Baba, Evlat ve Cellât; Şeytan Yoktur Filminde Roller, Dramaturjik Bir Değerlendirme
Father, Son and Hangman; Roles in There is No Evil Film, A Dramaturgical Evaluation

Summary/Abstract: It is a view accepted by sociology for a long time that a person should hold a mirror to himself in order to understand what is related to the human, and therefore the social. This awareness also allows the person who tries to understand the social to be both the subject and the object of her/his research at the same timeAlso, unlike the research objects of positivist natural sciences, most of the human appearances are not what they seem. In addition to this, human as a social being is a creature that is his/her own creation and that has been able to “limit” herself with the structures she has institutionalized. However, while a person can limit himself to institutions such as culture, religion and language, which are his own creation, he has also been able to develop various methods to overcome these limitations. Human is an entity that thinks and creates with language, assigns meanings to symbols and creates meaning categories, schemes and themes through them. So, it can be very useful to act from these symbols in order to reach the society and the social. In this context, cinema, which has the capacity to exhibit many types of art as a set of symbols, can also be a source for understanding the society from which it comes out. In order to understand closed societies that are almost completely enslaved by social institutions and rules, it will be very productive for social scientists to feed on art that mirrors these societies. In this study, the movie Sheytan Vojud Nadarad (There is No Evil, Mohammad Rasoulof, 2020), which tells about the execution, which is a socio-cultural and political phenomenon in Iran, which is a relatively closed society, through those who are asked to do this “duty”, was evaluated. This evaluation is based on Goffman’s dramaturgical approach; It was evaluated through concepts such as role, duty and performance. First of all, some sociological theories, concepts and concept sets are briefly mentioned, then information about Iran and Iranian Cinema is given, and then the first part of the movie, which presents a hangman and his role performance with incredible clarity and reality, is evaluated.

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