Derviş Zaim’in Geleneksel El Sanatları Üçlemesinin Gilles Deleuze’ün Zamanİmgesi Kavramı Açısından Okunması
Dervis Zaim’s Traditional Turkish Art Trilogy Films in the light of Gilles Deleuze's The Time-Image

Summary/Abstract: These films are stories that do not depend on cause and effect chains. The irrational cycle of images releases those that the cinematographic image and gives rise to the varied images for the audience. This study analyses Dervis Zaim’s traditional Turkish art trilogy films, Waiting For Heaven (2006), Dot (2008) and Shadows and Faces (2011) within the frame of cinematic elements such as “time perception”, “space” and “characters”. Fixed shots, motionless and static images frequently encountered in Zaim’s trilogy movies cause the opening of the fork defined by Deleuze and appears as a cinematographic element that makes the time image visible. On the other hand, camera movements and shorts are slow, the camera is mostly at an unchanged angle or a fixed camera is used. In this way, the way is made for the ordinary everyday life events. The journey backwards and forwards is used as a technique that enables passage in time. In Waiting for Heaven, the transformation of an image into a miniature, and stopping some single plan scenes in Shadows and Faces within the photo frame is used as a technique for a transition to another time. Continuity in time perception is achieved by shooting Dot in one plan and in one setting. The analysis of his above-mentioned films yielded the conclusion that Dervis Zaim’s trilogy films have the characteristics of the time-image movies.

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