Evil in middle eastern cinema: The banality of evil in Zeki Demirkubuz cinema

It's a responsibility to show. The person who can afford this responsibility, the director who has the audacity to show it, has humanely taken the chance to fall behind the truth. The director is not subject to oaths like the side of a social contract, like the hippocratic oath of doctors, as mPs swear. As an artist, he cannot act independently of social morality, values judgments, and sometimes enfornified laws, even in his efforts to give original works. There are no corners of evil, such as this moral or values judgment. In the context of realism, addressing evil and evil is often intended to prevent, correct, and guide good. Ignoring the fact that the good things can happen and that the good can do evil in an ordinary follow-up, it almost makes all members of society suspects in themselves. One way to get rid of the melodramaic structure in cinema is to change the philosophical approach to goodness and evil, or at least to get better. There is no such thing as absolute good and absolute evil in life, and art should not be absolute good and absolute evil. The view corresponds to Hannah Arendt (2009)'s argument for "The Mediocrity of Evil." In this study, the universal repercussions of goodness and evil, and the sameness of different lives will be discussed with examples from Lebanese, Palestinian, Egyptian and Iranian cinemas; Zeki Demirkubuz, who depicts the world in black and white contrast, and his films will re-question the evil, good and bad definitions and moral values that become commonplace for man. As one of the most competent directors of independent cinema in Turkey, Zeki Demirkubuz's film heroes appear to be wrong, guilty, evil or possible, but also as innocent, good, moral and consistent characters in themselves. Reflected. The purpose of this study is to question the mediocrity of evil on the axis of moral philosophy based on films based on films in the Middle East and in the society in which we live, and to question the social, cultural, economic, psychological and theological origins of this study. to determine.