Hayali Evrenler: Kadın Kahramanın Fantastik Yolculuğu
Imaginary Universes: The Heroine’s Fantastic Journey

Summary/Abstract: Myths, which are traditional stories including the beliefs and practices of daily life of societies, reflect these societies and individuals, and thus collective consciousness and collective unconscious. The masculine tone in coding of these myths describes and reproduces also the social positions of men and women in society. While the ancient myths tell stories where mostly the male heroes are in the center, the female heroes are included in the narratives in the cinema, as one of the producers of “modern myths”. In the modern myths, the female protagonist undergoes a series of transformations during her journey. These transformations can be regarded as an attempt to prove the existence of woman in the outer world, which signifies the male's world. The fantastic journey of the female protagonist and the characters, events, situations and obstacles that come across during this journey are actually the reflections of the unconscious of the heroine. The view that these reflections follow a certain pattern also forms the basis of the monomyth theory. In this study, Maureen Murdock’s scheme of “the heroine’s journey” derived from the monomyth, a multidisciplinary theory formulated by Joseph Campbell, will be followed. In virtue of this scheme, the transformations experienced by the heroine could be seen in a clearer way. From this perspective, in this study, Valerie a Týden Divu (Jaromil Jireš, 1970), El Laberinto del Fauno (Guillermo del Toro, 2006) and Alice in Wonderland (Tim Burton, 2010), in which the oppressive and authoritarian regimes play an active role and where the heroine takes a fantastic journey alone, will be analyzed.

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