Geri Anasayfa


Childhood in Turkish Cinema Between 1960-1970: Representation of Childhood in Two Different Ayşecik Films

Turkish cinema is an important area for childhood research. Especially between 1960 and 1970, the Turkish cinema industry is on the rise and there are many film genres. During this period, there is no television broadcasting. The only entertainment of the people is the cinema. There is a cinema in almost every neighborhood. The cinema is easy to access and traceability. Children's films have an important audience in the 1960s. The audience of children's films is especially for families and women and children. These films are melodramas of children. The fiction of movies is the same. However, it is an important research topic in the film to determine the representation of childhood. Philip Aries and Neil Postman's childhood theses can be examined in children's films of Turkish cinema. The main purpose of this text is to examine Aries and Postman's childhood theses on films. On the other hand, it was aimed to examine the concepts of childhood and family. For this purpose, two Ayşecik film series were examined in the 1960s. These two films are not popular films like other Ayşecik movies. However, one is suitable for families, especially women, while the other is suitable for children. In the film Ayşecik Yavru Melek, how the modern family and childhood should be reflected on the screen. In the film of Ayşecik Fakir Princess, childhood is opened for discussion. This study explores how children's films are culturally and historically codified in children's films in Turkish cinema or traces of how the child is represented on the film screen.

Turkish Cinema, Childhood, Children's Films, Turkish Cinema Children's Films