MASCULINITIES IN YILMAZ GÜNEY’S STAR IMAGE IN THE 1960S AND 1970S A Ph. D. Dissertation by ZEYNEP KOÇER Department of Graphic Design U Ankara May 2012 To mom and dad MASCULINITIES IN YILMAZ GÜNEY’S STAR IMAGE IN THE 1960S AND 1970S Graduate School of Economics and Social Sciences of U by ZEYNEP KOÇER In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in THE DEPARTMENT OF GRAPHIC DESIGN SAN O RAMACI ILKENT UNI ERSITY ANKARA May 2012 I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design. --------------------------------- Assist. Prof. Dr. Dilek Kaya Supervisor I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design. --------------------------------- Assist. Prof. Dr. Dilek C d u Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design. --------------------------------- Assist. Prof. Dr. Ahmet Gü Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design. --------------------------------- Assc. Prof. Dr. S ş Arslan Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in Graphic Design. --------------------------------- Assist. Prof. Dr. Öz S ş Examining Committee Member Approval of the Graduate School of Economics and Social Sciences --------------------------------- Prof. Dr. Erdal Erel Director ABSTRACT MASCULINITIES IN YILMAZ GÜNEY’S STAR IMAGE IN THE 1960S AND 1970S K ç , Z p Ph.D., Department Graphic Design Supervisor: Assist. Prof. Dr. Dilek Kaya May 2012 T d pp Y z Gü d p . I gu Gü d A w -screen and off- u , p d ff f Y ş ç d moralistic attitude toward women. In order to investigate this myth, the dissertation z Gü ’ g w -economic and political discourses of the 1960s and 1970s and points to an ambivalence, which stems from the d Gü ’ ge. The dissertation aims to demonstrate this b Gü ’ g b d u g ordinary and extra-ordinary characteristic of stardom and the socio-economic and political ramifications of the late-republican modernization project. Keyword : M u , S S ud , Y z Gü , d z Tu iii ÖZET 1960LAR E 1970LER E YILMAZ GÜNEY’ N YIL IZ MGES N EK ERKEKL K KURULUMLARI K ç , Z p , G f T ö ü ü Dan ş : Y d. ç. . K M 2012 u d z Y z Gü ’ b f ş d . T z gö , Gü g f f -d ş u u u d ş g d Y ş ç d z d f z p u f üz d b A d u ş . u d Gü ’ d z g , 1960 1970 -ekonomik ve p ö üz d ş ş . Gü ’ d z g ç d b d d ç ş , d ş A d u u ç d b p uş u du u p d ş . z , bu d z g , d z ç ş ü ü Tü d ş p j ç d - p uç üz d d . A K : E , Y d z Ç ş , Y z Gü , Tü d ş iv ACKNOWLEDGEMENTS First, I would like to emphasize my deepest respect and gratitude for my supervisor Assist. Prof. Dr. Dilek Kaya. Her guidance, discipline and expertise have been extremely valuable to this dissertation. She is a great mentor and a friend who has inspired me through these years. More importantly, her belief in me in my times of despair and pessimism are among the driving forces behind the completion of this process. I have been exceptionally and extremely lucky to have her as my supervisor. I just cannot thank her enough. I would also like to recognize the constructive criticism and encouragement of A . P f. . C d u. xp g d ud b x valuable to this dissertation. I w u d A . P f. . A Gü f u sm d upp . d ugg g d g Y ş ç d Tu modernization have been indispensable. v I w u d A . P f. . S ş A d A . P f. . Öz S ş f their valuable suggestions and criticism on action-adventure films and masculinities Y ş ç . I would like to recognize my wonderful friends in Ankara; N Y z, E d Ş , Pelin Aytemiz, Serdar Bilici and A A d u who have turned Ankara into a city I will always love and remember. I would especially like to thank Serdar Bilici for bearing with me during the final revision days of my dissertation. I would also like to recognize ü M E d f encouragement, patience and love. I would like to thank him for being a tremendous motivation along all these years. However, m b gg upp A w b u , N ş Ç . She is a kind, strong and caring woman who has been there for me since the beginning of this journey. I would like to thank her for inspiring me in so many ways. F , d p g ud g p , Şü K ç d u u K ç d b u K ç . I b x u u w d ful and caring family who has always supported my decisions and let me find my own voice. vi TABLE OF CONTENTS ABSTRACT ................................................................................................................ iii ÖZET........................................................................................................................... iv ACKNOWLEDGEMENTS ......................................................................................... v TABLE OF CONTENTS ........................................................................................... vii CHAPTER 1 : INTRODUCTION ............................................................................ 1 1.1 The Purpose of the Study ................................................................................... 1 1.2 Statement of the Problem ................................................................................... 6 1.3 Methodology....................................................................................................... 8 1.4 Limitations of Study ......................................................................................... 10 1.5 Overview of Chapters ....................................................................................... 12 CHAPTER 2 : THEORIES ON MASCULINITY AND MODERNIZATION....................................................................................... 14 2.1 Masculinity Theories ........................................................................................ 14 2.2 Modernization Theories.................................................................................... 27 vii CHAPTER 3 : MODERNIZATION PROJECTS IN THE EARLY- REPUBLICAN (1920-1950) AND THE LATE-REPUBLICAN (1950-1980) ERAS ......................................................................................................................... 37 3.1 Modernization in the Early-republican Era (1920-1950) ................................. 38 3.1.1 Kemalist Femininities ................................................................................ 42 3.1.2 Kemalist Masculinities .............................................................................. 45 3.2 Modernization in the Late-republican Era (1950-1980) ................................... 57 3.2.1 Lower / Working Class Anatolian Men: Masculinity Crisis ..................... 59 3.2.2 Y ş ç d M d z L -republican Era .......................... 67 CHAPTER 4 : YILMAZ GÜNEY’S STAR IMAGE IN THE 1960S .................. 76 4.1 The Concept of Social Bandit & Eşkıya Gü ’ Ru F .................... 77 4.1.1 Characteristics of Eşkıya ............................................................................ 79 4.1.2 Femininity and Male Honor ....................................................................... 85 4.1.3 The Depiction of the Rural as a Place of Absence .................................... 92 4.1.4 A Note on Censorship and Audience Expectations ................................... 97 4.2 The Lower / Working Class Men and The Kabadayı: Urban Masculinities .............................................................. 100 4.2.1 Working / Lower Class Masculinities ..................................................... 106 4.2.2.1 Space................................................................................................106 4.2.2.2 Physical Appearance.......................................................................117 4.2.2 The Masculinity of Kabadayı .................................................................. 119 4.3 The Similarities between the Rural and the Urban: At Avrat Silah ................ 127 4.4 Y z Gü ’ Off-screen Star Image and Urban Masculinities in the 1960s .................................................................. 133 4.4.1 The Beaut fu & Ug : A Iş & Y z Gü ........................ 136 viii