Abstract:

Derviş Zaim, establishing a cinematographic connection between traditional Ottoman-Islamic arts and Turkish cinema, presents most of his stories from this framework. Films, on the one hand, take advantage of the characteristics of the classical narrative structure, while on the other hand, use self-reference codes to take advantage of the characteristics of the metaphor/metaphor. At this point, films reveal their connection to the tradition to the audience through the film-mind that they bring to the journey with intertext and include the audience to the multi-layer narrative level. The study, while waiting for Derwish Zaim's Paradise, seeks the answer to the question whether the Points, Shadows and Shadows and Dreams will not be read in the postmodern story codes except the classical story. In this context, the study aims to interpret the cinematic language beyond the classic narrative structure of the director by analyzing the meanings of the visual images contained in these films and by drawing the metacurmic codes. When the study is evaluated by compositional analysis to reveal the meanings of images, it can be said that Zaim's stories have a language that makes his own work transparent in addition to the classical three curtains structure, using the characteristics such as the destruction of the fourth wall, early narration and visual continuity, which causes (self)thought breakdowns and thus approaches the metametical narration rather than the classical narration.

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