Selected examples in the context of intersemiology: Quotations from painting to cinema

The Industrial Revolution, seen as a decisive turning point in the evolution of art, made visible the impact of scientific and technological developments on social structure, modes of production, and aesthetic paradigms. The production process accelerated by mechanization paved the way for a re-examination of cultural values, while at the same time, traditional artistic approaches were replaced by new forms of aesthetic expression reflecting the dynamics of modern life. In this context, the invention of photography, with its ability to capture images instantaneously and its documentary function becoming more evident, also reshaped the technical and conceptual dimensions of artistic production. Photography, beyond merely an objective record of reality, was considered a fundamental aesthetic element, particularly extending from Realism to Dadaism, influencing the aesthetic orientations of painting and expanding the boundaries of art's expression. With the development of the camera in line with technological advances, attempts to record moving images and the dimension of time also facilitated the invention of cinema. Cinema, through the integration of documentary and fictional narrative techniques with elements such as sound and color, evolved into an interdisciplinary art form. Essentially, cinema has become a comprehensive form of expression, combining aesthetic elements from diverse art disciplines beyond being a technological invention. This study, to theoretically examine the interactions between art disciplines, utilizes the theory of intersemiosis, which offers a broader approach based on the concept of intertextuality. Seven paintings selected from the Gothic, Renaissance, Neoclassicism, Romanticism, Impressionism, Post-Impressionism, and Surrealism periods, as well as seven films by directors such as Coppola, Branagh, Payne, Del Toro, Kurosawa, and Weir, were examined using qualitative content analysis and descriptive analysis. The findings demonstrate that borrowings from painting to cinema create not only a visual similarity but also a multilayered aesthetic and semantic dialogue. In this context, the study contributes to theoretical discussions in the literature by examining the relationship between painting and cinema within the framework of intersemiotic theory and provides a unique perspective on interdisciplinary interpretive processes.