Fractal concepts in cartoon films: A film project "In between"

In his formulation of the conditions of cinema, Deleuze conditionally includes cartoon film in cinema. Important theorists of cartoon film and cinema approach Deleuze's views from different directions and insist that cartoon film contain the characteristics of "time-image." In addition to all these debates, Deleuze's proposition that "Cartoon film is related not to a Euclidean, but-to a Cartesian geometry" is noteworthy. This proposition can be read as Deleuze's intention to move both cartoon film and cinema from static geometries such as Euclidean to fluid geometries like Cartesian and fractal. When Deleuze's works are analyzed chronologically, it can be said that he expanded his theories in parallel with scientific developments such as fractal geometry, complexity theories and chaos, quantum physics, etc. Computer technology, which has continued to develop from the 1980s to the present day, has enabled the development of Mandelbrot's fractal geometry. These developments in Mandelbrot's fractal geometry directly affect cartoon film and cinema. In this study, first, the relations between chaos theory and fractal geometry are analyzed. Then, through Deleuze's work in the field of cinema, it is examined how Deleuze brings cinematographic narrative closer to non-Euclidean geometries, especially fractal geometry. How can fractal concepts be utilized to express Deleuzian concepts used in cartoon film and cinema more clearly? This question constitutes the main problem of the research.