The Cinema of Nuri Bilge Ceylan: The Global Vision of a Turkish Filmmaker (International Library of the Moving Image)

“Film maker Nuri Bilge Ceylan’s meditative, visually stunning contributions to the ‘New Turkish Cinema’ have marked him out as a pioneer of his medium. Reaping success from his prize-winning, breakout film Uzak (2002), and from later festival favourites Once Upon a Time in Anatolia (2011) and Winter Sleep (2014), he has quickly established himself as an original and provocative writer, director and producer of 21st century cinema. In an age where Turkey’s modernisation has created societal tensions and departures from past tradition, Ceylan's films present a cinema of dislocation and a vision of ‘nostalgia’ understood as homesickness: sick of being away from home; sick of being at home. This book offers an overdue study of Ceylan's work and a critical examination of the principle themes therein. In particular, chapters focus on time and space, melancholy and loneliness, absence, rural and urban experience, and notions of paradox, as explored through films which are often slow and uncompromising in their pessimistic outlook. Moving on from the tendency to situate Ceylan’s oeuvre exclusively within the canon of ‘New Turkish Cinema’, one of this book’s major achievements is also to assess the influence of classic European thought, literature and film and how such a notably minimal - and in many ways nationally-specific - approach translates to an increasingly transnational context for film. This will prove an important book for film students and scholars, and those interested in Turkish visual culture.” La 4e de couverture indique : Filmmaker Nuri Bilge Ceylan's meditative, visually stunning contributions to the 'New Turkish Cinema' have marked him out as a pioneer of his medium. Reaping success from his prize-winning, breakout film Uzak (2002), and from alter festival favourites Once Upon a Time in Anatolia (2011) and Winter Sleep (2014), he has quickly established himself as an original and provocative writer, director and producer of twenty-first-century cinema. In an age where Turkey's modernization has created societal tensions and departures from past tradition, Ceylan's films present a cinema of dislocation and a vision of 'nostalgia' understood as homesickness: sick of being away from home; sick of being at home. This book offers an overdue study of Ceylan's work and a critical examination of the principle themes therein. In particular, chapters focus on time and space, melancholy and loneliness, absence, rural and urban experience, and notions of paradox, as explored through films which are often slow and uncompromising in their pessimistic outlook. Moving on from the tendency to situate Ceylan's oeuvre exclusively within the canon of 'New Turkish Cinema', one of this book's major achievements is also to assess the influence of classic European thought, literature and film and how such a notably minimal, and in many ways nationally specific, approach translates to an increasingly transnational context for film "Filmmaker Nuri Bilge Ceylan's meditative, visually stunning contributions to the 'New Turkish Cinema' have marked him out as a pioneer of his medium. Reaping success from his prize-winning, breakout film Uzak (2002), and from alter festival favourites Once Upon a Time in Anatolia (2011) and Winter Sleep (2014), he has quickly established himself as an original and provocative writer, director and producer of twenty-first-century cinema. In an age where Turkey's modernization has created societal tensions and departures from past tradition, Ceylan's films present a cinema of dislocation and a vision of 'nostalgia' understood as homesickness: sick of being away from home; sick of being at home. This book offers an overdue study of Ceylan's work and a critical examination of the principle themes therein. In particular, chapters focus on time and space, melancholy and loneliness, absence, rural and urban experience, and notions of paradox, as explored through films which are often slow and uncompromising in their pessimistic outlook. Moving on from the tendency to situate Ceylan's oeuvre exclusively within the canon of 'New Turkish Cinema', one of this book's major achievements is also to assess the influence of classic European thought, literature and film and how such a notably minimal--and in many ways nationally specific--approach translates to an increasingly transnational context for film"--Back cover. Cover Title Copyright Dedication Content List of Figures Acknowledgements Introduction 1 The Origin of Imagines: Unravelling Cocoon Origins Perhaps Sorrow (Trauer) Imagines Play (Spiel) 2 Our Town: Homesickness in The Small Town and Clouds of May A Charmed Circle Sadness amidst Snow Gathering Clouds Muzaffer with a Movie Camera Cinematic Hide- and- seek 3 Distant : A Winter’s Tale Departures Time and Motion Photography and Film Istanbul Redeemed 4 Climates and the Problem of Nihilism: the Missing Season Summer Autumn Winter Spring 5 Three Monkeys and the Oblivion of the Spectral Fourth Non- Place: Home as Shipwreck Hear No Evil and the Spectre of Oblivion The Shock of Remembrance 6 Once Upon a Time in Anatolia: Ante Rem , Revenge, Hinterland and Detection Wilderness: Unmasking the Sublime Ressentiment and Revenge: the Woman who Predicted her own Death Kenan,Cemal, Nusret... and Anatolia 7 Winter Sleep : Disappearance as Social Topology Money,Debt and Symbolic Exchange Vanity and Religion Not Resisting Evil Burning Money Fooling About Conclusion: Ceylan’s Aesthetic Politics Eidetic Kalospectrality Notes Bibliography Index