Ayberk, Abdulkadir Erhan

Profile Picture
Profile URL
https://hdl.handle.net/20.500.14627/882
Name Variants
A Erhan Ayberk
Job Title
Dr. Öğr. Üyesi
Email Address
erhan.ayberk@fbu.edu.tr
Main Affiliation
Yeni Medya ve İletişim Bölümü
Status
Current Staff
Website
ORCID ID
0000-0001-9147-6888
Scopus Author ID
Turkish CoHE Profile ID
Google Scholar ID
z3ARPzIAAAAJ
WoS Researcher ID

Sustainable Development Goals

NO POVERTY1
NO POVERTY
0
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ZERO HUNGER2
ZERO HUNGER
0
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GOOD HEALTH AND WELL-BEING3
GOOD HEALTH AND WELL-BEING
0
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QUALITY EDUCATION4
QUALITY EDUCATION
0
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GENDER EQUALITY5
GENDER EQUALITY
1
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CLEAN WATER AND SANITATION6
CLEAN WATER AND SANITATION
0
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AFFORDABLE AND CLEAN ENERGY7
AFFORDABLE AND CLEAN ENERGY
0
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DECENT WORK AND ECONOMIC GROWTH8
DECENT WORK AND ECONOMIC GROWTH
0
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INDUSTRY, INNOVATION AND INFRASTRUCTURE9
INDUSTRY, INNOVATION AND INFRASTRUCTURE
0
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REDUCED INEQUALITIES10
REDUCED INEQUALITIES
0
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SUSTAINABLE CITIES AND COMMUNITIES11
SUSTAINABLE CITIES AND COMMUNITIES
0
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RESPONSIBLE CONSUMPTION AND PRODUCTION12
RESPONSIBLE CONSUMPTION AND PRODUCTION
0
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CLIMATE ACTION13
CLIMATE ACTION
0
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LIFE BELOW WATER14
LIFE BELOW WATER
0
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LIFE ON LAND15
LIFE ON LAND
0
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PEACE, JUSTICE AND STRONG INSTITUTIONS16
PEACE, JUSTICE AND STRONG INSTITUTIONS
0
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PARTNERSHIPS FOR THE GOALS17
PARTNERSHIPS FOR THE GOALS
0
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Scholarly Output

1

Articles

1

WoS Citation Count

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Scopus Citation Count

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    Article
    Avatar: a Film at the Center of the Feminine Other
    (Univ Pittsburgh, Univ Library System, 2025) Dereboyu, Pelin Guregen; Guzel, Ebru; Olaru, Gabriela Oana; Ayberk, Erhan; Güregen Dereboyu, Pelin
    This study analyzes James Cameron's 2009 film Avatar from the perspective of the feminine other through deconstruction. In the movie, nature and the Na'vi people are depicted as feminine, while modern man and the science, technology, and military power he represents are portrayed as masculine. Although it critiques the colonialist structure of modernity, the film's narrative structure and character portrayals indicate that it reproduces the superiority of Western-centered ideology and the masculine mind. The study analyzes how the film's narrative and character representations implicitly support masculine centrism. The analysis reveals how nature and marginalized cultures are romanticized and presented in the film and how the notion that the feminine can only survive by adopting masculine traits is processed in the subtext. Grounded in a conceptual and theoretical framework, this research focuses on the sustainability of the patriarchal capitalist system and gender politics while critically examining how cinema reconstructs ideological structures through the narratives in the film.