Zeki Demirkubuz’da Sosyolojik Bir Sinema Deneyimi Olarak “Hayat”
“Hayat” As a Sociological Cinema Experience In Zeki Demirkubuz

Summary/Abstract: With the advent of the 2000s, directors emerging in Turkey, particularly those identified as independent filmmakers, began to attract attention. Among these independent directors, ZekiDemirkubuz evaluates society through individuals and incorporates sociological dialogue and scenes into his work. When considering the films written and directed by Demirkubuz, the director thinks of sociology within the flow of life as a cinema screen, and Zeki Demirkubuz's films reflect the social, moral, ideological, and gender parameters of this screen. Demirkubuz, who opens up the discussion of social characters accompanied by the body, screen, and camera, presents cultural elements to the viewer sociologically, sometimes through a television screen, sometimes through the loneliness of the individual, and sometimes through the reality of a refugee. This work, which centers on the film Life, emphasizes that morality is socially constructed, that the other is always constructed by a subject, that loneliness has become a social character, that men are at least as affected by social gender tensions as women, and that it is therefore necessary to overcome this. Demirkubuz uses cinema not only as an art form but also to extract the individual and cultural codes of the social geography in which he grew up, and he tries to reflect this in his films. In this study, which applies sociological film analysis, it has been determined that the film characters are represented in many places in the film as socially lonely and psychologically troubled individuals. Considering that male characters in Demirkubuz's films generally pursue women, a similar situation is observed in the film Life. In Life, the female character has become a figure that almost determines the man's destiny.

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