The representation of the religious changed in Turkish cinema after 2000

Since the emergence of Turkish cinema, significant changes in the stereotypes of religionary have been taken into account. In the stereotypes of religionary in Turkish cinema, especially in the first years of the Republic, with the modernization policy, religionary could not find a place for themselves in the regulation of social life. Between 1922 to 1960 the opposite views that emerged with the reform movements (abolition of the caliphate, the closure of lodges and zawiyas, the Turkishization of the prayer) in the religionary typologies in Turkish cinema were rebelled, ignorant and superstitious. While the stereotype of religionary was accepted as excluded religionary in Turkish cinema between 1920-1960, it turned into restricted religionary between 1960-2000. With the changing political power after the multi-party system, the religionary found a place in Turkish cinema in characters such as "crook, magician, merchant". In this period, the religionary is seen as a side character by taking the village and peasant axis outside the city. With the coming to power of Justice and Development Party (AKP) after 2000, the religionary stereotypes changed in Turkish cinema, and it was more accepted stereotypes of religionary were used. There is a reciprocal relationship between cinema and society. One of the purposes for which cinema was used in the early years was to be a propaganda tool. Based on this, in this study, it is aimed to explain the reflections of the positioning of the religionary on the cinema as the political power changes. In addition, in the study, it is aimed to reveal how the religionary is positioned in the cycle of the hero's journey in Turkish cinema, with the method of critical discourse analysis in the position of the religionary in his relationship with the concept of initiation in Sufism, in other words, the concept of süluk. Representation of religionary in Turkish cinema is studied in three perios. These are the religionary who were excluded between 1922-1960, the religionary who was narrowed between the years 1960-2000, and finally, the representation of the religionary who was accepted after 2000. These three periods are mentioned and the period to be focused on is the stereotype of the religionary that changed with the AKP government after 2000. In this context, the films to be examined below are the same representations of the religionary in Turkish cinema after rule. These films were successful at the box office and were selected among the popular films of the period. The table of the movies is detailed below. Thus, in the films reviewed, Serdar Akar, Kurtlar Vadisi Irak (2006), Kürşat Kırbaz, Yunus Emre Aşkın Sesi (2014), Zübeyir Şaşmaz, Açlığa Doymak (2012) depending on the changing power structure, similarities have emerged in the representation of the religionary. In particular, these films achieved box office success and are among the popular films of the period. Key Words: Representation Theory, Representation of the religionary, Initiation in Sufism, Critical Discourse Analysis, The Hero's Journey.