Abstract:

There is no doubt that the cinema is among the artists that most influenced today’s societies. The cinema, thanks to advanced technological tools, with enhanced visualities and super-real effects, takes the viewers outside the universe they live, opening the doors to a new world. Although the cinema can be seen as a professional business area that creates large economic cycles for the entertainment industry, this direction shows only one aspect of the cinema. With the revenue collected from audiences, the film is of course an important part of the advanced industry, with the large money spent in the production phase. But only the economic entrance and output in the cinema is to evaluate within the scope of seeing only a part of the picture. Because cinema is a phenomenon that has a social function that affects many stages of cultural life and sometimes even shapes it. The cinema, which uses interactive communication techniques such as image, speech, sound, music and writing, becomes a narrative tool that uses all these techniques and affects the social life. In this sense, cinema has sometimes been used as a tool for the dissemination/centralization of political, political and religious ideas except for being an artistic production. The use of the film in this way is found not only in our country, but in all the American cinema industry, primarily. In our country, in the 1970s, there were the main streams that highlighted that the cinema is not just an art branch, but that the social and moral issues of the cinema should be transmitted to the white curtain. In a parallel universe with the Green Cinema, the National Cinema can be regarded as a product of such effort and search. In this work we will try to read the National Cinema through a general history and theory of cinema. The National Cinema's symbolic director Yücel Çakmaklı's 1970 film "United Roads" will be reviewed through the film "United Roads" which was reflected on the white curtain.