S<\/span>inema Filmleri ve Din<\/strong>[3]<\/a><\/p>\n

 <\/p>\n

Gi\u015fe rekortmeni Hollywood filmlerinden yabanc\u0131 filmlere, belgesellerden k\u0131sa filmlere kadar de\u011fi\u015fik t\u00fcrlerde filmler, sinema ve din uzmanlar\u0131n\u0131n ilgi alan\u0131na girmektedir. Din ve dini temalar \u00e7ok de\u011fi\u015fik t\u00fcrde filmlerde bulunabilmektedir. Bu nedenle sinema ve din \u00e7al\u0131\u015fmalar\u0131na y\u00f6ne\u00adlik b\u00fcy\u00fck bir ilgi mevcuttur. Bu \u00e7al\u0131\u015fma din veya dini temalar i\u00e7eren filmleri kategorize etmeyi ama\u00e7lamaktad\u0131r.<\/p>\n

1. \u0130lk kategori uzun metrajl\u0131 kurgusal filmlerdir.<\/strong> Uzun metrajl\u0131 filmler genellikle bir saatten iki bu\u00e7uk saate kadar olan filmlerdir. Bazen bu s\u00fcrenin a\u015f\u0131ld\u0131\u011f\u0131 da g\u00f6r\u00fcl\u00fcr. S\u00fcre fakt\u00f6r\u00fc uzun metrajl\u0131 filmleri genellikle bir saatten az s\u00fcren k\u0131sa filmlerden ay\u0131r\u0131r. \u00d6te yandan bu filmler seyir\u00adcilere yoruma a\u00e7\u0131k hik\u00e2yeler sunarlar. Bu bak\u0131mdan da filmin d\u0131\u015f\u0131ndaki d\u00fcnya hakk\u0131nda ger\u00e7ek bilgiler sunan belgesellerden ayr\u0131l\u0131rlar. Uzun metrajl\u0131 kurgusal filmler insanlar\u0131n en \u00e7ok a\u015fina olduklar\u0131 ve sinema salonlar\u0131nda en \u00e7ok g\u00f6sterim imk\u00e2n\u0131 bulan filmlerdir.<\/p>\n

A.\u00a0Uzun metrajl\u0131 kurgusal filmler de kendi aralar\u0131nda \u00e7e\u015fitli kategorilere ayr\u0131labilir. Bunlar\u00addan ilki gi\u015fe rekortmeni Hollywood ^{1<\/sup> Bu filmler Hollywood st\u00fcdyolar\u0131nda \u00fcretilen ve di\u011fer filmlere g\u00f6re \u00e7ok b\u00fcy\u00fck miktarda yap\u0131mc\u0131lar\u0131na para kazand\u0131ran filmlerdir. The <\/em>Matrix2<\/sup> <\/em><\/strong>(The Matrix,1999) ve devam filmleri The <\/em>Matrix Reloaded<\/em> <\/strong>(The Matrix Reloaded,15 May\u0131s 2003) ve Matrix Revolutions <\/em><\/strong>(Matrix Revolutions,<\/em> 5 Kas\u0131m 2003) i\u00e7erisinde dini semboller ve konular bulunan sek\u00fcler gi\u015fe rekortmeni filmlere \u00f6rnek g\u00f6sterilebilir. The <\/em>Passion of The <\/em>Christ<\/em> (Tutku- Hz. \u0130sa\u2019n\u0131n \u00c7ilesi, 2004)<\/strong> ise dini gi\u015fe rekortmeni filmlere bir \u00f6rnektir. \u0130lk d\u00f6nem Hollywood gi\u015fe rekortmeni filmlerine ise One Flew Over the Cuckoos Nest<\/em> (Guguk Ku\u015fu, 1975)<\/strong> \u00f6rnek verilebilir. Dini temalar\u0131n b\u00f6yle pop\u00fcler filmlerde yer almas\u0131 sinema ve din \u00e7al\u0131\u015fmalar\u0131na olan ilgiyi art\u0131r\u00adm\u0131\u015ft\u0131r.<\/p>\n}

The Matrix<\/em>,<\/strong> Thomas Anderson adl\u0131 bir gencin hik\u00e2yesini ele almaktad\u0131r. Anderson, biri ha\u00adyali ve \u00e7o\u011fu insan\u0131n i\u00e7inde ya\u015fad\u0131\u011f\u0131, di\u011feri ger\u00e7ek olan iki farkl\u0131 d\u00fcnyay\u0131 ke\u015ffeder. Anderson\u2019a s\u0131k s\u0131k \u201cThe One\/Tek\u201d<\/strong> olarak da yorumlanan \u201cNeo\u201d<\/strong> ad\u0131 verilir.^{[6]<\/sup><\/sup><\/a> Bu isim ve insanlar\u0131 kurtarma rol\u00fcnden dolay\u0131 Mesih olarak g\u00f6r\u00fcl\u00fcr. The Matrix<\/em> s\u0131k s\u0131k Ortodoks Hristiyanl\u0131\u011f\u0131n hik\u00e2yesi olarak yorumlan\u0131r. Buna g\u00f6re Neo ba\u015fka bir d\u00fcnyadan Matrix d\u00fcnyas\u0131na gelir ve hayat\u0131n\u0131 riske atarak kendisine t\u00e2bi olanlara kurtulu\u015f vadeder.[7]<\/sup><\/sup><\/a> Ama hik\u00e2ye Ortodoks Hristiyanl\u0131ktan ziya\u00adde Gnostik Hristiyanl\u0131\u011f\u0131 temsil ediyor \u015feklinde de yorumlanabilir. Gnostik Hristiyanl\u0131kta bir y\u00fcce, \u00fcst\u00fcn tanr\u0131 bir de deforme olmu\u015f bir tanr\u0131 anlay\u0131\u015f\u0131 vard\u0131r. The Matrix\u2019te<\/em> deforme olmu\u015f tanr\u0131y\u0131 Matrix\u2019in yarat\u0131c\u0131s\u0131 olan yapay zeka temsil eder. Kurtar\u0131c\u0131\/Mesih ise Neo taraf\u0131ndan temsil edilmektedir. \u00d6zetle The Matrix<\/em> insanlar\u0131n hem Ortodoks hem de Gnostik Hristiyanl\u0131\u011fa dair fikirler bulabildikleri pop\u00fcler bir filmdir.<\/p>\n}

Baz\u0131 insanlar The Matrix\u2019te<\/em> Budizm\u2019in \u00f6nemli unsurlar\u0131n\u0131 da bulabilmektedirler. Budizm\u2019e g\u00f6re insanl\u0131k do\u011fum, \u00f6l\u00fcm ve tekrar do\u011fum k\u0131s\u0131r d\u00f6ng\u00fcs\u00fc i\u00e7erisinde s\u0131k\u0131\u015f\u0131p kalm\u0131\u015ft\u0131r. Bu k\u0131s\u0131r d\u00f6ng\u00fcden ancak ayd\u0131nlanma ile kurtulmak m\u00fcmk\u00fcnd\u00fcr. Ayd\u0131nlanma, zevk ve ac\u0131n\u0131n bulunma\u00add\u0131\u011f\u0131 ba\u015fka bir \u00e2lemi ke\u015ffetmektir. The Matrix<\/em>\u2019te iki varl\u0131k \u00e2lemi vard\u0131r. Biri, insanlar\u0131n s\u0131k\u0131\u015f\u0131p kald\u0131klar\u0131 ve ac\u0131 \u00e7ektikleri Matrix \u00e2lemi, di\u011feri ise Neo taraf\u0131ndan ke\u015ffedilen ger\u00e7ek\u00e2lemdir. Bu \u00e2lem insanlar\u0131n ac\u0131 \u00e7ekmekten kurtulduklar\u0131 Budizm\u2019deki ayd\u0131nlanma \u00e2lemi ile benzerdir. Neo ayd\u0131nlanmaya ula\u015f\u0131r ve insanlara i\u00e7inde bulunduklar\u0131 durumu fark ettirerek onlara yard\u0131m etmek i\u00e7in Matrixe geri d\u00f6ner.^{[8]<\/sup><\/sup><\/a><\/p>\n}

Hristiyan ve Budist temalara ek olarak Julien Fielding, The Matrix<\/em>\u2019te Hinduizm\u2019e ait unsur\u00adlar da bulmaktad\u0131r. Fielding\u2019in iddias\u0131na g\u00f6re Neo ile Hindu tanr\u0131s\u0131 Vi\u015fnu aras\u0131nda Hz. \u0130sa ve Buda\u2019dan daha fazla ortak nokta vard\u0131r. Neo\u2019nun Trinity ad\u0131nda bir sevgilisi vard\u0131r ve The Matrix Reloaded\u2019da aralar\u0131nda cinsel yak\u0131nla\u015fma oldu\u011fu g\u00f6r\u00fclmektedir. Bu nedenle Neo\u2019yu bakir olan Hz. \u0130sa veya Buda olarak d\u00fc\u015f\u00fcnmek do\u011fru de\u011fildir. Hz. \u0130sa ve Buda\u2019n\u0131n e\u015fleri yokken Vi\u015fnu, Lak\u015fmi ad\u0131nda bir e\u015fe sahiptir. Trinity g\u00fc\u00e7l\u00fc kuvvetli bir kad\u0131nd\u0131r. Hinduizmde de g\u00fc\u00e7l\u00fc kuvvetli bir\u00e7ok di\u015fi tanr\u0131 bulunmaktad\u0131r. B\u00f6ylece Hinduizm de Hristiyanl\u0131k ve Budizm\u2019e alternatif bir The <\/em>Matrix<\/em> yorumu sunmaktad\u0131r.^{[9]<\/sup><\/sup><\/a><\/p>\n}

