Jin: ‘Women’ And ‘Life’ in the Light of the 'Difference 1 ' Meral Serarslan, Selcuk University,Turkey Hacer Aker, Selcuk University,Turkey The European Conference on Media, Communication and Film 2015 Official Conference Proceedings Abstract Sören Kierkegoard describes Jacques Derrida is as the best ‘ironist’ of our age. This is an emphasis on the success of the ‘ironic seriousness game’ in Derrida's writings. Through the ‘Jin’, it is also possible to consider the art praxis of Reha Erdem, trained in France, on the context of ‘ironic seriousness game’. Thus Jin stores the law of the compositions and rules of the play from first glance and the first coming before, it is cannot be recognized and understood either. The film is ‘blind-alley’ with unexecuted ‘introduction’. As Derrida underlines in ‘The Archeology of the Frivolous: Reading Condillac’ (2013:23), “the introduction seduces and starts a fake guidance. An introduction must not enter forcibly. It must not involve in text, first of all, it must not fill the text with reading. Introduction is seduction…” Based on Derrida's notion of 'difference' and on poststructuralist feminist methods, this presentation/paper offers an interpretation of Reha Erdem's who is regarded as auteur in Turkish cinema after 2000 last film ‘Jin’. The Jin movie made in 2013 is important to turn into a movie to the Kurdish issue which is still going on claim lives in Turkey. Jin mean ‘women’ and ‘life’ in the kurdish language. At the same time, Jin is name kurdish guerrillas woman that she is leading actor of movie. As a Kurdish girl, Jin could have been a South American guerrillas, a African rebel, a Brave either. In this connection, the presentation/paper analyzed the Jin movie’s intentional meaning. Keywords: (cinema, poststructuralist feminism, ironi, Derrida, Reha Erdem, Jin.) iafor The International Academic Forum www.iafor.org 1 This concept is used by Derrida as ‘différance’ instead of difference.