The philosophical background in the formation of cinematographic time and space

Time and space are the essential categories of existence. They are the concepts present in all fields of everyday life, felt but not questioned. While time is usually expressed in units of measurement (day, month, year, hour, calendar etc.), space dissolves in the everyday life. Even though time and space are not questioned in the everyday life, it is impossible for us to perceive the external world and position ourselves without the categories of time and space. For art and philosophy that produce interpretations of everyday life and its manifestations, time and space are the main reference point; of which interpretations are produced and over which historical transformations are categorized. Space and time can not be defined as the objects of perception but as manners of perceiving the external world. Therefore, attempts to explain time and space should focus on the perception of the external world. In the relationship with the external world, philosophy works through concepts, art works through senses and science works through functions. Mitry states that arts have been categorized as time-space arts since the early ages, and cinema, as a younger branch of art, has moved beyond being a combination of different branches of art such as music, dance, theatre, literature and plastic arts, and has formed its own aesthetic structure. Art uses different instruments while abstracting human life, and branches of art benefit from time and space depending on their possibilities. The close relationship between art and time-space necessitates the multi-dimensional analysis of time and space. The concepts of time and space fall in the scope of philosophy theoretically, in the scope of social sciences socially, and in the scope of arts and cinema aesthetically. Since time and space are transformed in cinema through camera, the narrative is, aesthetically, influenced by the society's political, cultural, social and daily life. Therefore, an interdisciplinary approach is necessary in order to understand the usage of time-space in cinema. This study, in order to develop a holistic approach to the concepts of time and space, investigates the relationship between philosophy and cinema and discusses methods to create a creative time and space image. Thus, the Turkish Cinema is examined through Yeşilçam Cinema and the contemporary cinema within the contexts of time, space, individual and narrative. It can be argued when the Turkish Cinema is considered in terms of the dramatic structure and the western cinematographic approach that it has a different and incompetent cinematographic structure. This study discusses the barriers to develop an original cinematographic narrative in the Turkish cinema and discusses whether differences are the key concepts that pave the way for originality or not.