Bir di\u011fer gi\u015fe rekortmeni One Flew Over the Cuckoo\u2019s Nest,<\/em><\/strong> zarars\u0131z bir h\u00fck\u00fcml\u00fc olan R.P. McMurphy\u2019nin hik\u00e2yesini ele almaktad\u0131r. Mc Murphy psikolojik durumunu de\u011ferlendirmek i\u00e7in hapishaneden sinir hastal\u0131klar\u0131 hastanesine g\u00f6nderilir. Buradayken di\u011fer hastalar\u0131n hayatlar\u0131n\u0131 olumlu y\u00f6nde etkiler. Onlara \u015feytani hem\u015fire Ratched ile temsil edilen Hastane otoritesinden korkmadan d\u0131\u015far\u0131daki d\u00fcnyada nas\u0131l ya\u015fayabileceklerini g\u00f6sterir. Fakat Mc Murphy hastalara \u00f6zg\u00fcrl\u00fc\u011f\u00fc tatt\u0131rmas\u0131n\u0131n bedelini a\u011f\u0131r \u00f6der. En \u00e7ok yard\u0131mc\u0131 oldu\u011fu hastalardan biri olan Billy Bibbit taraf\u0131ndan ihanete u\u011frar. Lobotomi<\/strong>^{[10]<\/sup><\/sup><\/a> uygulanarak sembolik olarak \u00e7arm\u0131ha gerilir. B\u00fc\u00ady\u00fck \u015eef\u2019in hastaneden ka\u00e7mas\u0131 ve Mc Murphy\u2019yi yan\u0131na almas\u0131 ile de sembolik olarak yeniden dirilmi\u015f olur. Film bu sembolik anlat\u0131mlar ile bir ak\u0131l hastanesi hik\u00e2yesinden Hz. \u0130sa\u2019n\u0131n hayat hik\u00e2yesine d\u00f6n\u00fc\u015fmektedir.[11]<\/sup><\/sup><\/a><\/p>\n}

Sinema ve din \u00e7al\u0131\u015fmalar\u0131na olan ilginin \u00f6nemli sebeplerinden biri insanlar\u0131n pop\u00fcler filmlerde dini temalar bulmalar\u0131d\u0131r. \u0130nsanlar pop\u00fcler filmlerde dini temalar bulmaktan ho\u015flan- maktad\u0131rlar. Basit\u00e7e, dinle ilgili hi\u00e7bir \u015fey yokmu\u015f gibi g\u00f6r\u00fcnen bir filmde dinle ilgili yorumlar yapmak ve \u00e7e\u015fitli temalar ke\u015ffetmek e\u011flenceli bir s\u00fcre\u00e7tir. Dinle ilgili temalar i\u00e7eren pop\u00fcler filmlere verilebilecek di\u011fer \u00f6rnekler ise Superman<\/em> (S\u00fcpermen, 1978), Apocalypse Now<\/em> (K\u0131ya\u00admet, 1979), Star Wars<\/em> (Y\u0131ld\u0131z Sava\u015flar\u0131, 1977), Platoon<\/em> (M\u00fcfreze, 1986) ve Amadeus<\/em> (Amadeus, 1984)<\/strong>\u2019tur.<\/p>\n

Yukar\u0131da zikredilen filmler genellikle sek\u00fcler\/dini olmayan filmler olarak tan\u0131mlanmaktad\u0131r. Fakat bunlar\u0131n yan\u0131nda dini film kategorisine giren gi\u015fe rekortmeni filmler de vard\u0131r. Bu filmle\u00adrin bir k\u0131sm\u0131 Kitab-\u0131 Mukaddes\u2019te ge\u00e7en k\u0131ssalara dayanmaktad\u0131r. Mel Gibson\u2019\u0131n The Passion of <\/em>The Christ\u2019<\/em><\/strong>\u0131 muhtemelen bu filmlerin en me\u015fhurudur. The Passion of The Christ<\/em> t\u00fcm zamanlar\u0131n en \u00e7ok gi\u015fe yapan filmlerinden biri oldu. Filmin b\u00fcy\u00fck k\u0131sm\u0131\u0130ncil\u2019de ge\u00e7en Hz. \u0130sa\u2019n\u0131n \u00e7arm\u0131ha gerilme hik\u00e2yesinin beyaz perdede yeniden anlat\u0131m\u0131yd\u0131. Filmin etraf\u0131n\u0131 saran tart\u0131\u015fmalar\u0131n baz\u0131\u00adlar\u0131 di\u011fer \u00e7arm\u0131ha gerilmeyi ele alan filmler ile ayn\u0131yd\u0131. B\u00fcy\u00fck \u00f6l\u00e7\u00fcde Yahudilerin Mesih\u2019in katili olarak g\u00f6sterilmesi ele\u015ftirildi. \u00d6te yandan \u201c\u015fimdiye kadar incili en do\u011fru \u015fekilde yans\u0131tan film\u201d \u015feklinde reklam\u0131 yap\u0131lmas\u0131na kar\u015f\u0131n filmin baz\u0131 b\u00f6l\u00fcmlerinin hi\u00e7bir \u0130ncilde yer almad\u0131\u011f\u0131 ortaya \u00e7\u0131kt\u0131.<\/p>\n

Bir di\u011fer dini gi\u015fe rekortmeni film ise Cecil B. De Mille\u2019in\u00a0The Ten Commandments<\/em> (On Emir)<\/strong> filmidir. Film Hz. Musa\u2019n\u0131n Yahudileri M\u0131s\u0131r\u2019dan \u00e7\u0131kar\u0131p vadedilmi\u015f topraklara g\u00f6t\u00fc\u00adr\u00fc\u015f\u00fcn\u00fc konu edinmektedir. Film, De Mille\u2019i me\u015fhur eden geni\u015f \u00f6l\u00e7ekli g\u00f6r\u00fcnt\u00fclere sahipti. Filmin ilk \u00e7ekimi 1923 y\u0131l\u0131nda yap\u0131ld\u0131 ve sessiz sinema \u00e7a\u011f\u0131n\u0131n en ba\u015far\u0131l\u0131 filmi oldu. \u00c7o\u011fu insan\u0131n a\u015fina oldu\u011fu tekrar \u00e7ekim ise 1956 y\u0131l\u0131nda ger\u00e7ekle\u015ftirildi. Bu filmde Hz. Musa rol\u00fc\u00adn\u00fc Charlton Heston oynam\u0131\u015ft\u0131r ve film hala televizyonlarda g\u00f6sterilmeye devam etmektedir. Di\u011fer dini gi\u015fe rekortmeni filmler ise King of Kings<\/em> (Krallar Kral\u0131, 1927), The Sign of The Cross <\/em>(\u00c7arm\u0131h \u0130\u015fareti, 1932), SampsonAnd <\/em>Delilah<\/em> (Samson ve Dalila,1949), Going My Way<\/em> (Ayn\u0131 Yolun Yolcusu, 1944), TheBells of St. Mary\u2019s<\/em> (Aziz Meryem\u2019in \u00c7anlar\u0131, 1945), Ben Hur<\/em> (Ben Hur, 1959), Spartacus<\/em> (Spartak\u00fcs, 1960), TheExorcist<\/em> (\u015eeytan, 1973) ve The Da Vinci <\/em>Code<\/em> (Da Vinci \u015eifresi, 2006)\u2019<\/strong>dur.<\/p>\n

B. Uzun metrajl\u0131 kurgusal filmlerin ikinci alt kategorisi gi\u015fe rekortmeni olmayan filmler\u00addir. B\u00fcy\u00fck bir gi\u015fe ba\u015far\u0131s\u0131na sahip olmayan bu filmlerin baz\u0131lar\u0131 \u00e7ok iyi filmlerdir ve bir\u00e7o\u00ad\u011fu sinema ve din uzmanlar\u0131n\u0131n ilgisini \u00e7eker. Bu filmler konu ve dine yakla\u015f\u0131m bak\u0131m\u0131ndan \u00e7ok \u00e7e\u015fitli gruplara ayr\u0131l\u0131rlar. \u00d6rne\u011fin TheMission<\/em> (G\u00f6rev, 1986), Romero<\/em> (Romero, 1989) ve Priest<\/em> (Rahip, 1994) Katolik Kilisesi\u2019ni ele\u015ftirir. Why Has Bodhi-Dharma Leftfor the East<\/em> (Bod- hi-Dharma Neden Do\u011fuya Gitti, 1989), Little Buddha<\/em> (K\u00fc\u00e7\u00fck Buda, 1993) ve Seven <\/em>Years in Tibet<\/em> (Tibet\u2019te Yedi Y\u0131l, 1997) filmlerinde Budizm \u00f6nemli bir rol oynar. Devi<\/em> (Tanr\u0131\u00e7a, 1960), KanchanaSita<\/em> (Alt\u0131n Sita,^{[12]<\/sup><\/sup><\/a> 1976), Lajja<\/em> (Utan\u00e7, 2001) ve Deepa Mehta\u2019n\u0131n \u00fc\u00e7lemesi Fire<\/em> (Ate\u015f, 1996), Earth<\/em> (Toprak, 1998) ve Water<\/em> (Su, 2005)<\/strong> Hindistan ve Hinduizm \u00fczerine yo\u011funla\u015f\u0131r.<\/p>\n}

