The cinematographic image as a producer of the memory: The case of Aftersun

Art is the thing that makes meaningful many things about human life, and is fuelled by the human experience. This understanding identifies the relationship between cinematography and the memory. This study is focused on to investigate the complicated relationship between cinematography and the memory. The structure of the memory and the cinematography is presented by the works of arts of the philosophers like; Bergson, Deleuze, and Nietzsche. Cinema is an art form that gives meaning to the designs of the past, the present and the future in terms of their relationship with the image and with time. The theoretical reflections are explained through the principles of cinematography. The understanding of cinema, which is constructed around the pure optic and the image of the sound, is discussed as core standards. The terms, such as; crystal-image, time-image, memory-image, and dream-image are examined. These forms of cinematographic imagery are examined in the context of the presentation of a memory specific to cinematic characters. In this regard; the movie, Aftersun, is resolved in an understanding of Deleuzian. The primary aim of this thesis is to find the intersections between the conceptual approach to memory and the conceptual approach to the cinematographic image through movie analysis. In this context; the movie, Aftersun, has been analysed, and an attempt has been made to explain what types of cinematographic forms the inherent concepts of memory take in this movie.