The ordinariness of evil in Zeki Demirkubuz cinema

Mankind has been in an effort to make sense of life since its existence. At this point, the concept of evil has become one of the main preoccupations of humanity. A human, who has a direct or indirect relationship with evil, has tried to define and make sense of evil. For this reason, the concept of evil has been discussed for different reasons at different times in the changing world order. Over time, the existence of evil turned into a means of expression and reflected on the branches of art. Cinema, which is accepted as the seventh art, is one of the art branches that is fed the most from the concept of evil. Cinema, which appeals to the visual and auditory senses, has served as a tool in the representation of evil. There is a direct relationship between social life and cinema. Turkish cinema has served as a mirror reflecting the society from its beginning to the present day. Especially in the 1980s, the developments in Turkey's geography had a direct impact on Turkish society and Turkish cinema. This situation also shaped the understanding of evil. Zeki Demirkubuz, who started cinema in the 1990s, was directly interested in the concept of evil by choosing the way of telling social problems through the individual. This study aims to show the ordinaryization of evil and its representations in Zeki Demirkubuz films. For this purpose, in the first chapter, the concept of evil is tried to be defined and the ways in which evil is handled in a philosophical dimension from Ancient Greece to the present are mentioned. In the second part, the development process of Turkish cinema, the ways in which evil is handled in this process and the understanding of evil, including the general characteristics of Zeki Demirkubuz's cinema, are included. In the last part of the study, Zeki Demirkubuz's Üçüncü Sayfa (Third Page), Yazgı (Destiny) and Yeraltı films were analyzed and the phenomenon of evil was examined through these films.