The Jazz Singer<\/em> (Caz Muganisi, 1927), Gentleman\u2019s Agreement<\/em> (Namus S\u00f6z\u00fc, 1948), Liberty He\u00adights<\/em> (\u00d6zg\u00fcrl\u00fc\u011f\u00fcn Zirveleri, 1999) ve Trembling Before God<\/em> (Tanr\u0131dan \u00d6nce \u00dcrpermek, 2001) Yahudilik ve Yahudi kimli\u011fi ile ilgili unsurlar i\u00e7erir. My Beautiful Laundrette<\/em> (Benim G\u00fczel \u00c7a\u00adma\u015f\u0131rhanem, 1985), My Son theFanatic<\/em> (O\u011flum Bir Fanatik, 1997) ve Towelhead<\/em> (Tabu, 2008) filmleri \u0130slam\u2019la ilgili temalara sahiptir. Christ Eyre\u2019\u0131n <\/em>Smoke Signals<\/em> (Duman \u0130\u015fareti, 1998), Edge Of America<\/em> (Amerika\u2019n\u0131n Ucu, 2003) ve Imprint<\/em> (M\u00fch\u00fcr, 2007), Kevin Costner\u2019\u0131n Dances With Wolves<\/em> (Kurtlarla Dans, 1990) ve Mel Gibson\u2019\u0131n Apocalypto(Apokalipto, 2006) filmleri yerli dinlerine^{[13]<\/sup><\/sup><\/a> yer vermektedirler. Ulees Gold<\/em> (Ulee\u2019nin Alt\u0131n\u0131, 1997), Good Will Hunting<\/em> (Can Dostum, 1997) ve Billy Elliot<\/em> (BillyElliot, 2000) dinden ziyade maneviyat ile ilgilidir. The Gospel of John<\/em> (Yuhanna \u0130ncili, 2003), The Last Temptation of Christ<\/em> (G\u00fcnaha Son \u00c7a\u011fr\u0131, 1998), Jesus of Montreal<\/em> (Montrealli \u0130sa, 1989), ve The Life of Brian<\/em> (Brian\u2019\u0131n Hayat\u0131, 1979) Hz. \u0130sa filmleri\u00addir. Europa Europa<\/em> (Avrupa Avrupa, 1990), The Grey Zone<\/em> (Gri B\u00f6lge, 2001), Punch Me in the Stomach<\/em> (Karn\u0131mdan Yumrukla, 1997) ve Schindler\u2019s List<\/em> (Schindler\u2019in Listesi, 1993)<\/strong> Yahudi soyk\u0131r\u0131m\u0131n\u0131 i\u015fleyen filmlerdir.<\/p>\n}

Kurtulu\u015f (redemption) temas\u0131;The Fisher King<\/em> (Bal\u0131k\u00e7\u0131 Kral, 1991), The Shawshank Re\u00addemption<\/em> (Esaretin Bedeli, 1994) ve Never Die Alone<\/em> (Asla Yaln\u0131z \u00d6lme, 2004) filmlerinde yer almaktad\u0131r. Ahiret; Meet Joe Black<\/em> (Joe Black, 1998), Death Takes a Holiday<\/em> (\u00d6l\u00fcm Ta\u00adtile \u00c7\u0131kar, 1934), What Dreams May Come<\/em> (A\u015fk\u0131n G\u00fcc\u00fc, 1998) ve After Life<\/em> (Araf, 1998) filmlerinde perdeye yans\u0131maktad\u0131r. Tanr\u0131 imaj\u0131; The Seventh Seal<\/em> (Yedinci M\u00fch\u00fcr, 1957), All That Jazz<\/em> (Hep Caz, 1979), Oh God!<\/em> (O Tanr\u0131m!,1977) ve Dogma<\/em> (Dogma, 1999) film\u00adlerinde g\u00f6r\u00fclmektedir. Kurtar\u0131c\u0131^{[14]<\/sup><\/sup><\/a> fig\u00fcr\u00fc;PaleRider<\/em> (Soluk Y\u00fczl\u00fc Adam, 1985), Donnie Dar- ko<\/em> (Donnie Darko-Karanlik yolculuk,2001) ve Iron Man<\/em> (Demir Adam, 2008) filmlerinde ke\u015ffedilebilmektedir. Karma inanc\u0131; Groundhog Day<\/em> (Bug\u00fcn Asl\u0131nda D\u00fcnd\u00fc, 1993), Twister <\/em>(Twister, 1996) ve Devdas<\/em> (Devdas, 2002) filmlerinde \u00f6nemli rol oynamaktad\u0131r. D\u00fcnyan\u0131n sonu; The Rapture<\/em> (Vecd, 1991), Armageddon<\/em> (Armageddon, 1998) ve An Inconvenient Truth <\/em>(Uygunsuz Ger\u00e7ek, 2006) filmlerinde vurgulanmaktad\u0131r. \u015eeytan; Bedazzled<\/em> (\u015ea\u015fk\u0131n, 1967 ve 2000), The Devil\u2019s Advocate<\/em> (\u015eeytan\u0131n Avukat\u0131, 1997) ve The Ninth Gate<\/em> (Dokuzuncu Kap\u0131, 1999) filmlerinde perdede g\u00f6r\u00fcnmektedir. \u015eer\/K\u00f6t\u00fcl\u00fck; Se7en<\/em> (Yedi, 1996), The Killing Fi\u00adelds<\/em> (\u00d6l\u00fcm Tarlalar\u0131, 1984), Crash<\/em> (\u00c7arp\u0131\u015fma, 2004) ve Dirty Pretty Things<\/em> (Kirli Tatl\u0131 \u015eeyler, 2002) filmlerinde merkezi bir rol oynamaktad\u0131r.<\/strong><\/p>\n}

C. Uzun metrajl\u0131 kurgusal filmlerin \u00fc\u00e7\u00fcnc\u00fc alt kategorisi ise Hollywood d\u0131\u015f\u0131nda \u00e7ekilen film\u00adlerdir. Sinema ve din alan\u0131nda pop\u00fcler olan bir\u00e7ok Avrupa men\u015feli film vard\u0131r. Bunlardan biri \u0130talyan y\u00f6netmen Pier Paolo Pasolini\u2019nin 1964 y\u0131l\u0131nda g\u00f6sterime giren The Gospel Accordingto St. Matthew<\/em> (Matta\u2019ya g\u00f6re \u0130ncil)<\/strong> filmidir. Pasolini, bir ateist ve Marksist oldu\u011fu i\u00e7in bu film s\u0131k s\u0131k Marksist kinaye olarak yorumlanmaktad\u0131r. Zira filmin Marksist d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fc desteklemek i\u00e7in Hz. \u0130sa\u2019n\u0131n hayat hik\u00e2yesini kulland\u0131\u011f\u0131 ileri s\u00fcr\u00fclmektedir. Yine de Pasolini, hik\u00e2yede perdeye e\u015fsiz bir \u015fekilde yans\u0131yan manevi boyutlar bulmu\u015ftur. Filmde \u0130ncil\u2019de ge\u00e7en diyaloglar\u0131n d\u0131\u015f\u0131nda bir diyalog kullan\u0131lmam\u0131\u015ft\u0131r. \u0130ncilden al\u0131nt\u0131 bulunmayan sahneler g\u00f6r\u00fcnt\u00fclerle ifade edilmi\u015ftir. Bu, filme ilgin\u00e7 bir sinematografik kalite sa\u011flamakta ve teolojik analizden ziyade manevi d\u00fc\u00ad\u015f\u00fcnceler \u00fcretme imk\u00e2n\u0131 sa\u011flamaktad\u0131r. The Gospel Accordingto St. Matthew<\/em> s\u0131k s\u0131k di\u011fer Hz. \u0130sa\u00a0filmleriyle kar\u015f\u0131la\u015ft\u0131r\u0131lmaktad\u0131r.^{[15]<\/sup><\/sup><\/a><\/p>\n}

Sinema ve din alan\u0131na bir hareketlilik getiren di\u011fer bir Avrupa filmi de Lars Von Trier\u2019in Breaking The Waves (Dalgalar\u0131 A\u015fmak, 1996)<\/strong> filmidir. Film, Kuzey \u0130sko\u00e7ya\u2019da bask\u0131c\u0131 ve dindar bir b\u00f6lgede ya\u015fayan Bess Mc Neill adl\u0131 \u00e7ocuksu bir gen\u00e7 kad\u0131n\u0131n hayat\u0131n\u0131 hik\u00e2ye etmektedir. Bess, Danimarkal\u0131 bir petrol i\u015f\u00e7isi olan Jan ile tan\u0131\u015f\u0131r ve \u00e2\u015f\u0131k olup evlenir. \u00c7evresi, d\u0131\u015far\u0131dan biri olan Jan ile ili\u015fkisine a\u00e7\u0131k\u00e7a kar\u015f\u0131 \u00e7\u0131kar. Uzun s\u00fcre denizdeki petrol \u00e7al\u0131\u015fmalar\u0131ndan d\u00f6n\u00admeyen Jandan ayr\u0131 ya\u015faman\u0131n zorlu\u011funu g\u00f6ren Bess, Jan\u2019\u0131n kendisine d\u00f6nmesi i\u00e7in dua eder. Jan bir kaza ge\u00e7irir ve yaral\u0131 olarak eve d\u00f6ner. Bess bu durumdan kendini sorumlu hisseder. Kazadan sonra Jan cinsel kabiliyetlerini kaybeder ve Bess\u2019ten ba\u015fka erkeklerle birlikte olmas\u0131n\u0131 ister. Bess, ba\u015fta bu durumdan tiksinse de bir s\u00fcre sonra bu durumu tanr\u0131n\u0131n iste\u011fi olarak g\u00f6rmeye ba\u015flar. Filmin sonunda Bess, birlikte oldu\u011fu bir denizci taraf\u0131ndan \u00f6ld\u00fcr\u00fcl\u00fcr. \u0130lgin\u00e7 bir \u015fekilde hik\u00e2yenin sonunda Bess y\u0131llard\u0131r \u00e7almayan kilisenin \u00e7anlar\u0131 e\u015fli\u011finde g\u00f6m\u00fcl\u00fcrken Jan sa\u011fl\u0131\u011f\u0131na kavu\u015fur.^{[16]<\/sup><\/sup><\/a><\/p>\n}

