Feminist film: Caramel
| dc.authorscopusid | 58476365000 | |
| dc.authorscopusid | 58173216400 | |
| dc.contributor.author | Avci, Ikbal Bozkurt | |
| dc.contributor.author | Çetin, Derya | |
| dc.date.accessioned | 2024-09-25T19:45:29Z | |
| dc.date.available | 2024-09-25T19:45:29Z | |
| dc.date.issued | 2022 | |
| dc.department | Abant İzzet Baysal Üniversitesi | en_US |
| dc.description.abstract | Feminist film theory evaluates films by some concepts such as subject positions, narrative closures, and fetishism. This theory suggests that the catharsis of popular films is in the service of the male audience. However, many feminist films centered on women are also made, which are outside the mainstream cinema and reach a considerable amount of viewers. This study aims to evaluate Caramel (Nadine Labaki, 2007) by the concepts of feminist film theory. The film expresses a country dominated by taboos through these five women. © 2022, IGI Global. | en_US |
| dc.identifier.doi | 10.4018/978-1-6684-4511-2.ch035 | |
| dc.identifier.endpage | 594 | en_US |
| dc.identifier.isbn | 978-166844512-9 | |
| dc.identifier.isbn | 978-166844511-2 | |
| dc.identifier.scopus | 2-s2.0-85164183197 | en_US |
| dc.identifier.scopusquality | N/A | en_US |
| dc.identifier.startpage | 585 | en_US |
| dc.identifier.uri | https://doi.org/10.4018/978-1-6684-4511-2.ch035 | |
| dc.identifier.uri | https://hdl.handle.net/20.500.12491/13059 | |
| dc.indekslendigikaynak | Scopus | en_US |
| dc.language.iso | en | en_US |
| dc.publisher | IGI Global | en_US |
| dc.relation.ispartof | Research Anthology on Feminist Studies and Gender Perceptions | en_US |
| dc.relation.publicationcategory | Kitap Bölümü - Uluslararası | en_US |
| dc.rights | info:eu-repo/semantics/closedAccess | en_US |
| dc.snmz | YK_20240925 | en_US |
| dc.title | Feminist film: Caramel | en_US |
| dc.type | Book Chapter | en_US |
