Turkish cinema in "Yedinci Sanat" cinema magazine (1973-1975)

Magazines fall into the category of periodicals. The most important feature of magazines is that they fully reflect the period they are in; that is, the political and socio-economic conditions during the period they are published. On the other hand, magazines are platforms where the political, philosophical and ideological ideas that dominate the day are put forward. In this respect, they stand out as the most important witnesses of their period, shedding light on their period. The most fundamental difference between magazines and books is that books usually include the views and thoughts of a single author, while magazines include the views and thoughts of more than one author. With this feature, magazines are compilative, aggregative, and qualified sources that present the period they are in from different perspectives and offer rich content. When the cinema magazines published in our country are examined historically, it is seen that almost all of them started their publication life in Istanbul and ended their publication life shortly after. When we look at the general characteristics of these cinema magazines, we see that they are publications that are far from film criticism or film historiography, and far from covering Turkish cinema; in general, they only promote newly released Hollywood films, while the rest cover Yeşilçam films in a tabloid dimension. The Yedici Sanat magazine, a specialist cinema magazine for its time, differs from most cinema magazines published before it with its structure that deals with Turkish and World cinema theoretically. The reason why the magazine focuses so much on the theoretical aspect of cinema is that it aims to raise a new system and generation of filmmakers. This study, which includes the publishing philosophy, operation, works and contributions to the development of cinema culture of Yedinci Sanat magazine, which was published monthly and periodically in our country between 1973-1975; and basically its perspective on Turkish cinema, includes the analysis and classification of the texts in Yedinci Sanat monthly cinema magazine from different perspectives. In line with this goal, the general characteristics of Yedinci Sanat magazine are analyzed in the first part of the thesis; in the second part, the establishment process of Yedinci Sanat magazine is discussed by dividing it into historical periods. In the third part of the thesis, the caricatures which are among the prominent sections in Yedinci Sanat magazine, are examined.