Among the visual arts, cinema is undoubtedly one of the most influential arts in today's society. With the help of advancing technological tools, the cinema opens the doors to a new world by taking the viewers out of the universe they live in. Although cinema can be seen as a professional business area that creates great economic cycles for the entertainment industry, this direction shows only one aspect of cinema. Cinema is an important part of the developed industry, both with the proceeds collected from the audience and the large amounts of money spent in the construction phase. However, considering only the economic inputs and outputs to the cinema is to see only a part of the picture. Because cinema is a phenomenon with a social function that affects many stages of cultural life and sometimes shapes it. Cinema, which uses related communication techniques such as images, speech, sound, music and writing, becomes a narrative tool that uses all these techniques and affects social life. In this sense, cinema is sometimes used not only as an artistic production but also as a means of spreading / massizing political, political and religious ideas. In our country, in the 1970s, there were main currents that voiced loudly that cinema was not only a branch of art, but that cinema should also convey social and moral issues to the big screen. In this study, we will try to read National Cinema through a general history and theories of cinema. We will make an evaluation based on the film titled Birleşen Yollar (Reflected Roads), which Yücel Çakmaklı, the symbol director of National Cinema, reflected on the big screen in 1970.
National Cinema, Identity, National Turkish Students Union, Islamism.
Author : | Serkan YORGANCILAR |
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Number of pages: | 3591-3604 |
DOI: | http://dx.doi.org/10.29228/TurkishStudies.39273 |
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