Di\u011fer bir \u00f6rnek de yine bir Danimarka filmi olan Babette\u2019s Feast (Babette\u2019in Ziyafeti, 1987)<\/strong>\u2019dir. Babette i\u015f i\u00e7in Jutland\u2019\u0131n bat\u0131 k\u0131y\u0131lar\u0131nda k\u00fc\u00e7\u00fck bir kasabaya gelir. Gittik\u00e7e k\u00fc\u00e7\u00fclen ve babalar\u0131 taraf\u0131ndan kurulmu\u015f olan dini bir cemaate mensup iki k\u0131z karde\u015f taraf\u0131ndan i\u015fe al\u0131n\u0131r. Babette, k\u0131z karde\u015fler i\u00e7in yemek pi\u015firir, temizlik ve al\u0131\u015f veri\u015f yapar. K\u00fc\u00e7\u00fck dini grubun kasvetli hayat\u0131na birazc\u0131k ne\u015fe getirmi\u015f gibidir. Sonunda k\u0131z karde\u015fler babalar\u0131n\u0131n y\u00fcz\u00fcnc\u00fc do\u011fum y\u0131ld\u00f6n\u00fcm\u00fc an\u0131s\u0131na bir kutlama tertip etmek isterler ve Babette\u2019ten bir kutlama yeme\u011fi haz\u0131rlay\u0131p haz\u0131rlaya- mayaca\u011f\u0131n\u0131 sorarlar. Babette bir piyango kazand\u0131\u011f\u0131 i\u00e7in tabaklardan bardaklara, yiyeceklerden i\u00e7eceklere kadar her \u015feyi kendisi temin eder. Filmin b\u00fcy\u00fck bir k\u0131sm\u0131 ak\u015fam yeme\u011finin-bazen \u201cson ak\u015fam yeme\u011fi\u201d^{[17]<\/sup><\/sup><\/a> ile \u00f6zde\u015fle\u015ftirilir- haz\u0131rlan\u0131\u015f\u0131n\u0131 ve servis edili\u015fini g\u00f6stermektedir. Sonunda dini cemaat bir d\u00f6n\u00fc\u015f\u00fcm ya\u015far. Eski hatalar affedilir, sevgi ate\u015fi tekrar tutu\u015fturulur ve yemek boyunca bir t\u00fcr ar\u0131nma ger\u00e7ekle\u015fir.[18]<\/sup><\/sup><\/a><\/p>\n}

Dinle ilgili di\u011fer baz\u0131 Avrupa men\u015feli filmler de \u015funlard\u0131r: The Seventh Seal<\/em> (Yedinci M\u00fc- h\u00fcr-\u0130sve\u00e7, 1957), Proces de Jeanned\u2019Arc<\/em> (Jeanned\u2019Arc\u2019\u0131n Yarg\u0131lanmas\u0131-Fransa, 1962), Bend it Like Beckham<\/em> (Hayat\u0131m\u0131n \u00c7al\u0131m\u0131 Beckham-\u0130ngiltere, 2002), ThePassion of Joan of Arc<\/em> (Jeanned\u2019Arc\u2019\u0131n Tutkusu-Danimarka, 1928), Dancer in the Dark<\/em> (Karanl\u0131kta Dans-Danimarka, 2000), Amen <\/em>(Amin-Yunanistan, 2002), The Ninth Day<\/em> (Dokuzuncu G\u00fcn-Almanya, 2004), A Man ForAllSe- ason<\/em> (Her Devrin Adam\u0131-\u0130ngiltere, 1966), The Magdalene Sisters<\/em> (G\u00fcnahkar Rahibeler-\u0130rlanda, 2002), My Son The Fanatic<\/em> (O\u011flum Fanatik-\u0130ngiltere, 1997), Le <\/em>Grand Voyage<\/em> (B\u00fcy\u00fck Yolculuk- Fransa, 2004), Diary of a Country Priest<\/em> (Bir Ta\u015fra Papaz\u0131n\u0131n G\u00fcncesi-Fransa, 1951).<\/strong><\/p>\n

Avrupa d\u0131\u015f\u0131ndaki \u00fclke sinemalar\u0131nda da dinle ilgili bir\u00e7ok film bulunmaktad\u0131r. Amos Gitai taraf\u0131ndan y\u00f6netilen \u0130srail yap\u0131m\u0131 Kadosh<\/em> (Kutsal, 1999)<\/strong> filmi, Kud\u00fcs\u2019te ataerkil ve ra\u00addikal Yahudi bir toplulu\u011fa mensup Rivka ve Milka adl\u0131 iki k\u0131z karde\u015fin hik\u00e2yesini ele al\u0131r. Rivka ve kocas\u0131 Meir a\u015fik\u00e2r bir \u015fekilde birbirlerine \u00e2\u015f\u0131kt\u0131rlar. Fakat \u00e7ocuk sahibi olamamak\u00adtad\u0131rlar. Meir\u2019in haham olan babas\u0131 Rivka\u2019n\u0131n \u00e7ocuk sahibi olamayaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc i\u00e7in o\u011flundan gelinini bo\u015famas\u0131n\u0131 ister. Meir i\u00e7in -babas\u0131 taraf\u0131ndan temsil edilen- dini \u00f6nde gelmektedir. Bu nedenle g\u00f6n\u00fcls\u00fcz bir \u015fekilde Rivka\u2019dan ayr\u0131l\u0131r. Rivka\u2019n\u0131n kalbi k\u0131r\u0131k olmas\u0131\u00adna ra\u011fmen radikal toplulu\u011fun bir par\u00e7as\u0131 olarak kalmaya devam eder. Fakat bir s\u00fcre sonra kederinden \u00f6l\u00fcr.<\/p>\n

Milka ise Yakov\u2019a \u00e2\u015f\u0131kt\u0131r. Fakat Yakov toplum taraf\u0131ndan iyi bir koca olamayacak kadar ehl-i d\u00fcnya g\u00f6r\u00fclmektedir. Bu nedenle Milka, kendisine kar\u015f\u0131 k\u00f6t\u00fc muamelede bulunan ve \u00e7ok az duygu besleyen Joseph ile evlendirilir. Sonunda Milka toplulu\u011fu terk ederken g\u00f6r\u00fcl\u00fcr. B\u00fcy\u00fck ihtimalle sevdi\u011fi adam\u0131 bulup onunla evlenmek i\u00e7in bir aray\u0131\u015f i\u00e7erisine girecektir. Filmin konusu dini ilkelerin ve uygulamalar\u0131n -bazen en zararl\u0131 \u015fekilde- ki\u015fisel olarak insanlar\u0131 nas\u0131l etkileyebi\u00adlece\u011fi hakk\u0131ndad\u0131r.<\/p>\n

Avrupal\u0131 olmay\u0131p sinema ve din alan\u0131n\u0131 ilgilendiren bir di\u011fer \u00f6rnek de WalterSalles taraf\u0131n\u00addan y\u00f6netilen Central <\/em>Station<\/em> (Merkez \u0130stasyonu, 1998)<\/strong> adl\u0131 Brezilya filmidir. Bu film annesi Rio de Janeiro\u2019nun merkez istasyonu \u00f6n\u00fcnde \u00f6ld\u00fcr\u00fclen 9 ya\u015f\u0131ndaki Josue\u2019ninhik\u00e2yesini anlatmakta\u00add\u0131r. Josue\u2019nin annesi kendilerini terk eden babalar\u0131na mektup yazacak bir arzuhalci bulmak i\u00e7in istasyona gelmi\u015f ve burada \u00f6ld\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Evi ve gidecek bir yeri olmayan Josue, g\u00f6n\u00fcls\u00fcz bir \u015fe\u00adkilde alayc\u0131 bir arzuhalci olan Dora ile arkada\u015f olur. Dora, Josue\u2019nin babas\u0131n\u0131 bulmak i\u00e7in onunla birlikte Brezilya\u2019n\u0131n kuzey do\u011fusuna do\u011fru yola \u00e7\u0131kar. Yol boyunca Dora,Josue\u2019ye kol kanat gerer. Ona hem kalacak bir yer verir hem de onun ailesi olur. Ayr\u0131ca josue\u2019ye kol kanat gererken kendisi de g\u00fcnahlar\u0131ndan ar\u0131nmakta, kendi kendini kurtarmaktad\u0131r.^{[19]<\/sup><\/sup><\/a><\/p>\n}

