Metamps(i)pirical: Believing in Reincarnation with Reason as a Cyclical ‘Lie’ in Halef
Throughout history, humanity has questioned the meaning of its existence and sought different answers to these questions. Every living thing will taste death one day, and the mind can sometimes leave people helpless despite death and the vastness of the universe. In the idea that man’s greatest fear...
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| Format: | Article |
| Language: | English |
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Istanbul University Press
2024-12-01
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| Series: | Filmvisio |
| Subjects: | |
| Online Access: | https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/6C82B598B5CA42499CAE4AF21689E2BA |
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| Summary: | Throughout history, humanity has questioned the meaning of its existence and sought different answers to these questions. Every living thing will taste death one day, and the mind can sometimes leave people helpless despite death and the vastness of the universe. In the idea that man’s greatest fear is death, it is possible to see that the fear of death is hidden in the most secret, deepest place and that man covers it with many things. For this reason, the fear of death is a reason why people write themselves as heroes in the narratives in which they are reborn. The aim of this study is to consider the human being as an unwritten tablet in Murat Düzgünoğlu’s movie Halef (2018); the idea that the mind can also be shaped by extrasensory archetypes and the idea of rebirth, which is seen as the main theme of the film, will be discussed within the framework drawn by Jung, as an antithesis to this idea, with the scepticism that is embedded in the narrative of the film. Although the path chosen by the story telling is reincarnation, this article focuses on reincarnation, just as death turns into rebirth; it focuses on the inner journey of man, his symbolic manifestations, and the transformation of consciousness into the unconscious and the unconscious into consciousness. To continue this philosophical discussion, the necessity of applying a hermeneutic approach was envisaged, and the movie Halef was discussed within the framework of the dominant symbols and themes in the movie. |
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| ISSN: | 2980-3101 |