In our contemporary world, characterized by a rapidly aging population, the need for social and cultural adaptation alongside the preparation of health and social systems for aging and old age has become increasingly evident. With society witnessing a growing number of older individuals, new social issues are emerging, necessitating attention and proactive solutions. Among this landscape, the societal perceptions of the older adults, old age, and aging have gained significance, highlighting the crucial role of the media as a powerful tool of representation. The media, as a medium shaping collective understanding, attitudes, and behaviors, holds considerable sway in framing discussions on aging. It is imperative to underscore the representation of the older adults in media narratives, given its profound impact on societal perceptions.

Given that media representations not only reflect but also shape social attitudes and behaviors, the rising prominence of aging underscores the urgency of examining how aging is portrayed in the media. Compounding this urgency is the prevailing trend of predominantly negative portrayals of old age and aging in media content. Across various media formats, such as films, TV series, news broadcasting, and advertisements, a pervasive narrative emerges, in which the older adults and aging are associated with loneliness, helplessness, neglect, obsolescence, weakness, and fatigue. These depictions collectively paint aging as an undesirable stage of life, old age as a period devoid of vitality, and the older adults as burdensome or inconveniences, thereby perpetuating ageism.

Based on the recognition that media portrayals of the older adults are often incomplete and mostly negative, this study embarks on a quest for a positive depiction of aging. Within this framework, the focus is directly on scrutinizing the portrayal of old age in films honored by the inaugural short film competition organized by the 65+ Elderly Rights Association. The Association, guided by its mission to advocate for “a healthy and dignified old age for all, fostering intergenerational solidarity, and shaping social policies through research, pioneering initiatives, and constructive dialogs” (Yaşlı Hakları Derneği, n. d.), sets the stage for this exploration.

The primary objective of this study is to challenge the prevailing negative representations of aging in the media by exploring alternative narratives that may emerge. Employing a blend of visual sociology and qualitative research methodologies, this study adopts a multifaceted approach. Specifically, it conducts content analysis on the short films showcased in the aforementioned competition held in 2015 by the 65+ Elderly Rights Association. The firms under scrutiny include “Altın Kızlar,” “Misafir,” “Lübbeyin Yaşlıları,” “Deneyim,” “Bir Anı,” and “Üreten Yaş Almaz.” In addition, this study delves into the perceptions and intentions of the directors behind these films through in-depth interviews. These interviews serve as a means for gathering insights into how aging and the older adults are depicted within the realm of cinema. By doing so, the study endeavors to probe the extent, to which they possess the potential to transcend prevalent negative stereotypes.

A comprehensive dataset comprising five interviews, six films, and researchers’ field notes forms the backbone of this investigation. Methodologically, the analysis unfolds systematically. First, each researcher examines all submissions to the competition. Subsequently, the awarded films were viewed multiple times, with particular attention paid to scenes that illuminate the portrayal of older adults’ characters. Screenshots capturing these significant moments are scrutinized and dissected for deeper insights. The research then transitions to conducting in-depth interviews with the directors of award-winning films. Employing a semi-structured questionnaire designed by the researchers, the interviews are structured around emergent themes gleaned from the film analyses.

Among the firms scrutinized, two were documentaries, one was a fiction narrative, and three were public service announcements. Notably, “The Golden Girls,” recipient of the first prize in the short film category, is a documentary offering an intimate glimpse into the lives of two cohabiting sisters. Through a blend of personal narratives recounted by the sisters themselves and interspersed imagery capturing their present reality, the film gracefully weaves past and present. Securing the second prize, “The Guest” presents a fictional narrative centered around a woman seeking refuge from war, and finding solace in her nephew’s household. Within this narrative, she navigates her new environment, learning Turkish from the household’s child and engaging in domestic activities such as knitting and cooking. Noteworthy is the portrayal of the older adults’ characters as migrants, which adds layers of complexity to their depiction.

