The impact of Nuri Bilge Ceylan films on the artistic framing in the context of cinema and painting relation

It has been observed that cinema and painting interact in the artistic context from past to present. Since the definition of cinema as the seventh art, filmmakers have been in contact with many arts and have produced films by taking adnantage of the masters of art history. The birth of cinema was realized at the beginning of the twentieth century when Lumiére brothers began to animate moving images using the "cinematograph" device. This invention has been instrumental in the beginning of a whole new era for the world. Looking at the history of photography and cinema, it is observed that in the middle of the twentieth century, obstruction in technical sense in modern art is effective. Painter cinematographers have been important contributors to the interaction in cinema and painting. Art-trained filmmakers such as Akira Kurosawa, David Lynch, Peter Greenaway and Alfred Hitchcock have created the fictions of the scenes, transferring their dreams on canvas or paper. This method, which is the post-production stage, is called story-board in cinema language. When the films of Nuri Bilge Ceylan, who is one of the successful names of the Turkish cinema, are examined, it is clearly observed that they feed from his photography experiences. A minimalist approach is dominant in Ceylan's films. Wide angle nature images used in stabile scenes are being viewed for a long time. Very few objects used in outdoor scenes are casted at certain distances to the space. Ceylan approaches the indoor shots with a similar photographic sensitivity and shapes the expression by using elements such as light, shadow, color and perspective artistically. In this study, while researching the interaction of painting and cinema in history, Nuri Bilge Ceylan films will be watched with an artistic view and the relationship between Filiz Piyale paintings and Nuri Bilge Ceylan films will be examined.