Analysis of Selçuk Aydemir's films from the perspective of the auteur theory

Cinema was discovered by the Lumiere Brothers towards the end of the 1890s as a way of documentation and entertainment via combining a camera and a projector. In this process, cinema became a field of operation and established a position in the entertainment business Some art writers, led by André Bazin, who remained in France towards the end of the 1950s, referred to the existence of a "French New Wave" movement. At this very stage, the Auteur theory emerged. The criteria of an Auteur director has been aimed to construct an original story on a unified movie with unique scenarios, dialogues and shooting techniques. The directors intended to develop their own cinematic language by utilizing the opportunities provided by the cinematic technique, which may focus on contrasts while still being expressive in nature. In our country, on the other hand, the beginning of the cinema was marked by Fuat Özkınay's movie: The Destruction of Russian Monumental at Ayestefanos (Ayestefanos'ta Rum Abidesinin Yıkılışı) in 1914. Afterwards, this journey continued with the pioneering of theatre-based artists. Turkish Cinema reached its pinnacle of production between 1960 and 1975. In this research, the films of Selçuk Aydemir, a director and screenwriter who was active in Turkish Comedy Cinema at the end of the 2000s, were investigated using Auteur Theory. As a result of the study, it was discovered that Selçuk Aydemir developed cinema, which is a type of mass communication and entertainment, by adhering to the Auteur Theory in terms of character development, visual language, musical usage, and provincial culture.