Yeni Türk Sineması’nın Minör Temasları: “Gözetleme Kulesi”
Minor Contacts of New Turkish Cinema: “Gözetleme Kulesi / Watchtower”

Summary/Abstract: The ontological desire of the human that manifests himself in the form of self-recognition, identification, and positioning only gain the meaning and find the compensation with the presence of another person. However, the human who forgets that this existential desire is bilateral, begins to dominate and alienate the person opposite of him. This leads to a duality based hierarchy. The basic problem in this dichotomous decomposition, which is a problematic classification, is that the dominant is the major, and the exploited is the minority or minor. In this classification fictionalized by the Major, a minority must express its exploitation, oppression and alienation in a style specific to itself. It is seen that the expression style of minor, which appeared in the foreground in this direction, found itself in literature and cinema in particular. After Deleuze revealed the conceptualization of the minor cinema and determined its basic components, he described the filmmaking process of some directors from the world cinema to be as minor. This study is based on the idea of revealing the minor possibilities of New Turkish Cinema with the Pelin Esmer’s movie, “Watchtower”. The film, which has been set as an example in the study, has been subjected to a reading based on the three basic elements of the minor cinema, which Deleuze has listed as "deterritorialisation of the existing identities, eliminating its private-public line, and duplicating the identities". Moving on from the minors reading of Deleuze, it has been found that the film can be considered among the minor examples of New Turkish Cinema.

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