"New" Turkish cinema and Deleuze philosophy

In this study, it is aimed to constitute a Deleuzian prototype for Turkish cinema after 90's. For this aim, first of all, Gilles Deleuze's views on cinema are re-evaluated within his philosophy. With the basic motifs in his philosophy, the volume of Cinema is analyzed in detail by separating it into its images and signs. The main motivation for this review is the following situation, which we see as a double-headed shortcoming: Either the Cinema volume was not given enough importance in the studies on Deleuze philosophy or her philosophy was pushed into the background in the studies on the Cinema volume. To get the prototype in question, these two separate collars are brought together. Thus, the "New" quality, which has become a memorization of Turkish cinema after 90's, is being discussed in the context of representation on a theoretical and practical basis. The practical part of this basis is exemplified by 60 films from world cinema. 100 films selected from Turkish cinema after 90's can be seen as a continuation of this sample. In the last part of the study, the image and sign map of Turkish cinema after 90's is drawn. A rhizomatic film reading was carried out by palpating Turkish cinema after 90's with images and signs. This study proposes a concept as a result of thinking about "New" in an imaginary context with Deleuze. This concept is defined as contingent image. This study starts with the image and ends with a new type of image, following an immanent and practical ontology.