Absurt films in Turkish comedy cinema after 2000: Cem Yılmaz cinema example

Comedy movies have an important place in Turkish cinema. Today's comedy films, inspired by traditional humor such as Meddah, Ortaoyunu, Hacivat and Karagöz, and Nasreddin Hodja, continue to change and develop. Although the comedy genre has always been at the forefront in our country, it has increased significantly in the 2000s. With the change of social conditions, important steps have been taken in comedy cinema, and new and different productions have emerged in many contexts such as genre and character. After 2000, comedy movies in Turkish cinema started to take place among the most watched movies. In addition to traditional comedy films, the production and consumption rate of absurd comedy films has been increasing day by day, both by producers and directors and by the audience. Absurd comedy is known as a genre that exaggerates the subject that deals with subjects that are beyond logic. In this study; Cem Yılmaz films in the absurd comedy genre integrate the comedy elements in his films with the cinematic narrative by quoting national values and cultural elements from world cinema. proposition is tested. In the research, descriptive analysis method, one of the qualitative research methods included in content analysis, is used. The universe of the study consists of all comedy films shot in the history of Turkish Cinema. However, since doing research on the whole universe would exceed the limits of the thesis, it was limited to the sample of G.O.R.A., A.R.O.G, Yahşi Batı and Arif V 216 films written and produced by Cem Yılmaz, which are among the absurd comedy films of post-2000 Turkish Cinema. When the academic studies are examined, it has been seen that Cem Yılmaz cinema has not been sufficiently researched in the absurd comedy genre of Turkish cinema. For this reason, in this study, the development and change of the absurd comedy genre in Turkish cinema has been examined specifically for Cem Yılmaz films. It is thought to contribute to the literature by examining how Cem Yılmaz's cinema differs in form and content within the absurd comedy genre of Turkish cinema after 2000.