Scopus İndeksli Yayınlar Koleksiyonu / Scopus Indexed Publications Collection

Permanent URI for this collectionhttps://hdl.handle.net/11147/7148

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Access type: Open accessAuthor: search.filters.author.Yakalı, D.

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  • Article
    Citation - WoS: 1
    Citation - Scopus: 1
    Green Border: Cinematic Storytelling as History of the Present
    (University Library System, University of Pittsburgh, 2024) Yakalı, D.; Erdoğan, Z.
    This article analyzes Agnieszka Holland’s film Green Border, which addresses the migrant crisis at the Belarus-Poland border, exploring how Foucault’s concept of “history of the present” applies to migration cinema. We argue that Green Border functions as a cinematic intervention that challenges audience perceptions of power structures and their resistance. The study also establishes criteria for analyzing films as “history of the present,” focusing on characteristics such as the immediate relevance of depicted events, the documentation of social issues, the film’s influence on public perception, and a multifaceted narrative construction. Ultimately, the framework shows how cinema reflects and shapes social, political, and cultural realities in real time. © 2024, University Library System, University of Pittsburgh. All rights reserved.
  • Article
    Citation - WoS: 3
    Citation - Scopus: 3
    “He Is Just Ken:” Deconstructing Hegemonic Masculinity in Barbie (2023 Movie)
    (Frontiers Media SA, 2024) Yakalı, D.
    Scholars have consistently explored Barbie in various contexts, often subjecting it to critical analysis. However, the release of the Barbie 2023 Movie has shifted our focus from Barbie to Ken, marking the first occasion when Barbie has provided a platform for exploring representations of masculinity both in the patriarchal society and in popular culture. This article aims to investigate how the 2023 Barbie movie deconstructs symbols of hegemonic and toxic masculinity and its performative aspects within the framework of (post)feminist discourse. It examines how the movie satirically employs symbols of traditional, hegemonic masculinity to challenge normative masculine ideals prevalent in our patriarchal society. The movie -through its popularity- significantly contributes to mainstream postfeminist media culture, creating a platform where discussions on masculinity, its associated crises, and the broader gender wars, along with their existential ramifications, become unavoidable. Exploring the ways masculinities are problematized and contested within postfeminist media culture, I argue that Ken, within this narrative, is positioned as the latest icon of postfeminist masculinity, symbolizing a critical juncture in the ongoing discourse on gender roles and identities. Copyright © 2024 Yakalı.