Özet:

Cinema is one of the most effective means of societal reproduction with its undeniable influence on individuals. In the historical process, this characteristic of cinema has caused it to be a medium where the dominant ideology of the ruler is produced and reproduced, criticized and/or legitimized. Customs is one of the elements that keep individuals under control and pressure within the framework of dominant ideology in order to perpetuate the patriarchal structure in male dominant societies. Customs which create hierarchy among individuals and serve the dominant ideology by obeying blindly, raise a part of individuals to the position of masters and reduce another part of the individuals to the position of slaves. At this point, as Hegel states in the Master-Slave dialectic, the master is as captive and obedient as slaves within the framework of their roles they were assigned to. The master bows to the dominant ideology in order to protect their powerful position against the slaves This study aims to discuss the movies with the theme of customs (accessible ones) which have been made since 2000 in the Turkish cinema within the framework Hegel’s master-slave dialectic. In this framework, the objective of this study to set forth the presentation methods of master-slave identities created under the guise of customs using A. J. Gremias’ semiotic square method. The study aims to reveal the map regarding the reflection of obedience and disobedience types in our movies which occur as the result of the oppression applied by the customs, which is a means of to ensure obedience to the dominant one within the society, during the process of dominating and controlling individuals. Within the framework of these objective, movies entitled Mutluluk (Abdullah Oğuz/2007), Saklı Yüzler (Handan İpekçi/2007) and Ateşin Düştüğü Yer (İsmail Güneş/2012) will be discussed within the scope of this study. As a result of the examinations made, the films reflect the reflection of Hegel's Master-Slave dialectic.

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