THE REPRODUCTION OF UPPER CLASS: A TRY OF CLASS CRITIQUE TO 'ÇOĞUNLUK' FILM

The line of social realism in Turkish cinema is a trend that can be observed in examples from the early 1960s to the late 1980s. This genre of cinema, which places social issues at the center of its language and facilitates their discussion in the minds of viewers, lost its momentum toward the end of the 1980s. However, by the late 2000s, examples of this trend began to re-emerge in Turkish cinema. One of the most significant aspects of the film Çoğunluk (Majority), which we consider part of Turkish cinema's social realism tradition, is its effort to analyze Turkish society from a class-based perspective alongside its simple and calm cinematic language. While narrating the story of an upper-class Turkish family and their son, the film aims to deeply portray the inner dynamics of the conservative Turkish upper class and their relationships with individuals outside their social class. Our study seeks to explore the class-based structure of the film through sociological analyse of the characters and events presented throughout the narrative. The film contributes to the sociological analysis of Turkish society from a social sciences perspective and offers a lens on Turkish youth through the character of Mertkan, the family’s son. Positioned at the intersection of cinema and sociology, the film necessitates an analysis that incorporates elements from both disciplines.