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To browse Academia. This article aims to explore trash erotic productions in Turkish cinema in the s. While, Turkish film producers had adapted European exploitation films, and particularly Italian erotic comedies, by time they had created a trashy, irregular yet, an authentic film practice, addressing the specific needs of its assumed audience: young, unemployed, underclassmen with rural background. It also questions repercussions of these films on cinematic and social level and how they had affected moral codes about female sexuality.
Moving from Alan Soble's Marxist take on contemporary pornography as compensatory fantasies, the article suggests that working class heroes of exploitation films symbolize revenge of the downtrodden for powerless masses of working class and underclass. As sex segregated screenings of Emmanuelle tell us, feminist impulses are embedded in, perhaps, unexpected places. This article aims to map out the boom in trash erotic productions in Turkish cinema during the s.
It was designed to circumvent strict censorship, negotiate with the authorities, and survive a grim decade of crisis that began and ended with military coups. Above all, it was symptomatic of the end of certain cultural and economic modes that were dominant in film production. Bariskan Unal. Although women have been an integral part of the workforce in the Turkish economy since the s, Turkish films have seldom reflected women in the workforce.
When they do, a number of films present the workplace as male-dominated and an unsafe place where a woman is likely to face sexual assaults and even rape. Studies on the representation of working women and rape myths in Turkish cinema are very limited. This chapter brings these two subject matters together as found in Turkish cinema but focuses on the representation of rape myths about working women.
