{"id":5605,"date":"2025-07-04T22:25:58","date_gmt":"2025-07-04T19:25:58","guid":{"rendered":"https:\/\/www.insanveinsan.org\/?p=5605"},"modified":"2025-07-04T22:25:58","modified_gmt":"2025-07-04T19:25:58","slug":"maneviyatin-izinde-bir-sinema-murat-payin-filmlerinde-kulturel-miras-ve-kimlik-insasi","status":"publish","type":"post","link":"https:\/\/www.insanveinsan.org\/en\/maneviyatin-izinde-bir-sinema-murat-payin-filmlerinde-kulturel-miras-ve-kimlik-insasi\/","title":{"rendered":"In Pursuit of Spirituality: Cultural Heritage and Identity Construction in the Films of Murat Pay"},"content":{"rendered":"

<\/p>\n

Meltem \u0130\u015fler Sevindi \/ Koray Sevindi<\/strong><\/p>\n

Abstract: <\/strong> This study focuses on the cinematic representation of traditional arts, religious-ritual practices, and identity construction processes in four feature-length films by Murat Pay (M\u00e2\u015fuk’un Nefesi (Breath of the Beloved), Mir\u00e2ciyye: Sakl\u0131 Miras (Miradjiyah: Hidden Inheritance), Dilsiz (Mute), and Hep Otuz \u00dc\u00e7 Ya\u015f\u0131nda (Forever Thirty-Three)). Using a qualitative film analysis framework, the research employs close reading to examine formal elements such as camera work, editing rhythm, choice of location, and character actions, as well as thematic notions of silence, patience, and me\u015fk (ritual apprenticeship). The investigation is guided by Assmann’s cultural memory theory, Necipo\u011flu’s perspective on Islamic aesthetics, and Schimmel’s conceptualization of Sufi experience, offering a reflective interpretation of the films’ cultural and spiritual layers. The findings indicate that modernity and secularization need not eradicate traditional arts or Sufi practices; rather, Pay’s films revive them through cinema, positioning these elements as dynamic forces that directly shape the characters’ existential renewal and identity formation. Thus, the tension between aesthetics and spirituality, tradition and modernity emerges as a novel cinematic quest and a form of “spiritual resistance.”<\/p>\n

Keywords: <\/strong> Sufism, Traditional arts, Cultural memory, Identity construction, Modernity<\/p>\n\n\n\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Meltem \u0130\u015fler Sevindi \/ Koray Sevindi<\/span>
\n DOI: 10.29224\/insanveinsan.1668647<\/a><\/span>
\nYear 12, Issue 40, Summer 2025<\/a><\/span><\/p>\n

\"\"
\nTam metin \/ Full text
\n(Turkish)<\/span><\/p>\n

\n<\/p>\n
<\/div>\n

<\/span><\/p>\n

[post-views]<\/div>\n
<\/div>\n
268<\/span> Downloads<\/span><\/div><\/span><\/div>\n


<\/p>\n

<\/span><\/div>\n

Download Now!<\/a><\/div><\/div>\n\n\n\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\"Creative<\/a>
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License<\/a>.<\/span><\/p>","protected":false},"excerpt":{"rendered":"

Meltem \u0130\u015fler Sevindi \/ Koray Sevindi Abstract: This study focuses on the cinematic representation of traditional arts, religious-ritual practices, and identity construction processes in four feature-length films by Murat Pay (M\u00e2\u015fuk’un Nefesi (Breath of the Beloved), Mir\u00e2ciyye: Sakl\u0131 Miras (Miradjiyah: Hidden Inheritance), Dilsiz (Mute), and Hep Otuz \u00dc\u00e7 Ya\u015f\u0131nda (Forever Thirty-Three)). Using a qualitative film … Continue reading In Pursuit of Spirituality: Cultural Heritage and Identity Construction in the Films of Murat Pay<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[112],"tags":[],"class_list":["post-5605","post","type-post","status-publish","format-standard","hentry","category-sayi-40-yaz-2025"],"_links":{"self":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/5605","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/comments?post=5605"}],"version-history":[{"count":1,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/5605\/revisions"}],"predecessor-version":[{"id":5606,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/5605\/revisions\/5606"}],"wp:attachment":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/media?parent=5605"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/categories?post=5605"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/tags?post=5605"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}