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Abstract

The first decade of the cinema has been the period of experiments and inventions. Lumiere, Edison end Melies were leaders in their effort in making this new art a specific form. But anyhow, the first movies were very simple and primitive in form. In the following years Hollywood and silent American movies established the studio system and specific visual styles. But the most impressive movies with their images were filmed during the German Expressionists. Each element within the boundaries of a mise-en-scene were designed in graphic qualities and created visual styles non-similar to those of the others in the history of cinema. French Impressionism and Surrealism stood as avangarde movements and were considered as alternative movements to Hollywood. Their aesthetic dimensions turned into the inner world of personalities and were inspired by emotions and so as the Russians were by the montage principals. The Russians were successful moviemakers, drawing in front important theorists such as Eisenstein. Then came the sound movies, which turned Hollywood to its golden age and created a magnificent visual form; musicals. After the breaking of the Second World War, changes in all aspects of life created movements like the Italian Neorealism which found its way through realistic visual approaches. The French New Wave and the New German Cinema followed, with their richness in visual styles since each director was able to draw his own world of ideologies. No debt that the last twenty years was ruled by the contemporary American cinema, that still carries its dominance with the help of the superb special effect cinematography. Cinema was in Turkey short after its invention. Taking the Central Army Cinema Organization as a basis, documentary movies were made and narrative forms continued eventually. The very first narrative movies were taken in places which were considered as studios but under insufficient circumstances. Kemal Film, by being the first studio in Turkish cinema, enabled Muhsin Ertuğrul to make movies having non-cinematographic values since he carried a theater reputation. Unfortunately, he was the only director to shoot films in Turkey, until 1939. As a reaction Transition Period started and the cinematographers began paying attention to visul styles with the increasing number of studios. The following era may be regarded as the rising period of Turkish cinema during when shootings were held in actual places. However, the increase in the number ofproductions could not help the limited use of decorated scenes and studio utilization. Still today, films are taken in actual places and art direction is carried through by people who are educated in Fine Arts or Theatre since it cannot be regarded as a profession without having provided certain economic facilities. The spectator has always reacted to the aesthetic dimensions of the cinema according to the ongoing social factors. All around the world and in Turkish cinema, the spectator orients the visual expressions according to different expectations. Therefore the visual parameters in cinema carry their own meaning. Cinema is also a code in the reflection of a culture. The ideology of a movie is kept within its visual styles and is reflected on a culture by them.The first decade of the cinema has been the period of experiments and inventions. Lumiere, Edison end Melies were leaders in their effort in making this new art a specific form. But anyhow, the first movies were very simple and primitive in form. In the following years Hollywood and silent American movies established the studio system and specific visual styles. But the most impressive movies with their images were filmed during the German Expressionists. Each element within the boundaries of a mise-en-scene were designed in graphic qualities and created visual styles non-similar to those of the others in the history of cinema. French Impressionism and Surrealism stood as avangarde movements and were considered as alternative movements to Hollywood. Their aesthetic dimensions turned into the inner world of personalities and were inspired by emotions and so as the Russians were by the montage principals. The Russians were successful moviemakers, drawing in front important theorists such as Eisenstein. Then came the sound movies, which turned Hollywood to its golden age and created a magnificent visual form; musicals. After the breaking of the Second World War, changes in all aspects of life created movements like the Italian Neorealism which found its way through realistic visual approaches. The French New Wave and the New German Cinema followed, with their richness in visual styles since each director was able to draw his own world of ideologies. No debt that the last twenty years was ruled by the contemporary American cinema, that still carries its dominance with the help of the superb special effect cinematography. Cinema was in Turkey short after its invention. Taking the Central Army Cinema Organization as a basis, documentary movies were made and narrative forms continued eventually. The very first narrative movies were taken in places which were considered as studios but under insufficient circumstances. Kemal Film, by being the first studio in Turkish cinema, enabled Muhsin Ertuğrul to make movies having non-cinematographic values since he carried a theater reputation. Unfortunately, he was the only director to shoot films in Turkey, until 1939. As a reaction Transition Period started and the cinematographers began paying attention to visul styles with the increasing number of studios. The following era may be regarded as the rising period of Turkish cinema during when shootings were held in actual places. However, the increase in the number of

productions could not help the limited use of decorated scenes and studio utilization. Still today, films are taken in actual places and art direction is carried through by people who are educated in Fine Arts or Theatre since it cannot be regarded as a profession without having provided certain economic facilities. The spectator has always reacted to the aesthetic dimensions of the cinema according to the ongoing social factors. All around the world and in Turkish cinema, the spectator orients the visual expressions according to different expectations. Therefore the visual parameters in cinema carry their own meaning. Cinema is also a code in the reflection of a culture. The ideology of a movie is kept within its visual styles and is reflected on a culture by them.The first decade of the cinema has been the period of experiments and inventions. Lumiere, Edison end Melies were leaders in their effort in making this new art a specific form. But anyhow, the first movies were very simple and primitive in form. In the following years Hollywood and silent American movies established the studio system and specific visual styles. But the most impressive movies with their images were filmed during the German Expressionists. Each element within the boundaries of a mise-en-scene were designed in graphic qualities and created visual styles non-similar to those of the others in the history of cinema. French Impressionism and Surrealism stood as avangarde movements and were considered as alternative movements to Hollywood. Their aesthetic dimensions turned into the inner world of personalities and were inspired by emotions and so as the Russians were by the montage principals. The Russians were successful moviemakers, drawing in front important theorists such as Eisenstein. Then came the sound movies, which turned Hollywood to its golden age and created a magnificent visual form; musicals. After the breaking of the Second World War, changes in all aspects of life created movements like the Italian Neorealism which found its way through realistic visual approaches. The French New Wave and the New German Cinema followed, with their richness in visual styles since each director was able to draw his own world of ideologies. No debt that the last twenty years was ruled by the contemporary American cinema, that still carries its dominance with the help of the superb special effect cinematography. Cinema was in Turkey short after its invention. Taking the Central Army Cinema Organization as a basis, documentary movies were made and narrative forms continued eventually. The very first narrative movies were taken in places which were considered as studios but under insufficient circumstances. Kemal Film, by being the first studio in Turkish cinema, enabled Muhsin Ertuğrul to make movies having non-cinematographic values since he carried a theater reputation. Unfortunately, he was the only director to shoot films in Turkey, until 1939. As a reaction Transition Period started and the cinematographers began paying attention to visul styles with the increasing number of studios. The following era may be regarded as the rising period of Turkish cinema during when shootings were held in actual places. However, the increase in the number ofproductions could not help the limited use of decorated scenes and studio utilization. Still today, films are taken in actual places and art direction is carried through by people who are educated in Fine Arts or Theatre since it cannot be regarded as a profession without having provided certain economic facilities. The spectator has always reacted to the aesthetic dimensions of the cinema according to the ongoing social factors. All around the world and in Turkish cinema, the spectator orients the visual expressions according to different expectations. Therefore the visual parameters in cinema carry their own meaning. Cinema is also a code in the reflection of a culture. The ideology of a movie is kept within its visual styles and is reflected on a culture by them.