Special effects makeup in Turkish horror cinema in 2000s

After its breakthrough in early 2000s; genre of Turkish Horror Cinema managed to draw attention of movie producers. Before 2000s, Turkish Horror Cinema was generally using the subjects of "Djinn," "Lucifer," and "witchcraft," –which are especially focused on Turkish-Islamic cultural texture- and had only 7 movies that can be classified under this genre. Between the years of 2000 and 2016, the number has shown a great increase to a total of 66 movies. Horror Movie genre of Turkish Cinema is constantly developing in terms of both scenario and technicalities through these consecutively made horror movies, including series such as Dabbe (Hasan Karacadağ, 2005), Musallat (Alper Mestçi, 2007) and Siccin (Alper Mestçi, 2014). Before the analysis of the main subject of Effects Makeup in Turkish Horror Cinema after 2000s, the first chapter involves the horror notion in human psychology and its historical development in cinema in addition to its relation with literature and visual arts through cinema. Subsequently, makeup and its cinematic principles including being aesthetic, suitable to actor/actress's character and face, to the scripted era and to costume are explained through demonstrations from horror movies. During the second chapter of the study, while the makeup categories are defined, technical evolution of effects makeup in horror cinema from worldwide perspective is analyzed in detail. Visualizing the horror via effects makeup is also examined by using samples from different categories such as Gothic horror movies, supernatural horror movies, psychological horror movies, slasher movies, monster movies and body horror movies. This study investigates the progress and usage areas of effects makeup in Turkish Horror Cinema. While the transition from using tomato sauce and cough syrup as blood before 2000s to today's era of professional effects makeup materials is analyzed in historic and technical angles; these materials and usage areas of makeup are also examined. Moreover, two categories of "natural" and "supernatural" horror are identified based on the subject treated in Turkish Horror Cinema after 2000s. Additionally, supernatural horror movies are also classified as holy and non-holy ones. In these subcategories, movies such as Gen (Togan Gökbakar, 2006), Htr2b:Dönüşüm (Osman Evre Tolga, 2012), Beyza'nın Kadınları (Mustafa Altoklar, 2006), Konak (Cem Akyoldaş, 2009), Dabbe, Semum (Hasan Karacadağ, 2008), Siccin, Musallat, Kabuslar Evi: Takip (Çağan Irmak, 2006), Kutsal Damacana: Dracoola (Korhan Bozkurt, 2011), Kabuslar Evi: Çarşamba Karısı (Uluç Bayraktar, 2006), Alkarısı: Cinnet (Muzaffer Gülçek, 2015), Okul (Yağmur Taylan ve Durul Taylan, 2004), Ümmü Sibyan: Zifir (Efe Hızır, 2014), Gulyabani (Orçun Benli, 2014), Tanıdık Yabancı (Uluç Bayraktar, 2006) , Ölüler Konuşmaz Ki (Yavuz Yalınkılıç, 1970) and Ada: Zombilerin Düğünü (Talip Ertürk ve Murat Emir Eren, 2010) are studied from the viewpoint of makeup and practical narrations-opinions of makeup experts are also included. Keywords: Horror, horror cinema, Turkish Horor Cinema, make up, special effect make up