%0 Journal Article
%T ¡°Imam¡± Representations In The Movies Of Ahlat A£¿ac£¿ And Kelebekler In The Context Of Deconstruction Theory
%A Ceyda Emel £¿ZTEK
%J -
%D 2019
%X From the early years of the Turkish cinema until the 2000s, the ¡®imam¡¯ representations has been portraited based on certain typology. For the representations of fundamentalist reactionary hocas who are in conflict with members of intelligentsia, the representations of the ¡°enchanter/amulet maker¡± hocas, and the representations of the hocas who legitimate the wrong doings unfair of the landlord of villages or the 'muhtars' can serve as examples. In 2005, a different kind of representation of ¡®imam¡¯ was created with TheImam. The representation was the humanist long-haired imam who left his beard, robe and tesbih behind and drive Harley Davidson motorcycles. In 2014, £¿tiraz£¿m Var, leveled up the representation of the cleric used to be encounter by the audience. The homily sequence started with sentences of the imam Selman Bulut ¡°the goods more than the need is theft, is haram, gold and silver are used to build hegemony on the poor.¡±is the one of the best scene examples. There is no congregation and the homily does not start in the mosque. The moving camera moves inside of the mosque. This striking homily scene is like defense of the aliened segment of society and this is the absolutely contradictory of the imam representation that we are accustomed to. In this study the 2018 shooted Ahlat A£¿ac£¿and Kelebekler¡¯s new dimension to the representation of imam typology, has tried to be analyzed basedon deconstruction theory
%K Yap£¿s£¿k¨¹m
%K Ahlat A£¿ac£¿
%K Kelebekler
%U http://dergipark.org.tr/sisad/issue/47257/532529