Intertextuality in cinema: Analysis of short and feature films Cemil show

Intertextuality covers the relation of a text with other texts, and cinema offers a rich field for the application of intertextuality through the relation it builds within itself and with other art forms. The theoretical framework of this study consists of "intertextuality", "intertextuality in cinema", "intersemiotics", "interfilmicity" and "remake". The study aims to determine the intertextual relation between the short and feature-length versions of the "Cemil Şov" (2015, 2021) films, and to examine the place of these relations in cinema. The intertextual relations in the study are visible through intertextual methods such as "pastiche", "allusion", "quote", "reference", "expansion" and "inner narrative". The study analyses the relationship between the short and feature-length versions of the film "Cemil Şov," directed and written by Barış Sarhan, compared to other texts, through the narrative structures, character developments, cinematographic elements, and thematic depths of the films. The remake process dominated the transformation of the short film directed and written by the same person to its feature-length version. During the remake process, the feature-length version expanded upon the basic structure of the short version and presented a more comprehensive storyline. The character development was more detailed, and this version of the film included additional cinematographic elements and side stories. This paper discusses these elements in the context of intertextual relations, thus examining the intertextual relation built between the short and feature-length versions of Cemil Şov, including the concept of interfilmicity. The results of the study determined that there is indeed an intertextual relationship between short and feature-length Cemil Şov films. It furthermore revealed that there are also other similarities and differences in the relationships of the films of two different lengths with other texts.