MELODRAM AND OEDIPAL TRAJECTORY IN NETFLIX'S LOCALLY PRODUCED MOVIES: BENI ÇOK SEV, BABAMIN KEMANI AND CICI

Netflix entered the Turkish market in 2016. Released in 2019, Hakan: Muhafız series was the first locally produced series released by Netflix. In 2020, Netflix started to broadcast locally produced movies. Digital platforms are thought to create a more innovative and free narrative language. However, Netflix's locally produced films often utilize the codes of mainstream cinema such as the brave and belonging to the public sphere of men and the altruistic and belonging to the private sphere of women. Although Netflix has also brought innovation to series durations, viewing styles and habits, it utilizes established melodrama patterns such as the contrast of good and bad, the contrast of poor but happy, rich but unhappy characters, emotional extremes and the lack of cause and effect in the development of events in locally produced films. In films that present the male protagonist's oedipal trajectory to the audience, female characters are often seen as an element of mystery or an object for the male protagonist to achieve his goal. İn this study Netflix's locally produced films Beni Çok Sev (Mehmet Ada Öztekin, 2021), Babamın Kemanı (Andaç Haznedaroğlu, 2022) and Cici (Berkun Oya, 2022) were analyzed through content analysis. As a result of the study, it was seen that digital platforms do not break away from the classical narrative tradition and Yeşilçam melodramas and that the existing patriarchal order and ideology were reproduced through the films, the oedipal trajectory is the trajectory of the male character.