Türkiye'de Sinema-Resim İlişkisi (1950-1960)

Abstract

This study aimed to describe differences, similarities, changes and relationahip of paintings in Turkish cinema between 1950-1960 and changes experienced Turkish painting art, similarities, differences and describes visual associations. As of the 1950s, Turkish cinema entered the “Sinemacılar Dönemi”, and domestic film production increased. The directors called “Sinemacılar”, who gave their name to the period, tried to create their own cinema language and a cinema sector had begun to be known as “Yeşilçam”. During these years, Ottoman history, Turkish War of Independence, the Korean War, village life, and stories of Turkish “efelik öyküleri” were among the subjects that were frequently covered in films, and Turkish cinema started to attract attention. In those years, Ottoman History, Turkish independence of war, korean war, village life and efelik stories frequently covered in the films and Turkish Cinema was began to attract attention. During the period, government support of art had been decrasing, and therefore, group activities ended while individuals played important role in the cinema. Abstract art, East-West synthesis, peasant realism-peasant romanticism were prominent trends in 1950s. Autodidactics who are called self-taught paniters, emerged in the period of time while government support had been ended. Another point to be aware of is that ,Bedri Rahmi Eyüboğlu and Mümtaz Yener took part in Turkish cinema as scriptwriters, directors and decorators. Director Atıf Yılmaz Batıbeki had been working in workshop at The Istanbul State Academy of Fine Arts and drewing the storyboards of his films.