On Video Essay, With Catherine GrantApril , 2021
Encounters with the Monster Plants of Horror CinemaApril , 2021
||Publication Date : March 30, 2021
In this study, starting from the ongoing discussions on cinematic realism from past to present, a discussion of cinematic realism was carried out within the framework of four Turkish filmmakers who actively made films between 2009-2019 (Nuri Bilge Ceylan, Pelin Esmer, Emin Alper, Tayfun Pirselimoğlu), and different realism tendencies in current examples of Turkish cinema were scrutinized with the textual analysis method. Realistic tendencies in today’s Turkish films are visible in different forms in films made by different filmmakers; from this point on, the research emphasizes that the realistic understanding may exist in various styles which can be in the opposition of the mainstream realistic understanding of one-dimensional, boundary and restrictive which dwells on the validity and importance of cinematic realism. In addition to that, the intertwining of digital technologies and filmmaking processes has made the theory of cinematic realism come into question. In this way, this study is an effort to aim emphasizing the facts of the validity of idea cinematic realism as todays’ sinematic practices, the maintanence of importance of theory as to produce and to understand the practice and the continuing of the medium of cinemas’ relationship with reality. Therefore, in response to the question of “is cinematic realism coming to an end?” which is expressed in film studies with digitalization has been tried to be grounded with the idea that realism is still a valid and effective theory for cinema.
Turkish cinema, realism, ontology of cinema, theory of film, digitalization