Türk Sı̇nemasının Yakın Dönem Hasletlerı̇ Daha Filminde Mülteciliğin Alegorisi

Abstract

Turkish cinema has been existed at important moments since its institutionaliza- tion. These moments have been classified by the researchers who developed the li- terature of cinema studies on the temporal and narrative and stylistic scales. since it is an art form that has a social context in the foreground, cinema has a struc- ture fed by social disengagements and continuities. For this reason, in this study in which the recent period of Turkish cinema is chosen as the universe, the histo- rical process of Turkish cinema other than the recent period has also been shown. Thus, the heritage of recent Turkish cinema has been explained. In this study, it is argued that immigration and refuge are among the traits of recent Turkish cinema. This argument was made by selecting the More [Daha] film. In this study, where immigration and refuge are coded as a necessity and an escape, it has been found in the international literature that national cinemas are affected by the migration processes and in this context the situation of Turkish cinema has been examined. In the film, refuge and immigration has been allegorically analyzed by looking at the plot, the lateral processes, the confinement of refugee and the escape story of the main actor Gaza. In this context, this study focuses on the relationships between Ahad and other characters in human trafficking and his conflict with Gaza. Finally, Gaza’s alternatives to life have suffered. It has been shown that he has taken over evil and mentally chose to be a refuge.