After Life<\/em> (Araf, 1998)<\/strong> ise Hirokazu Kore-eda taraf\u0131ndan y\u00f6netilen bir Japon filmidir. Filmde hen\u00fcz \u00f6lm\u00fc\u015f olan insanlar\u0131n tutuldu\u011fu bir Araf b\u00f6lgesi vard\u0131r. Araf\u2019ta insanlara d\u00fcnyadaki ha\u00adt\u0131ralar\u0131ndan birini se\u00e7ebilecekleri s\u00f6ylenir. Se\u00e7tikleri hat\u0131ray\u0131 di\u011fer d\u00fcnyalar\u0131na g\u00f6t\u00fcrebilecek ve ebediyyen saklayabileceklerdir. Ruhani bir rehber, yeni \u00f6l\u00fcye hat\u0131ran\u0131n se\u00e7imi ve yeniden hat\u0131r\u00adlanmas\u0131 s\u00fcre\u00e7lerinde yard\u0131mc\u0131 olur. Bu hat\u0131ralar filme al\u0131n\u0131r. Filme al\u0131nma i\u015flemi bittikten sonra \u00f6l\u00fclerin sonraki hayata ge\u00e7melerine izin verilir. \u0130lgin\u00e7 bir \u015fekilde ruhani rehberler de yeni \u00f6lm\u00fc\u015f insanlard\u0131r. Fakat hen\u00fcz saklamak istedikleri hat\u0131ralar\u0131n\u0131 se\u00e7ememi\u015flerdir. Kore-eda filminin \u00f6l\u00fcmden \u00e7ok hayatla ilgili oldu\u011funu s\u00f6ylemi\u015ftir. \u00c7\u00fcnk\u00fc insanlar\u0131 kendi hayatlar\u0131 hakk\u0131nda d\u00fc\u00ad\u015f\u00fcnmeye sevk etmektedir. \u00d6yleyse \u00f6l\u00fcm her zaman hayatla ilgilidir denilebilir.^{[20]<\/sup><\/sup><\/a><\/p>\n}

Sinema ve din alan\u0131 ile ilgili olup Avrupa men\u015feli olmayan filmlere \u015fu filmler de \u00f6rnek g\u00f6sterilebilir: Jesus of Montreal<\/em> (Montrealli \u0130sa-Kanada, 1989), TheLastWave<\/em> (Esrarengiz Dava- Avusturalya, 1977), The Other Conquest<\/em> (Di\u011fer Fetih-Meksika, 1998), Crimen del PadreAmaro <\/em>(G\u00fcnah-Meksika, 2002), Black <\/em>Robe<\/em> (Kara C\u00fcbbe-Avusturalya, 1991), Andrei Rublev<\/em> (Andrei-\u00a0<\/strong>Rublev-Rusya, 1969), Night Watch<\/em> (Gece N\u00f6beti-Rusya 2004), Day Watch<\/em> (G\u00fcnd\u00fcz N\u00f6beti-Rusya<\/strong>, I, TheWorst of All<\/em> (Ben, Her \u015feyin En K\u00f6t\u00fcs\u00fc-Arjantin, 1990), James\u2019 <\/em>Journeyto Jerusalem <\/em>(James\u2019in Kud\u00fcse Yolculu\u011fu-\u0130srail, 2003), The Band\u2019s Visit<\/em> (Bandonun Ziyareti-\u0130srail, 2007), Di\u00advine Intervention<\/em> (Kutsal Direni\u015f-Filistin, 2002), Eve <\/em>andthe Fire <\/em>House<\/em> (Eve ve \u0130tfaiye Binas\u0131-Ka- nada, 2005), ParadiseNow<\/em> (Vaat Edilen Cennet-Filistin, 2005).<\/strong><\/p>\n

2. Sinema ve din uzmanlar\u0131n\u0131n ilgin\u00e7 bulduklar\u0131 di\u011fer bir t\u00fcr de belgesel filmlerdir.<\/strong> Belge\u00adseller, filmin d\u0131\u015f\u0131ndaki d\u00fcnyan\u0131n ger\u00e7ek bilgilerini sunma iddias\u0131ndad\u0131rlar.^{[21]<\/sup><\/sup><\/a> Onlar kendilerini d\u00fcnyay\u0131 ger\u00e7ekten var oldu\u011fu \u015fekilde aktaran bir t\u00fcr olarak sunarlar. Bir belgesel filme yapabile\u00adce\u011fimiz en temel ve yaralay\u0131c\u0131 ele\u015ftiri onun g\u00fcvenilmez ve d\u00fcnyay\u0131 ger\u00e7ek olmayan bir bi\u00e7imde yans\u0131tan bir film oldu\u011funu s\u00f6ylemek veya g\u00f6stermektir. Belgesellerin ger\u00e7ek bilgileri aktarma iddias\u0131 yine de tamamen tarafs\u0131z bir \u015fekilde d\u00fcnyay\u0131 tasvir ettikleri anlam\u0131na gelmez. Belgeseller taraf tutabilir, fikir belirtebilir ve problemli durumlarda belirli bir \u00e7\u00f6z\u00fcm\u00fc destekleyebilirler.[22]<\/sup><\/sup><\/a> Y\u00f6netmen bir\u00e7ok olas\u0131l\u0131k i\u00e7erisinden d\u00fcnyan\u0131n hangi par\u00e7as\u0131n\u0131 g\u00f6sterece\u011fine karar vermek zorundad\u0131r. Filmi d\u00fczenleme zaman\u0131 geldi\u011finde de yap\u0131lan \u00e7ekimlerden hangilerinin hik\u00e2yeyi olu\u015f\u00adturaca\u011f\u0131n\u0131 belirlemek durumundad\u0131r.<\/p>\n}

Unsettled<\/em> (G\u00f6\u00e7ebe, 2006)<\/strong>^{[23]<\/sup><\/sup><\/a> 2005 yaz\u0131nda hem Gazze\u2019de ya\u015fayan ve \u0130srail\u2019in Gazze\u2019den \u00e7e\u00adkilme plan\u0131 \u00e7er\u00e7evesinde g\u00f6\u00e7 etmeye zorlanan \u0130srailli gen\u00e7lerin hem de bu yer de\u011fi\u015fikli\u011fini sa\u011f\u00adlamak i\u00e7in g\u00f6revlendirilmi\u015f \u0130srailli askerlerin hik\u00e2yesini anlatmaktad\u0131r. Hem g\u00f6\u00e7e direnenler hem de g\u00f6\u00e7 i\u00e7in zorlayanlar \u0130srail vatanda\u015f\u0131 oldu\u011fu i\u00e7in film baz\u0131 sorular\u0131 izleyicilerin \u00f6n\u00fcne koymaktad\u0131r: \u0130srailli olmak ne demektir? Yahudi olmak ne demektir? \u0130yi bir Yahudi isen sana vadedildi\u011fini d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn topraklar\u0131 Yahudi olmayanlara b\u0131rakabilir misin? \u0130yi bir Yahudi isen kendilerine -ayn\u0131 zamanda sana-vadedildi\u011fini d\u00fc\u015f\u00fcnd\u00fckleri topraklardan Yahudileri g\u00f6\u00e7 etmeye zorlayabilir misin? Yahudiler ve \u0130srail Devleti aras\u0131ndaki ili\u015fki nedir? T\u00fcm bu sorular din-politika ve \u0130srail\u2019in \u00f6zel politikalar\u0131 hakk\u0131nda sorulmaktad\u0131r. Bu konu ile ilgili di\u011fer bir belgesel de 5 <\/em>Days <\/em>(Be\u015f G\u00fcn, 2005)\u2019<\/strong>tir.<\/p>\n}

For The Bible Tells Me So<\/em> (\u0130ncil Bana \u00d6yle S\u00f6yledi\u011fi \u0130\u00e7in, 2007)<\/strong> filmi Kitab-\u0131 Mukaddes ve homoseks\u00fcellik hakk\u0131ndad\u0131r. Film, i\u00e7lerinde ABD temsilciler meclisi \u00e7o\u011funluk grubu ba\u015fkan\u0131 Richard Gephardt ve Psikopos Gene Robinson\u2019\u0131n da aralar\u0131nda bulundu\u011fu \u00e7ocuklar\u0131 gay ya da lezbiyen olan 5 Amerikan ailesini ele almaktad\u0131r. Filmde PsikoposDesmont Tutu, Harward\u2019l\u0131 Pe\u00adter Gnomes, Rahip Jimmy Creech ve Haham Steve Greenberg gibi \u0130l\u00e2hiyat\u00e7\u0131lardan yararlanarak Kitab-\u0131 Mukaddesi homoseks\u00fcelleri damgalamak i\u00e7in kullananlar\u0131n iki y\u00fczl\u00fc olduklar\u0131, Kitab-\u0131 Mukaddesin b\u00fct\u00fcn \u00f6\u011f\u00fctlerine uymay\u0131p sadece homoseks\u00fcelli\u011fe kar\u015f\u0131 olan \u00f6\u011f\u00fctleri \u00f6ne \u00e7\u0131kar\u00add\u0131klar\u0131 savunulmaktad\u0131r. Bu \u201ckiraz toplama\u201d (kutsal kitaptan uygun g\u00f6rd\u00fc\u011f\u00fc \u00f6\u011f\u00fctleri al\u0131p uygun g\u00f6rmediklerini g\u00f6rmezden gelme) olarak tan\u0131mlanmaktad\u0131r. Filmin sorusu \u201cKitab-\u0131 Mukaddes bize homoseks\u00fcellik hakk\u0131nda ne s\u00f6yler?\u201ddir. \u0130zleyicilere verdi\u011fi cevap ise \u015fudur: Homoseks\u00fcel\u00adler Hristiyan toplumunun bir par\u00e7as\u0131 olabilirler. Hayatlar\u0131m\u0131z\u0131 nas\u0131l ya\u015fayaca\u011f\u0131m\u0131z konusunda sevgi,\u0130ncil\u2019den se\u00e7ilmi\u015f olan ayetlerden daha \u00f6nemlidir. Din ve homoseks\u00fcellik konusu ile ilgili di\u011fer iki \u00f6rnek de Trembling Before G-d<\/em> (2001, Ortodoks Yahudilik) ve A Jihad ForLove\u2019d\u0131r<\/em> (A\u015fk \u0130\u00e7in Cihad-2007, \u0130slam).<\/strong><\/p>\n

