Dindar Yeni Orta Sınıfa Dair Bir İnceleme: Çatlak ile İki Şafak Arasında Filmlerinde Hane ve Dışarısı.

Since the 2000s, the representation of religious social groups living in reference of religious values and traditions in Turkish cinema has been multiplying and diversifying. Films that interpret religiosity with a sociological motive are increasing while surpassing the productions in mainstream Turkish cinema that present reactionary, bigoted, and religious stereotypes. The films Çatlak (Fractured, Fikret Reyhan, 2020) and İki Şafak Arasında (Between Two Dawns, Selman Nacar, 2021) stand out as examples reflecting this new perspective. The two films focus on a religious new middle-class family who comes from the province's socio-economic background and tries to live according to their religious obligation while undergoing a process of adaptation to the modern life surrounding them. Their cinematography approaching the religious new middle class from within brings the two films side by side. In this respect, these films differ from their predecessors in placing religiosity at their periphery or center. In this paper, the dual status of household and public life is presented through the concept of online and offline borrowed from computer and network technologies. The concepts of online and offline, illustrate the individual desires and moral dilemmas that are covered up both in the household and in public life. The two films interpret the practices of the new religious middle class in and out of the household, and the problems arising from the dual understanding of morality and justice are discussed. [ABSTRACT FROM AUTHOR]