Ahmet Uluçay and his cinema in the perspective of Auteur theory

The purpose of this thesis is to examine Ahmet Uluçay and his cinema from the perspective of auteur theory. This theory was chosen because of the flexibility it offers when examining the director's own life story and cinema. The theory was first discussed by Cahiers du Cinema magazine and its writers in the 1950s, and later featured figures such as Rohmer, Truffaut, and Godard, who would later initiate the French New Wave movement. The theory is shaped by the notion that, while many elements are involved in the production process in cinema, which requires collective work, the director is the primary creator and arbiter, and in doing so, he is able to inject his own understanding and style into his films. Auteur criticism focuses on whether the director's unique personality and style are reflected in his films, rather than the aesthetic qualities of the film itself. It examines the unity among the director's films, the repetition of themes and motifs, and whether these themes and motifs create a pattern. Ahmet Uluçay's films, which bear traces of his own life story, use themes and themes to create a unified whole, demonstrating a unique narrative style. Ahmet Uluçay is an auteur who has been able to create an original narrative by using the technical possibilities provided by the environment in which he was born and the cinema.