Shake Hands With The Devil<\/em> (\u015eeytanla El S\u0131k\u0131\u015fma, 2007)<\/strong> Birle\u015fmi\u015f Milletler komutan\u0131 ola\u00adrak Ruanda\u2019ya g\u00f6nderilen Kanadal\u0131 korgeneral Romeo Dallaire\u2019in hik\u00e2yesini ele almaktad\u0131r. Dallaire bar\u0131\u015f\u0131 sa\u011flamaya \u00e7al\u0131\u015f\u0131rken Ruanda ba\u015fbakan\u0131 bir u\u00e7ak kazas\u0131nda \u00f6ld\u00fcr\u00fcl\u00fcr ve 100 g\u00fcnl\u00fck bir s\u00fcrede 800 bin Ruanda\u2019l\u0131 katledilir. \u00c7ok az askere sahip olmas\u0131na ve olaylara kar\u0131\u015f\u00admamas\u0131 emredilmesine ra\u011fmen Dallaire m\u00fcmk\u00fcn oldu\u011funca \u00e7ok Ruandal\u0131y\u0131 kurtarmak i\u00e7in elinden geleni yapar. Ya\u015fanan katliamlar Dallairee a\u011f\u0131r bir darbe vurur. Ancak on y\u0131l sonra Ruanda\u2019y\u0131 ziyaret edebilir. Film, Ruanda\u2019ya d\u00f6n\u00fc\u015f\u00fcnde Dallaire\u2019i takip etmektedir. Dallaire sa\u00addece birka\u00e7 bin fazladan askeri olsa katliam\u0131 \u00f6nleyebilece\u011fini bu nedenle katliamdan Birle\u015f\u00admi\u015f Milletler\u2019in de sorumlu oldu\u011funu d\u00fc\u015f\u00fcnmektedir. O ayr\u0131ca katliam\u0131 insanl\u0131k i\u00e7in bir hayal k\u0131r\u0131kl\u0131\u011f\u0131 olarak g\u00f6rmektedir. Filmin ad\u0131 Dallaire\u2019in katliam\u0131n liderleriyle yapt\u0131\u011f\u0131 toplant\u0131dan gelmektedir. Dallairee g\u00f6re katliam\u0131n liderlerinin g\u00f6z\u00fcnde buz gibi bir bak\u0131\u015f vard\u0131 ve o mutlak \u015fer ortam\u0131nda \u015feytanla el s\u0131k\u0131\u015f\u0131yordu. Dallaire ayr\u0131ca uzun metraj kurgusal bir film olan Ho\u00adtel Rawandada<\/em> (Ruanda Oteli, 2004)<\/strong> da Nick Nolte taraf\u0131ndan canland\u0131r\u0131lm\u0131\u015ft\u0131r. Darfur\u2019daki soyk\u0131r\u0131mla ilgili benzer bir belgesel film de The Devil Came on Horseback<\/em> (\u015eeytan At S\u0131rt\u0131nda Geldi, 2007)<\/strong> filmidir.<\/p>\n

The Protocols of Zion<\/em> (Yahudilerin Gizli Anla\u015fmalar\u0131, 2005)<\/strong> belgeseli b\u00fcy\u00fck \u00f6l\u00e7\u00fcde The <\/em>Protocols of the Elders of<\/em> Zion(Yahudi E\u015fraf\u0131n\u0131n Gizli Anla\u015fmalar\u0131\/Planlar\u0131)<\/strong> kitab\u0131na cevap niteli\u011findedir. \u0130lk olarak 1903 y\u0131l\u0131nda Rusya\u2019da bas\u0131lan kitap Yahudilerin d\u00fcnyay\u0131 y\u00f6netmek i\u00e7in yapt\u0131klar\u0131 gizli planlar\u0131 g\u00f6sterme iddias\u0131ndad\u0131r. Kitap, sahtek\u00e2rl\u0131k iddias\u0131yla g\u00f6zden d\u00fc\u015f\u00fc\u00adr\u00fclmesine ra\u011fmen \u00e7ok satmaya devam etmi\u015ftir. 11 Eyl\u00fcl 2001\u2019den sonra ABD\u2019de y\u00fckselen bir Yahudi d\u00fc\u015fmanl\u0131\u011f\u0131 olu\u015fmu\u015ftur.Marc Levin\u2019in filmi Yahudi d\u00fc\u015fmanl\u0131\u011f\u0131n\u0131n nas\u0131l bu kitaptaki komplo teorilerini takip etti\u011fini g\u00f6stermek i\u00e7in \u00e7aba sarf etmektedir. Filmde r\u00f6portaj yap\u0131lan insanlar taraf\u0131ndan ortaya at\u0131lan en \u015fa\u015f\u0131rt\u0131c\u0131 iddia 11 Eyl\u00fcl 2001\u2019de Yahudilerin evlerinde kal\u00admalar\u0131 konusunda uyar\u0131ld\u0131klar\u0131 ve bu nedenle sald\u0131r\u0131dan \u0130srail veya Yahudilerin sorumlu ol\u00adduklar\u0131 iddias\u0131d\u0131r. Levin\u2019in filmi hem Yahudi d\u00fc\u015fmanl\u0131\u011f\u0131nahem de komplo teorilerine kurban gitmeye kar\u015f\u0131 bir savunmad\u0131r. Levin -tezini g\u00fc\u00e7lendirmek i\u00e7in- Komplo teorileri \u00fcretenlerin yan\u0131nda D\u00fcnya Ticaret Merkezi\u2019ne yap\u0131lan sald\u0131r\u0131da e\u015fini kaybeden Yahudi bir kad\u0131nla da r\u00f6\u00adportaj yapmaktad\u0131r. Kad\u0131n \u015f\u00f6yle s\u00f6ylemektedir: Ya\u015fad\u0131\u011f\u0131m\u0131z d\u00fcnyay\u0131 daha iyi bir yer haline getirmeyi hayat\u0131m\u0131z\u0131n amac\u0131 yapmal\u0131y\u0131z.<\/p>\n

Sinema ve din uzmanlar\u0131n\u0131n ilgilerini \u00e7eken son d\u00f6nem belgesellerine \u015fu \u00f6rnekler de verile\u00adbilir: Children of God: Lostand <\/em>Found<\/em> (Tanr\u0131n\u0131n \u00c7ocuklar\u0131: Kay\u0131plar ve Hidayete Erenler, 2007), Jesus Camp<\/em> (\u0130sa Kamp\u0131, 2006), The Education of Shelby Knox<\/em> (Shelby Knox\u2019un E\u011fitimi, 2005), Dinner with the President: A Nation\u2019s Journey<\/em> (Ba\u015fkan ile Ak\u015fam Yeme\u011fi: Bir Milletin Yolculu\u011fu<\/strong>, Be LikeOthers<\/em> (Di\u011ferleri Gibi Ol, 2008), Order of Myths<\/em> (Efsanelerin Emri, 2008), Recycle <\/em>(Geri D\u00f6n\u00fc\u015f\u00fcm, 2008), Slings hot Hip Hop<\/em> (Hip Hop Sapan\u0131, 2008), God GrewTired of Us<\/em> (Sudanl\u0131 Kay\u0131p \u00c7ocuklar\u0131n Hikayesi, 2006), Kz<\/em> (Kz, 2006), Iraq in Fragments<\/em> (Parampar\u00e7a Irak, 2006), Trudell<\/em> (Trudell,2005), Obsession: RadicalIslams War Againstthe West<\/em> (Tak\u0131nt\u0131: Radikal \u0130slam\u2019\u0131n Bat\u0131ya Kar\u015f\u0131 Sava\u015f\u0131, 2006), Refusenik<\/em> (Refusenik, 2008).<\/strong><\/p>\n

3. Sinema ve din alan\u0131 ile ilgili filmler de\u011ferlendirilirken s\u0131k s\u0131k g\u00f6zden ka\u00e7\u0131r\u0131lan kategori-bir saatten az s\u00fcreli olan- k\u0131sa filmlerdir.<\/strong> Bir\u00e7ok belgesel film de k\u0131sa filmdir. Baz\u0131 k\u0131sa filmler bilin\u00adseler insanlar\u0131n ilgisini \u00e7ekebilecek g\u00fczelliktedirler. Fakat k\u0131sa filmler sinema salonlar\u0131nda g\u00f6ste\u00adrilmedikleri i\u00e7in \u00e7o\u011funlukla g\u00f6zden ka\u00e7arlar. G\u00fcn\u00fcm\u00fczde ise baz\u0131 k\u0131sa filmler internet \u00fczerinden seyircilere ula\u015fmaktad\u0131r.<\/p>\n

David Napier\u2019in The Art of Farewell<\/em> (Veda Sanat\u0131, Avusturalya, 2001)<\/strong> filmi yaln\u0131zca yedi da\u00adkika uzunlu\u011funda g\u00fc\u00e7l\u00fc bir filmdir. Ya\u015fl\u0131 bir adam d\u00f6vme yap\u0131lan bir salona girer. \u0130\u00e7eridekiler taraf\u0131ndan g\u00f6rmezden gelinir. M\u00fc\u015fterilerden biri onunla alay ederken, d\u00f6vme ustas\u0131 gen\u00e7 \u00e7ok me\u015fgul oldu\u011funu s\u00f6yler. Ya\u015fl\u0131 adam, ustan\u0131n kendini daha fazla g\u00f6rmezden gelemeyece\u011fi i\u015fyeri\u00adnin kapan\u0131\u015f saatine kadar bekler. Evine gelip kendisine d\u00f6vme yapmas\u0131n\u0131 isteyince usta teredd\u00fct eder fakat b\u00fcy\u00fck miktarda para teklif edince kabul eder.<\/p>\n

