The fact of anti-hero in the movies of Turkish cinema after 2000

Anti- hero, a concept which has recently been widely used in literary and visual illustrations, is a matter of fact, that has been formed in accordance with the complicated essence of the modern era in which it was born, and that has no single formulation and no exact qualitative borderline. Anti -hero concept, firstly appeared in literary narrations, dates back to "Zapiski iz podpolya" by Dostoyevski. In the anti-hero "Zapiski iz podpolya", Dostoyevski depicted his feelings, worries or critique against the new system and against the modern society of the 19th century in which corruption, injustice, egoism and self-interest dominate. In consequence, anti-hero has been the missing and defected representation of the stories designed by the consistently changing political, cultural, historical and social dynamics of the new world. In accordance with the social and cultural practices which have started to change, the stories of "the good, moral, honest person" told since the beginning of Cinema of Turkey, have been abandoned to the anti-hero representations, in which there is no distinction between "good and bad". Anti - heroes, who have difficulty in complying with the social norms, who are alone, passive, unsuccessful and mostly presented with their bad habits, signify the new representations which have become the focus of contemporary cinema. Consequently, the ritualised hero represenation of Yeşilçam Cinema has been destroyed with the anti-heroes, the differentiated form of New Turkish Cinema . In the academic work, the course of the concept of anti-hero, emerged as a literary term, the value systems it referred to, its qualifications and borderlines have been detected, and how this new representation has its corresponding in the Cinema of Turkey has been discussed with the details of changing socio-cultural framework. As a result of the findings, the causes of transformation of anti hero, which was formed as a critical figure against the system with all its errors, deficiencies and defects, into a representation, empowered by the supremacy of power and rulership, have been illustrated based on five sample films selected from The Cinema of Turkey after 2000.