A hybrid production model in Yeşilçam: The case of Cem-Cumhur Film

Various production models have emerged throughout the history of cinema. During the establishment period of the American movie industry, movie studios had the upper hand. Alternative models began to emerge in the 1920s, partly under the control and umbrella of studios. The first is the star system, in which the players are positioned in the center. The star system gained clout against studios, whose dominance in the industry had dwindled as a result of antitrust lawsuits in the mid-twentieth century. The auteur model, which emerged after World War II, emphasizes the directors who control the creative process of the film. There are studio, star, and auteur-centered approaches in Yeşilçam. The studios have had a say in the industry since their inception. The stars of Yeşilçam alone constitute the production model, in addition to the studios. In the 1960s, the influence of auteur theory extended and a generation of directors emerged. Cem-Cumhur Film, founded in 1971, offers a hybrid production model that is unique in Yeşilçam. In 1976, the studio launches a comedy series starring Kemal Sunal, directed by Natuk Baytan. Beginning with Sahte Kabadayı (1976) and ending with Tarzan Rıfkı (1986), ten films were shot at Cem-Cumhur Film with the same director and star. With this hybrid production model, Cem-Cumhur Film, which has a distinct presence in Yeşilçam, combines studio and star systems as well as director's cinema. The first part of the study included a literature review and a summary of the studio and star systems in cinema, and the second part explained auteur theory and director's cinema. In the third chapter, Natuk Baytan's cinema was examined using descriptive analysis methods on ten selected films, and it was concluded that Cem-Cumhur Film has a hybrid production model that combines the studio and star systems with director';s cinema.