THE TRANSFORMATION OF NARRATION IN THE FILMS OF NURİ BİLGE CEYLAN: FROM PHOTOGRAPHIC EXPRESSION TO NARRATION

The cinematic language created by nuri bilge ceylan is akin to photographic narration and realist cinema. especially in his earlier films, the connection between nature and man is established by using a placid, slow-paced language. however, this style evolves with his films climates (iklimler) and distant (uzak), where the director starts to focus on the city, rural life and the dilemmas within individual inner worlds. in his films three monkeys (üç maymun), once upon a time in anatolia (bir zamanlar anadolu’da) and winter sleep (kış uykusu) the worlds created by ceylan undergo a gradual transition in narrative form; from photographic expression to a cinematographic one created dominantly by textual-narration. in line with ceylan's shift of narrative preference, his stories become less dependent on raw visual power, dialogue becomes more prominent and deeper character development takes place. it could be said that, beyond using visual language, an inclination towards textual narration has ensued. although this change of narrative preference does not effect the general realistic tone of his films, it gradually increases to the point that by winter sleep (kış uykusu), ceylan prefers to tell his story instead of showing it. together with this change in narrative form, ceylan has started to increasingly use textual narration and to rely more heavily on literature.