Time-image in Omer Kavur's cinema in the context of Gilles Deleuze's philosophy of cinema

Gilles Deleuze, who describes cinema as the one that creates images, states that there are two different cinematic images. These two image types, which correspond to different periods of cinema history, are conceptualized as movement-image and time-image. Motion-image, or traditional realistic cinema, is a pre-World War II form of filmmaking. Here, the focus is on the movement and action of the characters. An indirect image of time is also presented in the movement-image, in which movement is centered. In this cinema where organic plot is in question, events are chained to each other in a causal link. The events of the Second World War cause a crisis in traditional cinema. With the collapse of the cinema, where the human sensory-motor integrity is present, a new film-making style, which is characterized as time-image or modern cinema, comes to the fore. With the collapse of the sensory-motor integrity, pure optical and sonic states emerge. In time-image cinema, there is now a direct presentation of time. This study aims to examine Ömer Kavur's cinema in the context of time-image. In this direction, the films 'Anayurt Oteli' (1987), 'Gizli Yuz' (1991) and 'Akrebin Yolculugu' (1997), which were selected as samples, were analyzed according to elements such as "story style, characters, use of space, audio-visual elements and time perception".