Tolga Karaçelik cinema in the scope of auteur theory

After the recognition that cinema, which was positioned only as a means of entertainment in the first years of its existence, was art and language, the question of who the artist was, began to be raised. One of the cinema theories that has emerged to answer this question is the Auteur theory. The first sparks of auteur theory emerged with Alexandre Astruc's camera-stylo article, and it turned into a policy with the views of the pioneers of French New Wave Cinema such as Andre Bazin and François Truffaut. Andrew Sarris tried to turn Auteur policy into a theory and identified three prerequisites for becoming an auteur director, while Peter Wollen gave the theory a structuralist perspective. Auteur theory, which gives the title of the film's creator to the director, is used today as a method of film criticism to reveal the bonds and integrity between the director's films. In this study, full-length movies of Tolga Karaçelik are discussed within the framework of Auteur theory. The main problematic of the study is whether Karaçelik, who has developed a unique cinema style through the themes he prefers, the connections he makes between his films, and the metaphors he uses, is an auteur. While discussing Karaçelik's films within the framework of the auteur theory, the criteria determined by Sarris and Wollen's structuralist approach were taken as a basis, and the cinematic background of the director, his personality, the characteristics of the society in which he lived were also taken into consideration.