Akademik Veri Yönetim Sistemi
Canadian Journal of Film Studies, cilt.32, sa.2, ss.131-152, 2023 (AHCI)
In the early 1990s, despite a difficult sociopolitical context, there was a revival of Turkish film as auteur films emerged, described as new independent cinema. These young directors were not entirely connected to one another and created more of an “alluvion,” according to Dervis Zaim. Following the success of Nuri Bilge Ceylan at the Cannes Festivals starting in 2003, the number of these independent filmmakers increased considerably, and Ceylan’s minimalist style became a model to imitate for young artists. The present study aims to analyze the context of “new Turkish cinema” of the 2000s (until 2010) to determine if the esthetic preferences of this new generation marked the birth of a new “film movement.” In this respect, the present study proposes to redefine contemporary theories of national cinema, especially in the Anglo-American context, which call into question the homogeneity of a nation while preserving the importance of financial independence. This article therefore merges certain theoretical concepts such as national cinema, indpendent cinema and “festivalism” to demonstrate the influence of the globalized neo-liberal system on the intellectual communities to which these young filmmakers belong.