MAN？ PERFORMING IN KEMAL SUNAL MOVIES

As one of the oldest and most widespread forms of anonymous Turkish poetry, the manis which are kept alive throughout the entire Turkish geographical region, are said by many different performers in a very wide execution environment with about every subject, particularly about love. As it is in all branches of art, it is known that in the art of cinema, the socio-cultural circle in which the artist is located in has affected the artists' products as primary. In other words, each artist reflects the traditional structure of the society to which he belongs, with certain dimensions in his art. In the context of the ongoing national cinema debates since the 60's, reflections of this understanding are felt in the works created in Turkish cinema and in the generation of Ye？il？am. In the accumulation of eighty-two films which belongs to Kemal Sunal, it is not to be expected that, traditional folkloric knowledge hasn’t appear in story braid, scenes or technical features like décor at applications of film producers and directors or Kemal Sunal’s personal representations. So it’s important that Kemal Sunal movies should be examined in the context of folk culture, in an interdisciplinary perspective. In this paper, which focuses on the manis in the folkloric presentations in Kemal Sunal’s movies, in the context of the mentioned wiev, the mani form will try to explain, and a short presentation will be done about cinema and folklor relation. Finally the mani performings in Kemal Sunal’s movies will be evaluated according to the context of performings, stagings and presentation skills