%0 Journal Article
%T Reading Dervis Zaim Cinema Backwards: Metacinema Infiltrating Triple Screen Structure
%A Y£¿ld£¿z Derya Birincio£¿lu
%J -
%D 2019
%X Dervis Zaim presents most of his narratives with a perspective of a cinematographic link between the traditional Ottoman-Islamic arts and Turkish cinema. Films utilise both the characteristics of traditional narrative structure on one hand, and characteristics of metacinema/metafiction making use of self-referencing codes on the other hand. At this point, films reveal their link to traditional structure through film-intellect in which they take the audience on a journey with the use of intertextuality. This study seeks an answer to the question whether the films by Dervis Zaim, namely Cenneti Beklerken (a.k.a. Waiting for Heaven), Nokta (a.k.a. Dot), G£¿lgeler ve Suretler (a.k.a. Shadows and Faces), and R¨¹ya (a.k.a. Dream) can be analysed within the framework of postmodern narrative codes except the classical narrative. In this sense, the study aims to interpret the cinematic language of the director, in addition to the classical narrative style of the director, analysing meanings of visual images in the said films and scrutinising metafiction codes. When the study is considered compositional interpretation in order to present the meanings of images and to link it with reality, it¡¯s possible to suggest that Zaim¡¯s narratives have a language other than triple scene structure which makes his work transparent; that they produce self-reflexive fractions making use of various characteristics, particularly breaking the fourth wall, mis en abyme and visual absence; and thus, approach a mentextual narrative rather than a classical on
%K Meta-kurmaca
%K (£¿z)d¨¹£¿¨¹n¨¹msellik
%K yabanc£¿la£¿t£¿rma
%K metinleraras£¿l£¿k
%K mise-en-abyme
%U http://dergipark.org.tr/ilef/issue/45754/574922