A Deleuzean Look on Tony Gatlif’s Accented Cinema
A Deleuzean Look on Tony Gatlif’s Accented Cinema

Summary/Abstract: This study aims to discuss Tony Gatlif’s “accented cinema”, which deals with the lives of minorities and nomads and the reflexivity brought by these lives in many of his films, in terms of philosophical expansions. The unique style which the director builds by using cinema’s means about being a Gypsy or from an ethnic minority while opening the majority to questioning transforms the film-watching experience into a specific intellectual adventure. In Gatlif’s approach, which includes elements that coincide with Hamid Naficy’s definition of “accented cinema”, nomadism emerges as a minor element and, nomadic Gypsy communities, inside all the inhabitants of the world, display a minor existence. This philosophical reflexivity in Gatlif’s films, which is similar to Franz Kafka in terms of masterfully presenting words of a minor community, is examined by focusing on, Latcho Drom (1992), Gadjo Dilo (1997), Exils (2004), Transylvania (2006) and Korkoro (2009) films. Questions like revealing reflexivities in terms of the director’s accented images and what these elements mean on account of difference and minor cinema debates form the film analyses’ basic questioning fields and the obtained findings are discussed by taking reference to Gilles Deleuze and Felix Guattari’s concepts who see cinema as a philosophical perception and thinking activity. In this context, Deleuze and Guattari’s ontology of difference and minor cinema approach is the intellectual background of this study to be made on Gatlif cinema.

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