The relationship between musical numbers and the plot of musicals in Turkish cinema

The main feature of a musical film is the organic participation of musical numbers that are formed by music, songs and dances within the plot and the usage of these throughout the narration. By this way, a very special world built with music, songs and dance is created or tried to be created. To be able to make and analyze a musical film, one should take into consideration the relationship between the musical numbers and the plot. The impossibility of thinking the musical numbers and the plot of a musical film separately brings out the necessity of examining the relationship between those. John Mueller groups the musical numbers with respect to the relationship of them with the plot studying those in a survey he has done on the relation between musical numbers and the plot. In this study, the relationship between musical numbers and the plot will be examined within the borders of John Mueller?s grouping of musical numbers. In this respect, musical films of Turkish cinema will be taken as the basis. Those films are Kahveci Güzeli, Lüküs Hayat, Çalsın Sazlar Oynasın Kızlar, Beş Şeker Kız, Keşanlı Ali Destanı, Damdaki Kemancı, Renkli Dünya, Asiye Nasıl Kurtulur, Arabesk, Arkadaşım Şeytan, Lambada, Ateş Üstünde Yürümek, Neredesin Firuze. Analyzing the musical films of Turkish cinema with the guidance of Mueller?s grouping will reveal in which group the musical numbers are connected to the plot, for what they are used and if this sort of use helps any benefit. Thus and so, some important information will be gained about how to make a musical film and also about the view point to the musical in Turkish cinema.