From Cinema to Sufism: The Artistic and Mystical Life of Turkish Screenwriter Ayşe Şasa (1941–2014)

Abstract

This article examines the contributions of Turkish screenwriter Ayşe Şasa (1941–2014) to Turkish cinema and visual culture through her engagement with Sufism and metaphysical themes. It explores how Şasa draws on esoteric Sufi concepts such as the oneness of being (waḥdat al-wujūd), asceticism (zuhd), and inspiration (ilhām), using cinema as a vehicle for spiritual inquiry and the quest for truth (ḥaqīqa). Her films—including Hear the Reed (Dinle Neyden), The Night That Never Was (Hiçbir Gece), and My Friend the Devil (Arkadaşım Şeytan)—are explored through thematic and interpretive approaches that uncover their Sufi dimensions. The methodological approach combines Gillian Rose’s visual methodology, Klaus Krippendorff’s content analysis, and Arthur Asa Berger’s interpretive model. Rose’s framework facilitates an exploration of symbolic narrative in Şasa’s films and writings, while Krippendorff’s methods identify recurring metaphysical motifs. Berger’s approach uncovers layered meanings in visual and narrative elements. Through narrative structure, symbolic imagery, color, setting, costume, light, and sound, Şasa constructs a spiritually resonant cinematic esthetic that challenges the secular paradigms of modern cinema. Ultimately, this article argues that Şasa develops a distinct cinematic language grounded in Sufi metaphysics, enriching Turkish visual culture with a profound spiritual and moral sensibility.