Nuri Bilge Ceylan’s Frames as a Pastiche: Caspar David Friedrich and Ilya Glazunov

Authors : Türker Körük

Pages : 145-170

Doi:10.26650/sty.2024.1385003

View : 33 | Download : 30

Publication Date : 2024-06-30

Article Type : Research Paper

Abstract :In today’s postmodern period, the concept of intertextuality has emerged and been evaluated not only in written and oral texts but also in many other art forms, as opposed to the ancient Russian formers and theorists. The concept has taken on a few new names such as intersemiotics, interpicturality, and intermusicality and is based on the Russian formative and thinker Mikhail Bahtin’s idea of dialogism. This idea argues that a text has a relation with any other text, and this relationship is inevitable. This argument is accepted as a method developed by some 20th-century linguists and thinkers who exploited it to solve the mutual effects between two texts. Similar to transformation, allusion, parody, and collage, pastiche is one of the most important method of intertextuality. It makes use of the formal and stylistic similarities between two texts. It also benefits from additions and subtractions and gains true meaning by exalting and praising the emulated text or the owner of that text. This study will examine the works of Russian painter Ilya Glazunov, who had a significant influence on Nuri Bilge Ceylan’s movie Winter Sleep, and some works by another painter, Caspar David Friedrich, as a pastiche element in some of the director’s photographs and film frames. Even though Ceylan has not said that he emulated these painters, his attitude in the movie Winter Sleep made carrying out this study necessary.
Keywords : Nuri Bilge Ceylan, Ilya Glazunov, Caspar David Friedrich, Metinlerarasılık, Pastiş