Reha Erdem’in Beş Vakit Filminde Simgesel Düzen ve Büyük Öteki
Symbolic Order And The Other in Reha Erdem’s Film Beş Vakit

Summary/Abstract: There is an increase in the films addressing the issue of the relation between father and their children after 2000 in Turkey. Addressing these issues is interesting from the perspective of the relation between unconscious processes involved in individual’s and society’s life. When we consider the cinema as a reflection of society’s unconscious desires, psychoanalysis emerges as the proper way for analysing the films. In this context, the purpose of this study is to discuss Reha Erdem’s Beş Vakit as an example of films addressing father-child relations using the concepts of Lacan’s symbolic order and related concepts such as “phallus”, “the name of the father”, “Other” and “real”. Lacan’s approach considering fatherhood concept in a symbolic dimension with “the name of the father” enables us both to discuss biological fatherhood and to extend discussion beyond it as the symbolic order. The tension of the concept of the Lacanian symbolic and real is felt throughout the film through the inconsistent and oppressive law created by parents while they reflect their desires to children through language/discourse. The main objective of this study is to discuss the appearances of the symbolic and real and the impossibility of the phallus as a signifier by tracing paternal law in Beş Vakit. Finally, we can say that the film does not address the possibility of a change, although there are many elements in the film that will open the floodgates to criticism of the paternal law.

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