Abstract:

The cinema is a cultural work that carries the traces of the society in which it is produced. Actors, such as filmmakers, directors, writers, have tended to reflect social events and events in their works from their own windows. Moreover, this trend was often formed according to the religious, political, economic and social conditions of society in that period. In Turkey, the influence of changing conditions on society was inevitable. In this context, one of the items periodically addressed in different ways in the Turkish cinema is the presentations of religious men. The presentations of the religious man appear to be treated as a subject in different forms in the Turkish cinema in different times. In the Turkish cinema periodically; with the knowledge that it is treated in three ways in the form of being excluded, shortened and accepted, it is clear that the Kemal Sunal films studied in the framework of the work are presented in the axis of the 'shortened religious man' type. In this study, the religious men’s Kemal Sunal films have been discussed, including the religious men’s films and the shayer’s bars. The study aims to show how religious men are presented in the films of Kemal Sunal, through the analysis of documents from the quality research methods and the content analysis of quantum research methods.

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