REPRESENTATION OF ALEVISM AND BEKTASHISM IN ANIMATION FILM: THE CASE OF HÜNKÂR BEKTAŞ ASLAN AND CEYLAN

Products of oral cultures provide sources for narratives in different disciplines. In addition to visual arts and literary texts, cinema can be drawing inspiration from oral culture. In this context, animated film script also serves as a form of folk narrative due to its incorporation of cultural elements. In the field of cinema, which increasingly relies on digital platforms, it can be said that animated films also serve as channels for cultural transmission. The main problem of this study is how cultural codes are reproduced through animated cartoons. The study aims to reveal the visual motifs and symbolic meanings created by Alevism and Bektashism, which is a belief system, a collective identity, through animated films. The animated film selected as a sample for this study is Hünkâr Bektaş Aslan ve Ceylan (2021), produced by the Alevi-Bektashi Cultural Institute. The selected film was analyzed in terms of natural meaning, consensus meaning and inner meaning-content with the iconographic and iconological analysis method of Erwin Panofsky, which is a qualitative research method. As a result of the analysis, it was understood that symbols, miracles and legends belonging to the Alevi Bektashi teaching were used extensively. On the other hand, it was observed that animal figures (pigeon, falcon, owl, etc.) and tree varieties (mulberry, juniper) were attributed spiritual values. Another inference is that the Alevi Bektashi teaching has been conveyed through cultural codes that focus on respect and human love, and especially give importance to equality and justice.
Key Words: Animated Cinema, Alevism, Bektashism, Erwin Panofsky, Iconographic Analysis