The cinematographic presentation of characters in Nuri Bilge Ceylan's cinema

In Turkish Cinema, Nuri Bilge Ceylan stands on a different position with regards to the cinematographic method of expression. Because Ceylan's cinematography corresponds to a synthesis aesthetic style that involves the audio-visual procedures. Especially during the presentation of characters, other semiotic images and the distinctive cinematography enable the formation of meaning completing each other. In movies, cinematographic effect during the presentation of characters is as essential as the script and the dramatic structure. Because of the transformation and changes characters go through on their senses of personality, motivations, righteousness, power and existence and the way of recognition due to the screenwriting theory are shown cinematographically in movies. Thus cinematography, for both showing the progress of characters and affecting the web of meaning of the movie directly, becomes an element for narration. David Bordwell and Kristin Thompson narrow down the cinematography on three basic categories as "Photographic Scope of the Shot", "Framing of the Shot" and "Duration of the Shot". In this study, following the description of cinematographic narration by Bordwell and Thompson, cinematographic presentations of the characters of Nuri Bilge Ceylan's cinema, Once Upon A Time in Anatolia's "Savcı Nusret", Winter Sleep's "Necla" and The Wild Pear Tree's "Sinan" are analyzed. Thus, the difference in approach of presentations of characters in Nuri Bilge Ceylan's cinema is put forward in recognition of the cinematographic methods.