‘SAVING THE WORLD’ IN THE CINEMA: THE MAN WHO SAVES THE WORLD AND HIS SON IN TURKISH CINEMA

Commercial cinema is a form based on heroes. since the heroes possess supernatural characteristics, they have the ability to overcome all sorts of difficulties and restore order that has been destroyed and maintain stability. it is the duty of the heroes created by commercial cinema to protect the world from all kinds of threats and attacks. those heroes are created by hollywood and reach the viewers all around the world by means of the powerful distribution networks of the majors. the dominance of hollywood, which has been observed for years, inoculates into the perception and subconscious of the viewers the idea that saving the world is a quality peculiar to americans. however, heroes who save the world are found in the products of national cinemas from time to time. in turkish commercial cinema, the films the man who saves the world produced in 1982 and the son of the man who saves the world produced in 2006, save the world through distinctive characters. in the present study, these two films are examined in terms of the threat the world is exposed to, the structuring of the hero characters and the economic-political and social situation of the country in the period when the movies were shot. the ideological analysis method was used in order to reveal the relationships between the films and the economic, political and social structures of the period when they were made.