Usta eve gitti\u011finde, ya\u015fl\u0131 adam\u0131n kipa takt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr ve Yahudi oldu\u011funu anlar\u0131z. Usta sa\u00adlona ge\u00e7ti\u011finde adam\u0131n yeni \u00f6lm\u00fc\u015f kar\u0131s\u0131n\u0131n salonun ortas\u0131nda uzanm\u0131\u015f oldu\u011funu g\u00f6r\u00fcr ve evi terk etmek ister. Adam ona engel olur ve kar\u0131s\u0131n\u0131n kolundaki Nazi toplama kamp\u0131 numaras\u0131n\u0131 kaz\u0131mas\u0131n\u0131 ister. B\u00f6ylece kendince kar\u0131s\u0131 toplama kamp\u0131n\u0131n deh\u015fetini bir daha hat\u0131rlamayacakt\u0131r. Usta numaray\u0131 kaz\u0131d\u0131ktan sonra adam bu kez de kar\u0131s\u0131n\u0131n numaras\u0131n\u0131 kolundaki kendi numaras\u0131n\u0131n yan\u0131na i\u015flemesini ister. Ustan\u0131n \u201cSiz olanlar\u0131 unutmak istemiyor musunuz?\u201d so\u00adrusu \u00fczerine \u201cKar\u0131m\u0131n olanlar\u0131 unutmas\u0131n\u0131 istiyorum. Ben ise kar\u0131m\u0131 hat\u0131rlamak istiyorum.\u201d<\/strong> cevab\u0131n\u0131 verir.<\/p>\n

Olanlardan etkilenen usta evden \u00e7\u0131karken ya\u015fl\u0131 adamdan ald\u0131\u011f\u0131 paray\u0131 masan\u0131n \u00fczerine b\u0131\u00adrak\u0131r. Ertesi g\u00fcn d\u00f6vme kal\u0131plar\u0131n\u0131 kar\u0131\u015ft\u0131r\u0131rken g\u00f6rd\u00fc\u011f\u00fc bir gamal\u0131 ha\u00e7\u0131 da \u00e7\u00f6p kutusuna atar. Ya\u015fl\u0131 adam e\u015fine \u00f6zel bir veda etmi\u015ftir ve bu veda d\u00f6vme ustas\u0131n\u0131n hayat\u0131nda da de\u011fi\u015fikli\u011fe yol a\u00e7m\u0131\u015ft\u0131r.<\/p>\n

Bir di\u011fer \u00f6rnek ise Kanada yerlisi bir y\u00f6netmen olan Gail Maurice\u2019in y\u00f6netti\u011fi Smudge^{[24]<\/sup><\/sup><\/a> <\/em>(2005)<\/strong> filmidir. Smudge<\/em> \u015fehre ta\u015f\u0131nan Kanada yerlisi kad\u0131nlar\u0131n geleneksel ayinlerini devam ettirme \u00e7abalar\u0131n\u0131 kaydetmektedir. \u015eehir t\u00fcts\u00fclenmek gibi yerli adetlerinin ho\u015f g\u00f6r\u00fclmedi\u011fi bir yerdir. Bu nedenle \u015fehrin ortas\u0131nda geleneklerini s\u00fcrd\u00fcrebilecekleri bir yol bulmak zo\u00adrundad\u0131rlar. Dinlerini ve k\u00fclt\u00fcrlerini devam ettirebilmek i\u00e7in geleneksel yollar\u0131 takip eder\u00adler. Bazen bir \u015fehir park\u0131n\u0131 kimsenin kendilerine engel olmayaca\u011f\u0131n\u0131 umarak t\u00fcts\u00fclenmek i\u00e7in kullan\u0131rlar. Bazen de evlerindeki yang\u0131n alarmlar\u0131n\u0131 \u00e7al\u0131\u015ft\u0131rmamak i\u00e7in arabalar\u0131nda t\u00fcts\u00fclenirler. Filmin sonunda bir grup yerli kad\u0131n bir \u00e7at\u0131da aya adanm\u0131\u015f bir ayin i\u00e7in bir araya toplan\u0131rlar. Bu \u015fekilde merakl\u0131 bak\u0131\u015flardan ve alaya al\u0131nmaktan kurtularak k\u00fclt\u00fcrlerini devam ettirirler.<\/p>\n}

5 Minuti<\/em> (Be\u015f Dakika, 2006)<\/strong> filmi \u0130talya\u2019n\u0131n Milano \u015fehrinde bir k\u00f6pr\u00fcden atlay\u0131p intihar etmek \u00fczere olan bir kad\u0131n hakk\u0131ndad\u0131r. Hz. \u0130sa oldu\u011funu iddia eden bir adam kad\u0131na yakla\u015f\u0131r ve sadece be\u015f dakika konu\u015fmak istedi\u011fini s\u00f6yler. Kahve \u0131smarlarlar ve derin bir konu\u015fmaya dalarlar. Adam sadece Hz. \u0130sa\u2019n\u0131n bilebilece\u011fi kad\u0131n hakk\u0131ndaki bilgileri kad\u0131na s\u00f6yler ve yan\u0131nda ta\u015f\u0131d\u0131\u011f\u0131 kad\u0131na ait bir foto\u011fraf\u0131 g\u00f6sterir. Kad\u0131na onu s\u00fcrekli g\u00f6zetledi\u011fini s\u00f6yler. Kad\u0131n adama \u00e7arm\u0131ha gerilmenin ger\u00e7ek olup olmad\u0131\u011f\u0131n\u0131 sorar. Adam sadece fiziksel ac\u0131 de\u011fil a\u015fa\u011f\u0131lanma da vard\u0131 der. Be\u015f dakika dolunca adam k\u00f6pr\u00fcye \u00e7\u0131kar. \u0130sterse kendisi i\u00e7in k\u00f6pr\u00fcden atlayabilece\u011fini b\u00f6ylece kad\u0131n\u0131n eski mutlu hayat\u0131na d\u00f6nebilece\u011fini s\u00f6yler. Bunu daha \u00f6nce yapt\u0131\u011f\u0131n\u0131 ve i\u015fe yarad\u0131\u011f\u0131n\u0131 ekler. Kad\u0131n\u0131n tek ihtiyac\u0131 olan imand\u0131r. Sonunda kad\u0131n\u0131n iman\u0131 tazelenir. Adam\u0131n elini tutar ve \u015fimdiye kadar yapt\u0131klar\u0131n\u0131n yeterli oldu\u011funu kendisi i\u00e7in atlamas\u0131na gerek olmad\u0131\u011f\u0131n\u0131 s\u00f6yler. Sar\u0131l\u0131rlar ve adam ayr\u0131l\u0131p gider. Kad\u0131n neler oldu\u011funu anlamaya \u00e7al\u0131\u015f\u0131rken yan\u0131na bir garson yak\u00adla\u015f\u0131r ve kad\u0131n\u0131n sipari\u015f etti\u011fi kahveyi getirir.<\/p>\n

K\u0131sa film kategorisine di\u011fer \u00f6rnekler \u015funlard\u0131r: TheTribe<\/em> (Kabile, 2006), Gesture Down\/I <\/em>Don\u2019t Sing<\/em> (\u015eark\u0131 S\u00f6ylemem, 2006), I Just Wanted to be Somebody<\/em> (Ben Sadece \u00d6nemli Bir Ki\u015fi Olmak \u0130stedim, 2007), FightingCholitas<\/em> (S\u0131k\u0131 K\u0131zlarla D\u00f6v\u00fc\u015f, 2006), Conversion<\/em> (Din De\u011fi\u015ftirme, 2006), Linguists<\/em> (Dil Bilimciler, 2007), West Bank Story<\/em> (Bat\u0131 \u015eeria Hik\u00e2yesi, 2005), Hot House <\/em>(Ate\u015fli Ev, 2007), Moccasin Flats<\/em> (K\u0131z\u0131lderili \u00c7ar\u0131\u011f\u0131, 2002), Admirational<\/em> (Hayranl\u0131k, 2003), Cha\u00adsing Buddha<\/em> (Buda\u2019n\u0131n \u0130zinde, 2000).<\/strong><\/p>\n

Prof. Dr. William L. Blizek, University of Nebraska Omaha, ReligiousStudies \u00f6\u011fretim \u00fcyesi, Journal of Religion and Film kurucu edit\u00f6r\u00fc.<\/strong><\/p>\n

\u00c7ev. Dr. Bilal Yorulmaz, M.\u00dc. \u0130l\u00e2hiyat Fak\u00fcltesi, Din K\u00fclt\u00fcr\u00fc ve Ahlak Bilgisi E\u011fitimi B\u00f6l\u00fcm\u00fc \u00f6\u011fretim \u00fcyesi<\/strong><\/p>\n

Marmara \u00dcniversitesi \u0130l\u00e2hiyat Fak\u00fcltesi Dergisi, Say\u0131 47,Aral\u0131k 2014<\/strong><\/p>\n

………………….<\/p>\n

[3]<\/a> The Continuum Companion to Religionand Film, William Blizek (Ed), Bloomsbury, New York, 2009, 19-28. Bu \u00e7eviri T\u00dcB\u0130TAK 2219 Yurtd\u0131\u015f\u0131 Doktora Sonras\u0131 Ara\u015ft\u0131rma Bursu deste\u011fi ile yap\u0131lm\u0131\u015ft\u0131r.<\/p>\n

