Cinema as a form of resistance

In the study, effects by various resistance practicals and dynamics of cinema, which is the seventh art, have been dealt. Cultural hegemony can use art by making instrumentalisation toward the profit of potency. None the less, art can be produced inventively and rakishly with the opponent stance of the artist; thus can be autonomous. Free art products can be symbols of resistance. Cinema represents social images. Therefore, cinema can intensify the connection between the spectator and the world by making contact with the spectator. This connection can be set up with historical, cultural and social background of the spectator, so this can be resistance practical against the system which pacifies and isolates the individuals. On the other hand, cinema can occur vagrantly without depending on any potency or any kind of language, religion,race or nation. Cinema, in addition has a great role of the construction and sharing of social memory which is an alternative for the history produced by formal ideology and it protects social memory as well. In the light of these, cinema is a creation of resistance. This kind of resistance, which is evaluated directly or indirectly, gives an alternative power to the artists for constructing their products, despite potency's presssure on them and manipulations of the media which is a tool of political views. On the purpose of understanding what kind of resistance the cinema has create, this research has been carried out with semi-structured question form, 13 people have been interviewed and the acquired data has been interpreted by analyzing. At this point, this study is a qualitative reseach in the point of movie directors' sharing of discourse and interpretations as agents and it contributes social memory as well. Keywords Culture Industry, Relational Aesthetics, Deterritorialization, Tactic, Social Memory, Politic Cinema