Narrative-form relationship in Yeşim Ustaoğlu cinema

In classical cinema, the dramatic structure is formed within the framework of certain rules with introduction, development and conclusion sections. After the developments in the field of cinema, new narratives other than the classical narrative were needed. In this direction, modern narrative understanding has emerged. Modern narrative offers the audience the opportunity to make different interpretations about the films they watch. However, over time, the shortcomings of modern narrative have been criticised by theorists and new approaches have emerged. One of these approaches is neoformalism. When we look at the neoformalist approach, structural and formal changes are seen in the plot. In addition, the audience participates in the narrative in a more active interpretative position. Theorists have adopted the neoformalist approach to the structural and formal analysis of cinema narratives. Neoformalism, developed under the leadership of Kristin Thompson, David Borrwell and Noel Burch, is an approach that enables the analysis of cinema narratives not only with narrative but also with formal elements. Unlike classical and modern narrative, neoformalism focuses on the relationship between narrative and form. In Turkish cinema, it is possible to analyse narrative together with formal elements. This study aims to evaluate the films Bulutları Beklerken, Pandora'nın Kutusu, Araf and Teredddüt in Yeşim Ustaoğlu's cinema within the framework of the basic concepts of neoformalist approach and formal elements. Yeşim Ustaoğlu's cinema is generally discussed within the scope of feminist and auteur theory. In addition, it has been determined that formal elements are incompletely evaluated in studies focusing on the relationship between narrative and form, evaluating the films selected in the sample in terms of form will contribute to the gap in the literature.