Özet:

The neighborhood stories, which are described in many of the Greenshams films, consisting of people who share poverty, happiness, joy, and hope, find very little place in the White Square in the period after 1980. The stories of solidarity, innocence and sincerity that are characterized by these films are now transformed into a nostalgic picture of the past. The so-called sad atmosphere is one of the characteristic features that defines Yavuz Turgul cinema as the subject of work. Within this concept of cinema, which is fed by social transformations and the director’s personal history, the struggles of individuals in the state of the carrier of values relating to the past, pessimistic, individual, to resist corrupt time, are processed. The themes of innocence, sincerity, loyalty, and solidarity are now the elements of questioning the "spirit of time" in these films. In this study, Turgul's Muhsin Mr. (1987) and Road Separation (2017) are focused on the representation forms mentioned, discussed in relation to social connections. The approach of the director to the subject is studied in the focus of these two films, which he attracted in different periods, focused on the issues of sincerity and innocence. These films are preferred in different periods because they are thought to complete each other in terms of sincerity discussion. The film captured, in the framework of the sociological context, has been analyzed by taking the character and character character characteristics in front.

Özet:

The stories about the neighborhood, which are described in many of the Yeşilçam films, including people who share poverty, sadness, joy, hope, find little space on the screen after 1980’s. The narratives of solidarity, innocence, and sincerity, which are the main themes of these films, become elements of a nostalgic imagination of the past after the 1980’s. This melancholic atmosphere is one of the characteristics that defines Yavuz Turgul’s cinema which is the subject of this study. Within the scope of such an understanding of cinema fed by the social transformations and the director’s own personal history, the struggles of the individuals who are the bearers of the values of the past are discussed to resist the pessimistic, individualist and degenerated time. The themes of innocence, sincerity, loyalty and solidarity are the elements of questioning “the spirit of time” in these films. In this study, Turgul’s Muhsin Bey (1987) and Yol Ayrımı (2017) films are analysed in relation to their social context. The director’s approach about the topic is examined in these two films focusing on the problems of sincerity and innocence. Although these films were produced in different times, they were preferred because of the thought of completing each other in terms of sincerity discussion. These films were analyzed by taking into account the characteristics of stories and characters, in retalion with sociological context.

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