Economic politics of new era Turkish cinema: From director-oriented cinema to producer-oriented production mechanism

Cinema, 19. it has been a very important part of our lives since its discovery at the end of the century. After the traditional branches of Fine Arts such as painting and sculpture, music, theatre, dance, literature, architecture, it was named seventh art because it benefited from all these branches. The birth of cinema is considered to be the first private screening of the Lumiere Brothers with their own discovery and patented Cinematograph device, which was performed publicly at the Paris/Salon Indian Du Grand Café on December 28, 1895. In line with the intense interest and reactions of the public in this first screening, cinema has been further developed with modern technologies every year and has become an industry today. During these periods, films were produced on a collaborative basis, with factors such as globalization and the expansion of the market, the production, distribution and screening process turned into products produced by a paid workforce specializing in all areas, based on rules and principles. On the other hand, when cinema is considered as an art branch, many theories and currents have emerged in the time since the first screening. Auteur theory (director's cinema) is one of them. In this study, the samples discussed were analyzed comparatively within the framework of the economic and political approach and their impact on our cinema was revealed. The universe of research consists of producer-oriented Motion Pictures and director films within the scope of new era Turkish cinema. As a sample of the research, the film Ayla with producer Mustafa Uslu and the film Three Monkeys with director Nuri Bilge Ceylan were selected. The research covers the new era of Turkish cinema. Accordingly, according to the samples, the new era is limited to Turkish cinema. Since the data collection tool is a qualitative study, Previous studies on critical economic policy, economic policy of cinema and the history of Turkish cinema have been examined in the literature, and the effects of the producer and Director system on our cinema have been analyzed by comparison in the context of critical economic policy of Ayla and Three Monkeys films. According to the results obtained in the study, it is seen that Turkish cinema is threatened by the producer-oriented production mechanism. Dramatic and pathetic stories about the weaknesses of the Turkish people have been deflected from the truth and presented with various misleading advertising campaigns in order to attract more viewers and get a box office return. The goal has gone from making art to economic concerns. Keywords: political economy, cinema, producer, director