Özet:

Akad is among the founders of the cinema experience in Turkey. When his filmography is thoroughly examined, his emphasis on Film language and Narrative strategies can be observed. In his film Kanun Namına he positions the camera on the streets and delivers an innovation in storytelling by the use of parallel editing. He handles issues of migration and changes caused by the encounters with the city with a social realistic perspective in his Migration trilogy films: Bride, Wedding and Atonement. In this study the content and statistical analysis methods are utilized in order to comprehend the clues about elements Akad applied while creating his cinematic semantic world and important issues about questioning his work life and relations which are centralized in his filmic narration are conveyed in a cinematic language centered on his film Diyet. The findings from content and statistical analyses method applied to Diyet leads us to the conclusion that Akad predominately uses medium shot scale, camera is on eye level, sometimes applies symbolic narration while visualizing the film language and also it is important for him to create a communication between the audience and the characters by using an alienation effect. It is apparent that Akad is a cinema laborer who meticulously fulfills the responsibility he feels towards providing contribution to the formation of a consciousness about working conditions through his preferences which constitutes the narrative of the film..

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