Semih Kaplanoğlu’nun Yusuf Üçlemesi’nde Zaman ve Mekân Algısı (Time and Space Perception of Semih Kaplanoğlu’s Yusuf Triology)

Abstract

The cinema, which is one of the leading arts that uses the advantages of technology, reaches a more widespread audience than many arts with its popularity and ease of access. This prevalence of cinema gives rise to an enormous economy behind it and, therefore, has the appetite of many. In order to examine the perception of time and space in cinema, the value of the films with the “Artistic value” is important. Thanks to the consistency of the narration of cinema, the spaces and times in the scenes can be examined; current and future time can be compared. The use of space distinguishes cinema from other arts. Using or creating the space that best suits the flow of the cinema can sometimes lead to the scenario, the light, and even the players. Understanding the concept of time is a bit more difficult than other elements. In fact, every object that exists exists in both time and space. Therefore, it is not possible to separate time from space. Zeki Demirkurbuz, Nuri Bilge Ceylan, Derviş Zaim, Yavuz Turgul and Semih Kaplanoğlu are among the directors who try to produce works that give importance to the time and space fiction. In this study, films such as Yumurta (2007), Süt (2008) and Bal (2010), also known as the Yusuf trilogy of Semih Kaplanoğlu, were examined in the context of time and space perception. These films, which were taken on different dates and in different places, both with each other; as well as environmental and periodic factors. This study tries to look at the similarities and differences in the cultural and social structure in different parts of Anatolia from the space / time window.