Men in Sweden. Iranian Studies, 42, 591-609.
  • Khosroshahi, Z. (2020). Rethinking the Borders of Feminism: The Representation of Women in Rakhshan Banietemad’s Films. Feminist Media Studies, 20, 294-296.
  • Kurzman, C. (2008). A Feminist Generation in Iran? Iranian Studies, 41, 297-321.
  • Mazzuca, C., Borghi, A. M., van Putten, S., Lugli, L., Nicoletti, R., & Majid, A. (2020). Gender is Conceptualized in Different Ways Across Cultures.
  • McDermott, R., & Hatemi, P.K. (2011). Distinguishing Sex and Gender. PS: Political Science & Politics, 44, 89 - 92.
  • Moghadam, S., Knudson-Martin, C., & Mahoney, A.R. (2009). Gendered Power in Cultural Contexts: Part III. Couple Relationships in Iran. Family process, 48(1), 41-54.
  • Mottahedeh, N. (2004). “Life Is Color!” Toward a Transnational Feminist Analysis of Mohsen Makhmalbaf’s Gabbeh. Signs, 30(1), 1403–1424.
  • Naficy, H. (2012). A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984-2010. Duke University Press.
  • Najmabadi, A. (2005). Women with Mustaches and Men Without Beards: Gender and Sexual Anxieties of Iranian Modernity. Journal of Middle East Women's Studies, 5, 106-109.
  • Özkan, H. (2021). Representation of Women and Their Social Position in Iranian Cinema: An Analysis on Tahmineh Milani Films. Journal of Media and Religious Studies, 4(1), 105-120.
  • Paidar, Parvin (1995). Women and The Political Process in Twentieth-Century Iran. Cambridge University Press.
  • Pak-Shiraz, N. (2017). Shooting the Isolation and Marginality of Masculinities in Iranian Cinema. Iranian Studies, 50, 945-967.
  • Polderman, T. J., Kreukels, B. P., Irwig, M. S., Beach, L., Chan, Y. M., Derks, E. M., ... & (2018). International Gender Diversity Genomics Consortium. The biological Contributions to Gender Identity and Gender Diversity: Bringing Data to the Table. Behavior Genetics, 48, 95-108.
  • Poudeh, R., & Reza Shirvani, M. (2008). Issues and Paradoxes in the Development of Iranian National Cinema: An Overview. Iranian Studies, 41, 323-34.
  • Ravadrad, A. & Majdizadeh, Z. (2021). Analysis of the Portrayal of Women in Iranian Movies after the Islamic Revolution. Journal of Woman in Culture and Art, Volume 13(1), 1-34.
  • Sadr, H.R. (2006). Iranian Cinema: A Political History. Bloomsbury Publisher.
  • Tapper, R. (2002). The New Iranian Cinema: Politics, Representation and Identity. I.B. Tauris Publishing.
  • Zeydabadi-Nejad, S. (2009). The Politics of Iranian Cinema: Film and Society in the Islamic Republic. Routledge Publisher.

Unveiling Gender Dynamics: A Critical Analysis of Iranian Cinema

Year 2024, Issue: 14, 1489 - 1504, 29.02.2024
https://doi.org/10.51531/korkutataturkiyat.1429290

Abstract

The main purpose of this research is to examine the portrayal of gender in Iranian cinema and the subsequent effects on today ‘society, gender dynamics, and individual identity as a result of those impacts. The historical foundation of Iranian cinema, the key films in the industry, and the impact that political and cultural forces have played are all extensively discussed throughout study. Moreover, the paper delves into the portrayal of men and women in Iranian cinema, as well as the impact of the media on the formation of cultural standards and gender identities. It also analyzes the loosening of traditional gender standards, while calling attention to the predominance of destructive female characters in contemporary Iranian cinema and emphasizing the significance of sensitive male characters in that cinema. Furthermore, the study looks at how family connections are shown in Iranian films across time, as well as the delicate interplay of distinct sex, gender, and cultural features.
As a result, women in Iranian cinema take on more prominent roles, but gender equality remains a challenge, and women continue to create meaningful films that resonate with audiences. The representation of masculinity in Iranian cinema is complex and varied, reflecting changing social and cultural norms in Iranian society. It is portrayed as heroic and honorable in some films, but violent and aggressive in others. This sparks a discussion about cinema’s role in shaping social norms and values, as well as the need for more diverse and nuanced portrayals of masculinity.

