Özet:

In this study, the films of the fantastic type of horror, which were made in the Turkish cinema, were discussed and discussed whether there is a suitable ground for the horror cinema in the Western sense in the Turkish society at the sociological and artistic level. The basic argument of the study is that the films are failed, that the West is trying to make a horror film with metaphoric arrangements that have a meaning in the cultural codes, and that this effort is therefore ineffective for our society, which is different from the West in terms of religious, mental, cultural and social life practices. The difference is shown in the Christian-West and Muslim-Eastern comparison. In this context, a branch of art has been attempted to show some differences between the intellectual, narrative and visual art traditions and social life, based on faith and life. Unlike Turkish cinema, it has been pointed out that in the West, horror cinema is based on an original horror literature feeding from its own social, historical, religious and folklore sources. Furthermore, the interest of the individual in the literature and the tragic feeling in connection with this interest, due to its importance for the horror cinema, has been emphasized on the difference between the two distinct traditions through the place in the story. In particular, Turkish filmmakers who take the American cinema as an example of themselves are recommended to look at the qualities of the society in which they exist, for example, the fear motives arising from their own people's beliefs, in order to be able to give work closer to their audience and to be able to speak of the Turkish cinema in the real sense. Keywords: horror cinema, Turkish cinema, horror literature. Abstract: The Turkish Cinema between The East and the West: An Evaluation of The Horror Movies This study analyses the products of the Turkish Cinema under the genre of fantastic-horror movies and questions the sociological and artistic grounds on which the works under investigation rest from the advantage point of the Turkish society and Western understanding. The basic argument of the study is the inadequacy of the films in question, and the director's attempts to record a motion picture by the plotlines that acquires a noteworthy meaning only within the cultural codes of the Western world therefore, making them invalid for the Turkish society which stands on a totally different pole in terms of religious, cultural and social living practice from the West. In this regard, some discriminations of the mentality based on belief together with the way of living, narration, and the traditions of the visual arts have been pointed out in the sense of the components of cinema as a branch of art. It is suggested for Turkish directors - those who take American fantastic-horror cinema as a model - in order to produce their films that are similar to their own society and to build a 'Turkish Fantastic-horror cinema' in a real sense they should rely on features, horror themes stemming from folk tales for example, of the culture they belong to. Key words: Horror Cinema, Turkish Cinema, horror literature.