Style of the revolution: Characteristics of revolutionary cinema in the 1970s Türkiye

This study focuses on the experiment of revolutionary cinema of the 1970's Türkiye (which could be dated even before). This study attempts to understand this seminal experience in the history of Turkish cinema in more depth. To this end, a corpus of films from the 1970s, which can be regarded as exemplars of revolutionary cinema, was selected as the basis for research. The stylistic attributes of these films will be examined within the fourfold typology of film style: narrative, cinematography, editing and mise- en-scène. Thus, the main question evolves around the following themes: the qualities that define the films as "revolutionary", the roles of stylistic factors that shaped the meaning of the films, the reflection of ideological and class-based attitudes on cinematic aspects, and whether stylistic choices play a role in the creation of a revolutionary meaning, and if so, "how". In examining the stylistic features of the films, mostly the data obtained through cinemetric measurement were utilized and so the stylistic features of the films were interpreted in the light of tables and shapes. The films, which were considered as examples of revolutionary cinema, in study as follows: Arkadaş (Friend, Yılmaz Güney, 1974), Diyet (Blood Money, Lütfi Ö. Akad, 1974), Bir Gün Mutlaka (Certainly One Day, Bilge Olgaç, 1975), İzin (Permission, Temel Gürsu, 1975), Güneşli Bataklık (Sun Over the Swamp, Süreyya Duru, 1977), Maden (The Mine, Yavuz Özkan, 1978), Demir Yol/Fırtına İnsanları (Railroad, Yavuz Özkan, 1979).