References

  • Aidani, M. (2016). Narrative and Violence: Ways of Suffering Amongst Iranian Men in Diaspora. Routledge.
  • Ashraf, A. (1993). The Crisis of National and Ethnic İdentities in Contemporary Iran. Iranian Studies, 26, 159-164.
  • Byne, W. (2006). Developmental Endocrine Influences on Gender Identity: Implications for Management of Disorders of Sex Development. The Mount Sinai Journal of Medicine, 73 (7), 950-9.
  • Costello, C. G. (2020). Beyond Binary Sex and Gender Ideology. In The Oxford Handbook of the Sociology of Body and Embodiment (p. 199). Oxford: Oxford University Press.
  • Dabashi, H. (2001). Close Up: Iranian Cinema, Past, Present, and Future. Verso Publishing.
  • Ehrhardt, A., & Meyer-Bahlburg, H.F. (1981). Effects of Prenatal Sex Hormones on Gender-Related Behavior. Science, 211 4488, 1312-8.
  • Ghorbankarimi, M. (2015). A Colorful Presence: The Evolution of Women’s Representation in Iranian Cinema. Cambridge Scholars Publishing.
  • Habibi, M., Farahmandian, H., & Mojdehi, R.B. (2016). Reflection of Urban Space in Iranian Cinema: A Review of the Last Two Decades. Cities, 50, 228-238.
  • Hanassab, S., & Tidwell, R. (1989). Cross-Cultural Perspective on Dating Relationships of Young Iranian Women: A Pilot Study. Counselling Psychology Quarterly, 2, 113-121.
  • Harris, A., & Bartlow, S. (2015). Intersectionality: Race, Gender, Sexuality, and Class. Handbook of the Sociology of Sexualities, 261-271.
  • Kazemi, F. (2018). The Object-Voice: The Acousmatic Voice in the New Iranian Cinema. Camera Obscura. Feminism, Culture, and Media Studies, 33(1), 57-81.
  • Khosravi, S. (2009). Displaced Masculinity: Gender and Ethnicity among Iranian Men in Sweden. Iranian Studies, 42, 591-609.
  • Khosroshahi, Z. (2020). Rethinking the Borders of Feminism: The Representation of Women in Rakhshan Banietemad’s Films. Feminist Media Studies, 20, 294-296.
  • Kurzman, C. (2008). A Feminist Generation in Iran? Iranian Studies, 41, 297-321.
  • Mazzuca, C., Borghi, A. M., van Putten, S., Lugli, L., Nicoletti, R., & Majid, A. (2020). Gender is Conceptualized in Different Ways Across Cultures.
  • McDermott, R., & Hatemi, P.K. (2011). Distinguishing Sex and Gender. PS: Political Science & Politics, 44, 89 - 92.
  • Moghadam, S., Knudson-Martin, C., & Mahoney, A.R. (2009). Gendered Power in Cultural Contexts: Part III. Couple Relationships in Iran. Family process, 48(1), 41-54.
  • Mottahedeh, N. (2004). “Life Is Color!” Toward a Transnational Feminist Analysis of Mohsen Makhmalbaf’s Gabbeh. Signs, 30(1), 1403–1424.
  • Naficy, H. (2012). A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984-2010. Duke University Press.
  • Najmabadi, A. (2005). Women with Mustaches and Men Without Beards: Gender and Sexual Anxieties of Iranian Modernity. Journal of Middle East Women's Studies, 5, 106-109.
  • Özkan, H. (2021). Representation of Women and Their Social Position in Iranian Cinema: An Analysis on Tahmineh Milani Films. Journal of Media and Religious Studies, 4(1), 105-120.
  • Paidar, Parvin (1995). Women and The Political Process in Twentieth-Century Iran. Cambridge University Press.
  • Pak-Shiraz, N. (2017). Shooting the Isolation and Marginality of Masculinities in Iranian Cinema. Iranian Studies, 50, 945-967.
  • Polderman, T. J., Kreukels, B. P., Irwig, M. S., Beach, L., Chan, Y. M., Derks, E. M., ... & (2018). International Gender Diversity Genomics Consortium. The biological Contributions to Gender Identity and Gender Diversity: Bringing Data to the Table. Behavior Genetics, 48, 95-108.
  • Poudeh, R., & Reza Shirvani, M. (2008). Issues and Paradoxes in the Development of Iranian National Cinema: An Overview. Iranian Studies, 41, 323-34.
  • Ravadrad, A. & Majdizadeh, Z. (2021). Analysis of the Portrayal of Women in Iranian Movies after the Islamic Revolution. Journal of Woman in Culture and Art, Volume 13(1), 1-34.
  • Sadr, H.R. (2006). Iranian Cinema: A Political History. Bloomsbury Publisher.
  • Tapper, R. (2002). The New Iranian Cinema: Politics, Representation and Identity. I.B. Tauris Publishing.
  • Zeydabadi-Nejad, S. (2009). The Politics of Iranian Cinema: Film and Society in the Islamic Republic. Routledge Publisher.
There are 29 citations in total.

Details

Primary Language English
Subjects Asian Cultural Studies, Screen and Media Culture, Culture, Representation and Identity
Journal Section Araştırma Makaleleri
Authors

Pune Karımı 0000-0002-4928-2155

Publication Date February 29, 2024
Submission Date January 31, 2024
Acceptance Date February 28, 2024
Published in Issue Year 2024 Issue: 14

Cite

APA Karımı, P. (2024). Unveiling Gender Dynamics: A Critical Analysis of Iranian Cinema. Korkut Ata Türkiyat Araştırmaları Dergisi(14), 1489-1504. https://doi.org/10.51531/korkutataturkiyat.1429290