Questioning totalities: constructions of masculinity in the popular Greek cinema of the 1960s

Eleftheriotis, Dimitris

doi:10.1093/screen/36.3.233

Cited by 3 publications

(1 citation statement)

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“…Sinemada kadınlık ve erkeklikle ilgili birçok analiz yapılmıştır. Bu analizlerde Eleftheriotis (1995) kültüre ve zamana mutlaka vurgu yapılması gerektiğini belirtir. Erkeklik hem erkeklik biçimleri olarak hem de ekrandaki/perdedeki temsilleri olarak kültürden kültüre ya da zamandan zamana büyük oranda farklılık içermektedir.…”

Section: Hegemonik Erkeklik Ve Perde/ekranunclassified

Dijital Televizyon Dizilerinde Hegemonik Erkeklik

Anbarli

2019

Erciyes İletişim Dergisi

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The content of digital television, which is a result of rapid technological developments, is made from documentaries, films and series, created for these platforms, as well as existing productions. The series of digital television are the productions that reflect the ideologies like the series of broadcast television. The signs of everyday life are constructed in discourses of television serials. The forms of masculinity and the interactions between them in patriarchal societies (Connell, 2016) are offered to audiences in these products. Hegemonic masculinity is a position of power. Hegemonic masculinity is a form of power that holds the right to express what someone else is, how someone else should be and uses its own position to conquer others. This power is defined and sustained by cultural practices. And television serials are the significant part of these cultural practices and the gender patterns presented in these TV serials also carry out a minor role in this production process. Digital television serials offer idealized hegemonic masculinities to their audiences. In this study five serials that broadcasted in BluTV and PuhuTV, the prominent digital television of Turkey, have been analyzed. "Masum", "Sıfır Bir-Bir Zamanlar Adana'da" in BluTV and "Şahsiyet", "Fi-Çi" and "Dip" in PuhuTV are analyzed with critical discourse analysis to find out which hegemonic masculinities are idealized and search out dominant hegemonic masculinity discourses.

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Section: Hegemonik Erkeklik Ve Perde/ekranunclassified

Dijital Televizyon Dizilerinde Hegemonik Erkeklik

Anbarli

2019

Erciyes İletişim Dergisi

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Soldiers' Stories: Women and Military Masculinities in Courage Under Fire

Tasker¹

2002

GQRF

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Renos Haralambidis's No Budget Story: Cinema and Manhood as Radical Carnival

Horton¹

2000

mgs

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Renos Haralambidis represents a new generation of young Greek filmmakers who are beginning to make playful contemporary films which blur the boundaries between real life and fiction and which are made, as the title of his 1997 award-winning hit film No Budget Story suggests, for almost no money at all. This film avoids the pretentiousness of those films that appeal to an ancient past and confuse allusions to classical myths and sources with a depth of storytelling. No Budget Story is a refreshingly contemporary "take" on Athenian culture at the end of the century, combining everything from subway scenes to music by Tom Waits and playful winks to Robert DeNiro in Taxi Driver (1976). Along the way, in such a carnivalesque approach to cinema, Haralambidis also captures a refreshingly original depiction of "masculinity" that contrasts strongly with both Hollywood images of manhood and traditional Greek male roles both in society and on the screen. Neither "macho" nor a "Karagkiozis" fool, Haralambidis emerges as a young man combining an innocence and quiet energy that succeed in defying cultural stereotypes.

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Questioning totalities: constructions of masculinity in the popular Greek cinema of the 1960s

Cited by 3 publications

References 0 publications

Dijital Televizyon Dizilerinde Hegemonik Erkeklik

Dijital Televizyon Dizilerinde Hegemonik Erkeklik

Soldiers' Stories: Women and Military Masculinities in Courage Under Fire

Renos Haralambidis's No Budget Story: Cinema and Manhood as Radical Carnival

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