National cinema stands out as one of the steps taken in the identity-building adventure of Turkish cinema. The Cinema Club, established within the National Turkish Student Union (MTTB), emphasized the power of cinema and brought the struggle to protect cultural values ??against the West to the forefront, saw national cinema as a tool that described the internal transformation processes of individuals facing the negative effects of Westernization, and adopted Turkish-Islamic culture as the basic roadmap. In this context, the 1973 film Oğlum Osman, directed by Yücel Çakmaklı, bears the characteristic features of national cinema, but also tells the story of Osman moving away from his values ??for the sake of his idealized social status, facing the negative effects of Westernization, and ultimately getting rid of his identity crisis by returning to Islamic values. This situation is an auto-orientalist attitude and orientalism expresses an approach that internalizes the stereotypical and exclusionary perspective of the West towards the Middle East and the Islamic world and criticizes these identities. In this context, the film Oğlum Osman was examined with an ideological film analysis, and the ideological messages contained in the film and how these messages were conveyed to the audience and how orientalism was internalized were examined. The data obtained as a result of the analysis revealed that the film Oğlum Osman belongs to the sixth group, which adopts the concept of real cinema (cinéma vérité) in the classification of ideological films and occasionally has documentary qualities.

Identity, national cinema, ideological film analysis, auto-orientalism.