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The intruder-redeemer character, which both constructs the narrative and triggers the conflict in classical narrative and genre melodramatic cinema and also corrupts the order between family members or, in a more settled term, rearrange the corrupted order, is one of the main story builder in modern cinema as well. The function of this character in modernist examples is not only horizontal progress of the narrative but also its vertical and profound manifestation. This vertical profoundness creates an ideological, philosophical, psychoanalytic and ontological meaning. The figure of intruder-redeemer's "being" in the subject and initiating the change will be analyzed through three samples of classical and modern cinema. The story-line in which the intruding figure shakes the foundations of the family and recuperates as predicted by the system at the end is discussed through Douglas Sirk's All That Heaven Allows. The adaptability of intruder-redeemer which originally belongs to classical narrative cinema and family melodrama to modern cinema is been mentioned. The analysis of Joseph Losey's The Servant includes an ideological and philosophical discussion through a social, psychological, aesthetical and class transformation; the change of intruder and the owner; the change of space and subjects. The "being" created by intruder-redeemer in Teorema of Pier Paolo Pasolini can be considered as minimalist when compared with two other films. Film is discussed, in the article, within the context of it's creating a space for an ideological and theological space.

journal of social and humanities sciences research

FİLM ANLATISINDA "OLUŞ"TURUCU FİGÜR OLARAK INTRUDER-REDEEMER (KURTARICI-DAVETSİZ MİSAFİR): ALL THAT HEAVEN ALLOWS (1955-HERŞEY SENİN İÇİN), THE SERVANT (1963- UŞAK), TEOREMA (1968-TEOREM)BAĞLAMINDA