Narrative editing relation in Turkish cinema: Study of 9 and toss-up in framework of narrative-editing relation

ivSummaryMasters ThesisNarrative-Editing Relation in Turkish Cinema: Study of 9 and Toss-UpIn Framework of Narrative-Editing RelationC.Sinan ALTUNDAĞUniversity of FiratInstıtute of Social SciencesAnd Postgraduate Study in Radio-TV-Cinema2006; Pages: VIII + 110From the beginning in 1896, when the first film projection was made byLumiere Brothers in Grand Café, cinema has been one of the mostimportant cultural forms in the 20th Century regarding its industrial andartistic dimensions.In the first years of cinema, short films have been made which onlyshow short simple events. In 1914, one of Griffith?s feature films Birth of aNation proved that cinema can be a narrative art. The classical filmnarration that Griffith brings to the cinema is still being used incontemporary popular films.Eisenstein forced that classical film narration model with his ?montage?theory in 1920?s.One of the post-2nd World War theorists, Bazin, opposed both Griffith?sand Eisenstein?s approaches and claimed that montage or classicalediting must be used without disturbing the spatial reality.In this study, the role of editing during forming the narrative in Turkishcinema is studied in historical perspective according to three differentapproaches represented by Griffith, Bazin and Eisenstein. It is seen thatediting usage fits to the classical narration model and Bazin?s realisticapproach in Turkish cinema as general.In the last part of the study, 9 and Toss-Up, two independent films thathave been shot after 2000 in Turkey are studied and it is concluded that inthese films, editing takes a different role than in the previous Turkish filmson forming the narrative.Keywords: Motion Pictures, Turkish Cinema, Film Narrative, Editing,Montage