Afghanistan, which has existed as an empire in the history of the world since 1747 when its borders were determined as a country, has been associated with invasions and civil wars due to the importance of its geographical location, and this situation has continued until today. In recent years, despite all kinds of difficult conditions such as pressure and obstacles under the Taliban rule, artists, especially filmmakers, have tried to open a window to the world and their societies from the geography they live in and to make their voices heard all over the world. In this regard, they have given various examples in the name of cinema from time to time. Although cinema in Afghanistan has often suffered serious interruptions or destruction due to administrative changes, it is much more inclined in language and content to the third cinema movement that emerged in the 1960s and can be defined as a cinema of memory. As a counter stance to the scars of the war on the Afghan people and the cultural destruction that was attempted to be created; In his films, Atiq Rahimi, one of the Afghan filmmakers who tries to tell the memory of the truth to the society they live in, to themselves and to the world, regardless of age and gender, especially by looking critically at Islam and the concept of God imposed by the Taliban, which he thinks has destroyed their country and their identity, underlines the belonging to Zoroastrianism, the holy book Avesta and Yazidism, the belief systems of the past, and the mythological heroes in these beliefs, which are also influenced by Iranian culture, in contrast to the concept of God in Islam. Based on the narrative language in Rahimi's films, the study uses a descriptive analysis method in the socio-cultural context, within the framework of social and ideological distinctions. The aim of the study is to examine the way faith, religion, family and gender relations are handled in the social and cultural structure of Afghan cinema. Analyzing the director's 2004 film "Soil and Ashes" and 2012 film "The Stone of Patience", the study reveals a critical approach against the Islamic faith imposed by the state administration and the socio-cultural destruction it tries to create on its own people. The director refutes concepts such as God, goodness, evil, divine justice, happy ending in his films, and does so through the collective and individual memory of faith.
Ülke olarak sınırlarının belirlenip, bugünkü adıyla 1747 yılında dünya tarihinde bir imparatorluk olarak varlığını gösteren Afganistan; coğrafi konumunun öneminden dolayı yaşadığı işgaller, iç savaşlarla anılmış ve bu durum günümüze kadar süregelmiştir. Son yıllarda Taliban yönetimi altında baskı ve engeller gibi her türlü zorlu koşula rağmen sanatçılar özellikle de sinemacılar, yaşadıkları coğrafyadan dünyaya ve toplumlarına bir pencere açmaya, seslerini bütün dünyaya duyurmaya gayret etmişlerdir. Bunun içinde dönem dönem sinema adına çeşitli örnekler vermişlerdir. Afganistan’da sinema, yönetimsel değişikliklerle çoğu zaman ciddi kesintilere ya da yıkıma uğrasa da 1960’larda ortaya çıkan, üçüncü sinema akımına dil ve içerik olarak çok daha yatkındır ve özünde bir bellek sineması olarak tanımlanabilir. Savaşın, Afgan halkı üzerindeki izlerine ve yaratılmaya çalışılan kültürel yıkıma, bir karşı duruş olarak; gerçeğin hafızasını, yaş ve cinsiyet ayrımı yapmadan yaşadıkları topluma, kendilerine ve dünyaya anlatmaya çalışan Afgan sinemacılarından Atiq Rahimi, filmlerinde özellikle ülkelerini ve kimliklerini yok ettiğini düşündüğü, Taliban’ın dayattığı İslamiyet’e ve Tanrı kavramına eleştirel bakarak, İslamiyet’teki Tanrı kavramına karşılık, geçmişteki inanç sistemleri olan Zerdüştlük, kutsal kitap Avesta ve Ezidilik ile bu inançların içinde yer alan ve İran kültüründen de etkilendikleri mitolojik kahramanlara olan aitliğin altını çizmektedir. Rahimi’nin filmlerindeki anlatı dilinden yola çıkarak yapılacak çalışmada; sosyo-kültürel bağlamda, toplumsal ve ideolojik ayrımlar çerçevesinde, betimsel analiz yöntemi kullanılmıştır. Çalışmanın amacı Afgan sinemasının toplumsal ve kültürel yapısındaki inanç, din, aile ve cinsiyet ilişkilerinin işleniş biçimini incelemektir. Yönetmenin 2004 yapımı “Toprak ve Küller” ve 2012 yapımı “Sabır Taşı” filmlerinin analiz edildiği çalışmada, devlet yönetimi tarafından dayatılan İslam inancına ve onun kendi halkı üzerinde oluşturmaya çalıştığı sosyo-kültürel yıkıma karşı eleştirel bir yaklaşım sergilendiği görülmektedir. Yönetmen, Tanrı, iyilik, kötülük, ilahi adalet, mutlu son gibi kavramları filmlerinde çürütür, bunu da kolektif ve bireysel inanç belleği üzerinden yapar.
Primary Language | Turkish |
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Subjects | Communication and Media Studies (Other) |
Journal Section | Research Articles |
Authors | |
Publication Date | October 13, 2024 |
Submission Date | January 6, 2024 |
Acceptance Date | February 26, 2024 |
Published in Issue | Year 2024 Volume: 3 Issue: 1 |
International Journal of Social Sciences and Art Studies
ISSN: 2792-0968
Call for Articles – January 2022
(Volume 2 – Issue 3)
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