Rethinking the relationship of painting and cinema through the Loving Vincent movie: Expectancy the movie

Art of painting, which is the art branch where cinema is most affected; has been references to cinema at many points, such as light, color, screenplay and composition. The technique used in Loving Vincent, which clearly reveals the relationship between painting and cinema, inspired the film project Expectancy for this study, and again, based on this technique, the possibility of creating an alternative end to the film Hope has been questioned. In the study, the effect of the painting on cinema was investigated in general, and then the production phase of Loving Vincent was examined. In addition, it was aimed to investigate the works of painter Nuri İyem and director Yilmaz Güney, two artists representing socially realistic art in Turkey in the 1970s, through an interdisciplinary perspective. Based on the similarity of the people figures in Nuri İyem's Missing Peace painting and the characters in Yilmaz Güney's movie Hope, the art insights of these two artists are discussed through sociological analysis. Additionally, the reflections of the socially realistic cinema and the socialist realistic picture in Turkey were examined through the representations of the women in the movie Hope and the women paintings of Nuri İyem. The movie Loving Vincent, which uses only oil paintings as a visual material, has developed a new narrative model in cinema with its mastery of combining cinema and painting art thanks to its technique. In the thesis study, this narrative model was focused on, Nuri İyem's charcoal drawings were reshaped and the film project Expectancy was realized. Keywords: Painting, Cinema, Loving Vincent, Nuri İyem, Yilmaz Guney