The possibility of a new cinema aesthetic in Turkish and South Korean cinema within the context of minor narrative

Minor Narrative is a concept that Gilles Deleuze and Felix Guattari suggest in their text Kafka: towards a Minor Literature which they wrote in 1975, right after their Anti Oedipus book, based on their Kafka readings. The concept expresses the existence of a minor literature which transform the major language to minor by stuttering and using its elements. The features of this literature are the deterritorialization of language, the direct linking of the individual to politics, and the production of collective enunciation by the disappearance of the subject. Thereafter Deleuze has opened a discussion of modern political cinema in the text of Cinema II Time Image, based on the characteristics of this literature. The features of modern political cinema are making cinema for 'the missing people', the disappearance of the borders between the individual-collective and the private-public, and the production of collective enunciation. According to Deleuze, modern political cinema can be possible in cinemas produced by directors of third world and societies that have faced identity crisis, with motives similar to those of minor literature. This study aims to discuss the possibility of modern political cinema in the context of minor narrative in Turkish and South Korean cinemas in the new cinema movements that have emerged in recent history and to ask new questions. Within the scope of the study, Nuri Bilge Ceylan's the Wild Pear Tree (2018), Seren Yüce's Majority (2010), Bong Joon-Ho's Parasite (2019) and Kim Ki Duk's Spring, Summer, Fall, Winter… and Spring (2003) movies have been read with the method of schizoanalysis by following Deleuze's footsteps. Deleuze, together with Guattari, have proposed schizoanalysis as a method against psychoanalysis in their Anti-Oedipus books. This method offers a perspective that is suitable for making productive and affirmative comments. As a result of the readings, some thoughts have been produced that an individual who has lost his belief in action in the Deleuzian sense can produce a political film in the age we live in, only by entering into minor-becomings and producing collective enunciations for the people who are missing.