\n
• Hollywood sinemas\u0131 \u00e7ok daha \u00f6nce do\u011fmu\u015f olmas\u0131na ra\u011fmen g\u00fcn\u00fcm\u00fczde y\u0131ll\u0131k \u00fcretilen film say\u0131s\u0131 bak\u0131m\u0131ndan Boll\u00adywood (Hint Sinemas\u0131), Hollywood\u2019u geride b\u0131rakmaktad\u0131r. Bu nedenle bu alt kategorinin ad\u0131n\u0131n \u201cHollywood\/Boll\u00adywood Gi\u015fe Rekortmeni Filmleri\u201d olmas\u0131 daha uygun olabilir.<\/li>\n
• \u0130ngilizce film isimlerini \u00e7evirirken e\u011fer film T\u00fcrkiye\u2019de g\u00f6sterime girmi\u015fse, g\u00f6sterime girdi\u011fi ismi kulland\u0131k. G\u00f6steri\u00adme girmemi\u015fiseT\u00fcrk\u00e7e kar\u015f\u0131l\u0131\u011f\u0131n\u0131 verdik. (\u00e7.n.)<\/li>\n<\/ul>\n

  [6]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Neo, One kelimesinin farkl\u0131 \u015fekilde yaz\u0131lm\u0131\u015f halidir. Hz. \u0130sa Hristiyanl\u0131kta s\u0131k s\u0131k The One (Tek, yegane) olarak isim\u00adlendirilir. Hristiyanl\u0131\u011fa g\u00f6re Hz. \u0130sa insanl\u0131\u011f\u0131 kurtaracak olan \u201cyegane\u201d ki\u015fidir. Bu nedenle filmdeki Neo isminin Hz. \u0130sa\u2019ya atfen kullan\u0131ld\u0131\u011f\u0131 ifade edilmektedir.<\/p>\n

  [7]<\/a>\u00a0\u00a0 bk. Flannery-Dailey, F. and Wagner, R. (2001), \u2018Wake up! Gnosticism and Buddhism in The Matrix, Journal of Religi\u00adon & Film, 5 (2). http:\/\/www.unomaha.edu\/jrf\/gnostic.htm.Eri\u015fim<\/a>: 18 A\u011fustos 2008.<\/p>\n

  [8]<\/a>\u00a0\u00a0 ag^{e<\/sup>.<\/p>\n}

  [9]<\/a>\u00a0\u00a0 bk. Fielding, J. (2003), \u2018Reassessing The Matrix\/Reloaded\u2019 Journal of Religion & Film,7 (2). http:\/\/www.unomaha.edu\/<\/a> jrf\/Vol7No2\/matrix.matrixreloaded.htm. Eri\u015fim: 20 August 2008. Matrix bazen Plato\u2019nun ma\u011fara benzetmesi ile de ili\u015fkilendirilmektedir.bk. Irwin, W. (ed.) (2002), The Matrix & Philosophy:Welcome to the Desert of the Real. Chica\u00adgo: Open Court Publishing Company;Haber, K. (ed.) (2003), Exploring the Matrix. New York: Macmillan.<\/p>\n

  [10]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beynin \u00f6n k\u0131sm\u0131n\u0131n kesilip \u00e7\u0131kar\u0131lmas\u0131 i\u015flemi. (\u00e7.n.)<\/p>\n

  [11]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0 Blizek, W. L., \u2018Using Movies to Critique Religion, Continuum Companion to Religion and Film, New York: Continu\u00adum.<\/p>\n

  [12]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hindu mitolojisinde Raman\u0131n kar\u0131s\u0131 olan tanr\u0131\u00e7a. (\u00e7.n.)<\/p>\n

  [13]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 K\u0131z\u0131lderili, Maya Aztek gibi milletlerin dinleri kastedilmektedir. (\u00e7.n.)<\/p>\n

  [14]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hristiyanl\u0131kta Savior (Kurtar\u0131c\u0131)dankas\u0131t Hz. \u0130sa\u2019d\u0131r.<\/p>\n

  [15]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rein hartz, Adele.\u2018Jesus Movies\u2019, Continuum Companion to Religion and Film, New York: Continuum.<\/p>\n

  [16]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Breaking the Waves filmiile ilgili daha fazla bilgi i\u00e7in . \u2018Bess the Christ Figure?Theological Interpretationof Breaking the Waves\u2019, by Mercandante, L. (2001), Journal of Religion & Film, 5 (1).Eri\u015fim: 22 A\u011fustos 2008 http:\/\/www.unoma- ha.edu\/jrf\/bessthe.htm; \u2018Transgressing Goodness in Breaking the Waves\u2019, by Makarushka, I. S. M. (1998),Journal of Religion & Film, 2 (1),http:\/\/www.unomaha.edu\/jrf\/breaking.htm<\/a>. Eri\u015fim: 25 A\u011fustos 2008; Keefer, K. and Linafelt, T. (1998). \u2018TheEnd of Desire: Theologies of Eros in the Song of Songs and Breaking the Waves\u2019, Journal of Religion & Film, 2 (1).Retrieved from 25 A\u011fustos 2008 from http:\/\/www.unomaha.edu\/jrf\/endofdes.htm<\/a>.<\/p>\n

  [17]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hz. \u0130sa\u2019n\u0131n havarileri ile yedi\u011fi son ak\u015fam yeme\u011fi kastedilmektedir. (\u00e7.n.)<\/p>\n

  [18]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Babette\u2019s Feast ile ilgili daha fazla bilgi i\u00e7in kbz. Wright, W. M. (1997), \u2018Babette\u2019s Feast: A ReligiousFilm\u2019, Journal of Religion & Film, 1 (2).http:\/\/www.unomaha.edu\/jrf\/BabetteWW.htm<\/a>, eri\u015fim: 20 A\u011fustos 2008; Schuler, J. (1997), \u2018Ki\u00aderkegaard atBabette\u2019s Feast: The Return to the Finite\u2019, Journal of Religion & Film, 1 (2). Eri\u015fim: 20 A\u011fustos 2008, http:\/\/ www.unomaha.edu\/jrf\/kierkega.htm;Haunton, C., \u2018Imaging God in Movies\u2019, Continuum Companion to Religion and Film, New York: Continuum.<\/p>\n

  [19]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 bk. Bowman, D. (2001), \u2018Faith and the Absent Savior in Central Station\u2019 in the Journal of Religion & Film, 5 (1).Eri- \u015fim: 9 Eyl\u00fcl 2008, http:\/\/www.unomaha.edu\/jrf\/centstat.htm<\/a>; Solano, J. R. (2004), \u2018Blessed BrokenBodies: Exploring Redemption in Central Station and Breaking the Waves\u2019 in the Journal of Religion & Film, 8 (1).9 Eyl\u00fcl 2008 http:\/\/ www.unomaha.edu\/jrf\/Vol8No1\/BlessedBroken.htm<\/a>.<\/p>\n

  [20]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Blizek, W. L. (1999) \u2018Report from Sundance 1999: Religion in IndependentFilms\u2019 Journal of Religion & Film, 3 (1). Eri\u015fim: 9Eyl\u00fcl 2008 http:\/\/www.unomaha.edu\/jrf\/sundance.htm<\/a>.<\/p>\n

  [21]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bordwell, D. and Thompson, K. (1997), Film Art: An Introduction (5. bsm).Columbus, OH: McGraw-Hill, s. 42.<\/p>\n

  [22]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 age, s. 44<\/p>\n

  [23]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bu ve bundan sonraki filmler yukar\u0131da belgeseller hakk\u0131nda dile getirilen endi\u015felere iyi birer \u00f6rnektir. \u00d6rnek verilen belgesellerde olaylara bir taraf\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131yla bak\u0131ld\u0131\u011f\u0131 ve taraf tutuldu\u011fu a\u00e7\u0131k\u00e7a g\u00f6r\u00fclmektedir. (\u00e7.n.)<\/p>\n

  [24]<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yerlilerin ate\u015f duman\u0131 ile bedenlerini ar\u0131tt\u0131klar\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fckleri bir rit\u00fcel.<\/p>\n","protected":false},"excerpt":{"rendered":"

  Sinema Filmleri ve Din[3]   Gi\u015fe rekortmeni Hollywood filmlerinden yabanc\u0131 filmlere, belgesellerden k\u0131sa filmlere kadar de\u011fi\u015fik t\u00fcrlerde filmler, sinema ve din uzmanlar\u0131n\u0131n ilgi alan\u0131na girmektedir. Din ve dini temalar \u00e7ok de\u011fi\u015fik t\u00fcrde filmlerde bulunabilmektedir. Bu nedenle sinema ve din \u00e7al\u0131\u015fmalar\u0131na y\u00f6ne\u00adlik b\u00fcy\u00fck bir ilgi mevcuttur. Bu \u00e7al\u0131\u015fma din veya dini temalar i\u00e7eren filmleri kategorize etmeyi …<\/p>\n","protected":false},"author":1,"featured_media":2991,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,6],"tags":[1065,396,1064],"_links":{"self":[{"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/posts\/2988"}],"collection":[{"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/comments?post=2988"}],"version-history":[{"count":2,"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/posts\/2988\/revisions"}],"predecessor-version":[{"id":2992,"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/posts\/2988\/revisions\/2992"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/media\/2991"}],"wp:attachment":[{"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/media?parent=2988"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/categories?post=2988"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.kocar.org\/wp-json\/wp\/v2\/tags?post=2988"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}