Auteur theory and the cinema of Erden Kıral

While cinema was initially seen merely as a form of entertainment, over time it came to be recognized as a form of art and communication. With this shift, the question of who the true creator of a film is gained significance. One of the key approaches that seeks to answer this question is the auteur theory. The foundations of the theory were laid by Alexandre Astruc's concept of the "camera-stylo" (camera-pen), and it was shaped by the contributions of French New Wave filmmakers such as André Bazin and François Truffaut. In the 1960s, Andrew Sarris systematized this approach into a coherent theory and identified three essential features of the auteur director. Peter Wollen later contributed a structuralist interpretation to the theory through his work. This study examines the feature-length films of director Erden Kıral through the lens of auteur theory. In this context, the analysis is limited to the films Kanal, Bereketli Topraklar Üzerinde, Hakkâri'de Bir Mevsim, Ayna, Dilan, Av Zamanı, Mavi Sürgün, Avcı, Yolda, Vicdan, Yük and Gece The research explores whether Kıral has developed a unique cinematic language through themes, narrative structure, and metaphors in his films, and whether he can be considered an auteur. The study is based on the perspectives and analytical models of Sarris and Wollen concerning auteur theory. It identifies recurring thematic patterns and motifs in Kıral's films, along with his adoption of a distinctive formal style. Based on these aspects, the study concludes that Erden Kıral can be regarded as an auteur director. Key Words: Auteur, Turkısh Cinema, Erden Kıral