Intertextuality in the context of auteur director: An analysis of Nuri Bilge Ceylan's Winter Sleep

In this study, Nuri Bilge Ceylan's cinema was examined in terms of auteur theory and intertextual relations, and his film Winter Sleep (2014) was analyzed in the context of intertextual relations. The intertextual relations established by the director in the film were analyzed through examples of intertextual methods such as pastiche, parody, quotation, allusion and referent. Intertextuality describe possible exchanges between two or more texts. Art of cinema, is open to intertextuality due to its nature. Cinema, which is a mixed structure that includes all arts, is highly influenced by and benefits from different disciplines. Since its birth, the art of cinema, which has emerged as an artistic form that is open to applying different arts such as literature, painting, music or theater, is frequently encountered with processes such as making similar, imitating, inspiring and reproducing. We can argue that intertextuality is very prominent in the examples of films that have been put forward within the auteur theory understanding that developed after the 1950s. The intertextual relationships that auteur directors establish with other arts during the film creation process emerges as a useful factor in creating and expanding filmic meaning. In our work, we looked into the intertextual elements in Nuri Bilge Ceylan's film Winter Sleep, as an auteur director, and discussed the influence of the director from many other arts and cinema art in his effort to create filmic meaning. In this way, we analyzed the reflections of Ceylan's interests and likes in his cinema in the context of intertextual relations and presented detailed information on both the director himself and the movie Winter Sleep.