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Posses and sinkholes: crisis aesthetics in Turkish political cinema

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ABSTRACT Recent Turkish political cinema features films that are designed and interpreted as national allegories. Born from a climate of economic and political turmoil, these films symbolize a dark, hopeless national experience. Burning Days (2022) and Black Night (2023) converge to exhibit symptoms of Turkey’s ongoing political and economic turmoil, reflecting Jameson’s description of third-world intellectuals’ hopelessness. This article examines two recurring metaphors – the posse and the sinkhole – to explore their allegorical significance in capturing national anxieties. I argue that filmmakers Alper and Alper, while rooted in century-old literary traditions, tropes, and an understanding of power politics, cannot escape these influences. Emerging from a period of crisis, their films introduce a novel crisis aesthetics marked by a defeatist tone. While sharing parallels with earlier Turkish political cinema, their unique response to Turkey’s recent context establishes a new aesthetic paradigm in contemporary Turkish cinema.

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