“Lübbeyin Yaşlıları,” clinching third place, stands as a documentary chronicling the lives of older adults’ inhabitants clinging to their roots in the abandoned village of Lübbey. Here, the film offers a poignant portrayal of resilience in desolation, shedding light on the steadfastness of those who choose to remain in a place forgotten by time. Within the realm of public service announcements, the thematic messages “Aging is experience,” “The spirit never gets old,” and “The productive never gets old” are conveyed. These messages serve to uplift and challenge prevailing stereotypes surrounding aging, advocating for a more inclusive and affirming perspective. Upon analysis, the representations of the older adults within the visual content can be categorized as follows: (1) Self-sufficient Older Adults Representation; (2) Learning, Teaching, and Harmonious Older Adults Representation; (3) Time-resisting, Active Older Adults Representation; (4) Experienced, Sporty, Healthy Older Adults Representation; (5) Older Adults Representation at Peace with Youth, Ageless in Spirit; and (6) Productive Older Adults Representation. 

In summary, the six ranked films under scrutiny demonstrate representations that generally align with the profile of the older adults as defined by the competition committee. These ranked films depict an active portrayal of old age that is both “healthy and appreciated by everyone,” showcasing resilience in overcoming obstacles and struggles. Furthermore, it can be asserted that the stipulation outlined by the competition, requiring films to contain accurate information and convey positive messages (Yaşlı Hakları Derneği, 2015), was duly met by the directors. Contrasting the representations of old age in the ranked films with those that were not cut reveals a starting contradiction: while the former exude themes of vitality and resilience, the latter are often adorned with motifs of affection, helplessness, and poverty. This stark contrast underscores the positive portrayal of old age in the ranked films. Examining the narratives within these films, it becomes evident that the depiction of old age is not utopian but rather realistic, authentic, and affirmative. This genuine portrayal, rooted in social reality, offers a refreshing alternative to the prevalent negative portrayals of the older adults pervasive in the media. Thus, the short films discussed in this study contrast the representation of self-sufficient older adults against that of the orphaned, helpless, and dependent (Apak & Aka, 2020; Yoğurtçu, 2019) portrayed in mainstream media; the portrayal of tech-savvy seniors against those depicted as lagging technological advancements (Coşkun & Kaymak, 2022), resistant to innovation (Demir, 2017); the depiction of socially engaged older adults against those portrayed as isolated, marginalized (Kuruoğlu & Salman, 2017), grumpy (Apak & Aka, 2020), and prejudiced (Hummert, 1990); the portrayal of active and productive older adults against those depicted as retired (Apak & Aka, 2020), poor, barely getting by, having lost the potential to contribute to society (Yoğurtçu, 2019), deemed unproductive (Demir, 2017); the depiction of wise and experienced older adults against those portrayed as senile (Apak & Aka, 2020; Demir, 2017), slow thinking (Hummert, 1990); and the portrayal of healthy, athletic older adults against those depicted as sick, dying (Kuruoğlu & Salman, 2017), bedridden, disabled, tired (Apak & Aka, 2020), vulnerable (Yoğurtçu, 2019); against the portrayal of anxious, and despairing (Hummert, 1990), depressed (Kılınç & Uztağ, 2016), thus offering an alternative narrative of older adults at peace with their age.

These alternatives hold significant therapeutic potential for aging societies and warrant encouragement accordingly. Given the influence of media portrayals on individuals’ perceptions, attitudes, and behaviors, a positive representation of older individuals can foster community bonds and enhance individual well-being. However, a major barrier to this is the market-driven nature of the media sector. This study underscores that representations of older people in media are often shaped by the preferences of content producers, depicted by market forces rather than genuine perceptions. 

When examining studies on the portrayal of older individuals in literature, it becomes evident that “negative” representations often dominate the media landscape. Conversely, films awarded in competitions tend to offer more positive depictions of aging. Notably, most of these films are specifically produced for competitions that celebrate old age, influencing their content and reception. However, the media industry operates under market-driven principles, prioritizing products that are “commercially viable.” This dynamic often shapes directorial preferences to align with market expectations. Previous research indicates a focus within the media industry on appealing to the “youth market” (Carrigan & Szmigin, 1999), despite demographic trends indicating an aging population. The findings of this study corroborate this trend. Despite the industry’s marketing-driven approach, addressing the need for more humane and positive portrayals of older individuals in our aging society remains challenging. This issue warrants further research and consideration.