Hz. Muhammed: Allah’ın Elçisi filminin mecidi sineması bağlamında analizi
Mecid Mecidi’nin kendine has bir sinema dili olduğu söylenebilir. Bilhassa çocuklar ve kadınlar üzerinden fıtrat temelinde kurguladığı karakterler doğunun mistik öyküleri içinden, estetik bir sanat diliyle beyaz perdede hayat bulur ve yaradılışla çelişmeyen “fıtrat sineması” olarak tanımlanır. Mecidi ve sineması bu nedenle Doğunun mümessili olarak kabul edilir. Bu çalışmada; kültürel bir çalışma alanı olarak genelde sinema, özelde İranlı yönetmen Mecid Mecidi sinemasının yeni ve özgün bir dil kurduğu önkabulüyle bir tahlil yapılmaya çalışılmıştır. Bu bağlamda Mecidi’nin son filmi Hz Muhammed’de özgün dilini muhafaza etmekle birlikte; batıya mesaj verme kaygısının teknik, müzik ve görsel açılardan özgünlüğünü Hollywood lehine yitirdiği gibi eleştirilere, literatür taraması ve Mecidi'nin filmleri üzerinden cevap aranacaktır. Kültür çalışmaları bağlamında sinemaya bakıldığında imgesel ve belgesel sinemanın dönüşerek mevcut teknolojiyi kullanmasının, Üçüncü Sinemaya olan etkileri; yeni tanımlar ve kavramların içinde Mecidi Sinemasının da bu dönüşümden ne ölçüde etkilendiği; teknoloji ile birlikte Mecidi’nin “fıtratın dili” ile sinema yaptığı iddiasının kısmen film endüstrisi ve bu endüstrinin baş temsilcisi Hollywood lehine zayıfladığı eleştirileri; Mecidi ve Üçüncü Sinema’nın kavramsal benzerlik ve ayrışımları; Hz. Muhammed: Allah’ın Elçisi filminin Mecidi Sinemasındaki yeri gibi temel soru ve sorunlar çalışmanın zeminini oluşturacaktır.What makes Majid Majidi’s cinema unique is that most particularly the characters which he articulates based on the disposition through children and women that animate in the my stics stories of the east with an aesthetic art language and is defined as “disposition cinema” which doesn’t conflict with then ature. In this study; an attempt has been made to carry out an analysis with a premise that cinema as a cultural workplace in general and particularly the Iranian director Majid Majidi's cinema has established a new and original language. In this context, an answer to the criticism such as the last film “Muhammad: The Messenger of God” of Mecidipreserved the original language in social content but it lost its originality in technical, musical and visual aspects with the concern of giving messages to the West in favor of Hollywood; whether the defiance of the unique to the popularity is an obligation or preference will be sought by a literary scan and through the films of Majidi. The local paradigm that renders Majid Majidi’s cinema unique such as the fact that he has chosen cinema as the place toutter the universal one and conveying social problems to the cinema with a poetic language are his features that make him there presentative of the East. Particularly the characters that he articulates on the basis of disposition through children and women animate through the mysticstories of the east on the white screen with an aesthetic art language. This cinema described as “disposition cinema” which doesn’t conflict with then ature is not only presented through scenario, fiction orcharacters, but also in the Wisdom of the East1 as technical, musical and production. “Third cinema” in which Majidi’s cinema is defined as well is described on thegrounds of anti-imperialist, anti-capitalist, militan, politic, criticaland “other”notions. These definitions, whether Majidi’scinema is the third world’s cinema and per say the “third cinema” description it self are still a question of debate. In this research that is conducted by using qualitative research methods, the cinema will be examined by using literature search method and meaningful results thats upport there search shall be sought by interpreting Majidi’s movies. Considering cinematography in the context of cultural studies, basic questions and problems such as the effects of imaginary and documentary cinema transforming existing technology on the Third Cinema; the extent to which Mecidi cinema is influenced by this transformation in new definitions and concepts; criticism that Mecidi created a cinema with "the language of disposition" and technology is weakening in part in favor of the film industry and its main representative Hollywood; conceptual similarities and differences of the Mecidi’s and Third Cinema; the place of “Hz. Muhammad: The Messenger of Allah”in the Mecidi Cinemawill create the basis of this research. The important point that needs to be considered here is that the Third Cinema is used as a classification and evaluation criteria, being a “marginalizing” concept, disregarding the geographical, cultural and social differences by means of evaluating the countries with in this conceptunder an imaginary and deceptive roof are criticized. Queries such as the senotions based on this political rhetoric, whether the “orientalism” has an effect on the fact that Iranian Cinema was accepted internationally; globalization’s dangerous but also liberating effects as Dabaşi mentioned shall be handled in another research. In that sense, it’s considered useful to regard these points in another research that will be conducted in thefuture. Not being able to deepen in this study due to the lack of philosophica land sociological studies except the movie reviews on Majidi’s movies, the short duration of time of its completion can be counted as the constraints in this study. When all these evaluations and comments are done, th efact that this research will be insufficient and cause and effect relation shall not be concluded from it should be remembered. However, the subject can be deepened with the obtained clues by searching English and Farsi literature. In addition to this, obtaine dfinding sare important in sense of developing an uniquelanguage in thecinemaanddrawingattentiontotheimportance of thecinema in culturalstudies. When these constraints including the factthat this isn’t a sufficient study due to time limit as remarked are considered, considering the results obtained from this research as sufficient shall not be an accurate approach.