Analysis of Bela Tarr cinematography in the contex of existentialist philosophy

In our century's the prominent art, beyond the entartainment focused industry, is cinema which takes its source from life. Existentialism, similarly with cinema, is one of the most major thoughts of our era. Therewithal there is a deeply relationship between existentialsm and art. Existentialsm is focuses on the human being and its meaning. Thus, both cinema and existentialsm take their source from life and human beings. It is highly possible to see the purest examples of the connection, which shaped on thoughts and focused on human beings, between cinema and existentialsm in Bela Tarr's cinematography. Bela Tarr has emphasize that human beings and its dignity in his films. In this work's subject is the effort that applaying existentialist perspective on Bela Tarr's film. The purpose of this effort is generally to understand humanity and its values with artworks, specially to understand Bela Tarr cinematography in the context of existentialist philosophy. For this purpose, hypothesis' and method of work are explained in the first chapter. In the second chapter existentialism is explained. In the third chapter, the theoretical perspective that makes existential analysis possible for the works of Bela Tarr is restricted. In the forth chapter, Bela Tarr's second term movies, Damnation(1988), Satantango(1994), Werckmeister Harmonies(2000) and The Turin Horse(2011), are analysed with the light of semiotics. In this way, by making an existential view of Bela Tarr's cinema possible, at least, gives and example of connection between cinema and philosophy. Thus, it will be a step to understand of human, as a main topic of communication sciences, and his lifestyle.