This work analyzes representations of masculinities in Tunç Okan’s movies, Otobüs The Bus and Sarı Mercedes Mercedes Mon Amour . The movies will be analyzed with respect to migration, in general, being on the road, in particular. The theoretical background of the analysis will be based on the questions of “Can subaltern speak?”, borrowed from Spivak 1992 and “Can subaltern be heard?”, borrowed from Maggio 2007 . The main question is if masculinities have been reproduced through/within/by other forms of powers, what are the ways in which masculinities have been broken and re-constructed under the lacuna or deficiency of power structures related to migratory experiences and “deterritorialization”. In the movie Otobüs in which the subaltern can not speak, can not position himself as a subject, can not hold his spatial dominance, there is a construction of masculinities resulted from losing his authority on apparatuses institutionalized by power structures. On the other hand, the subaltern who can not be heard in the movie Sarı Mercedes does not belong to any space. The substitution of his broken masculinities is his car, Mercedes, which in the end became totaled as well. Masculinities, that have been broken off its context through being on the road , are being suppressed or abetted.
