Özet:

In the Turkish cinema, the notion of the family has been represented as a sacred institution just like it is evaluated in the society's dominant values. The family is a safe haven for the individuals against all the crises and problems witnessed outside of its walls. However, the mentioned representations have begun to drastically deteriorate beginning with Yavuz Ozkan's milestone 1995 production "Yengec Sepeti / “Lobster Pot" and moving onto the 2000's with Zeki Demirkubuz's "Itiraf”  / “Confession”. The family now has become an institution that does not provide safe haven for its members but rather contains many traumas, conflicts and dirty secrets. Apart from the problems witnessed within the family, in movies such as "Korkuyorum Anne / “Mommy, I'm Scared!" (Reha Erdem, 2004), "Pandoranın Kutusu / Pandora's Box" (Yeşim Ustaoğlu, 2008), "Gişe Memuru / The Toll Officer" (2010), "Zefir / Zephyr" (Belma Baş, 2010) and "Köksüz / Rootless" (Deniz Akcay, 2013) we also see separated family members (mother and children or father and children) who cannot cope with their problems from the past. In the study titled  “The Nightmares of the Core Family :The Changing Perspective on the Core Family in the Turkish Cinema in the 2000s", the movies titled "Üç Maymun / Three Monkeys" (Nuri Bilge Ceylan 2008), "Vavien" (Taylan Brothers, 2009), "Çoğunluk / Majority" (Seren Yuce, 2010), "Atlıkarınca / Carousel" (Ilksen Basarir, 2011) and "Geriye Kalan / What Remains" (Çiğdem Vitrinel, 2012) have been chosen as exemplary due to the fact that they keep the core family, consisting of a mother, father and the child at the focus of their presentations. In the selected movies, the functions and dysfunctions of the family, in conjunction with the studies carried out in regards to the family in Turkey will be presented with a descriptive content analysis. 

Anahtar Kelimeler: