Deleuzyen Sinema: Minör Bir Oluş Olarak Sarmaşık Filminin Rizomatik Yapısı
Deleuzian Cinema: Rhizomatic Structure of the Movie ‘Sarmaşık’ as a Minor Being

Summary/Abstract: Deleuze begins his seminar he gave to Femis Cinema School Students with a question: "What is having an idea in cinema?"Deleuze begins his seminar he gave to Femis Cinema School Students with a question: "What is having an idea in cinema?" if we have a desire to make movie, in other words an idea, what is the meaning of this? what does it mean having an idea in cinema? Deleuze says someone can have an idea in philosophy, literature, painting and science yet, this kind of an idea is devoted and he emphasizes that it is a Nietzschean festival on that sense. Deleuze philosophy is based on creating concepts. Based on certain traditions hence it is not hierarchical, it has a rhizomatic structure that destroys this hierarchy and reproduces itself from its own branches. The pluralism of Deleuze philosophy has produced ideas in different fields such as literature, painting, art, cinema and combined other fields asking common questions with philosophy. For this reason, Deleuzian reading in any field does not mean that the Deleuze concepts are applied to an area, but rather it is mated with that area and reproduced by producing different fields.In this paper, it was aimed to focus on minor literature cinema and rizom which were produced by Deleuze & Guattari’s own texts. In the paper which tries to understand and feel the minor concept it was comprehended that Deleuze mostly read from literature and write less on cinema. Although Deleuze wrote about minor cinema in his Cinema 2: The Time Image text, it was majorly developed by theorists on Deleuze. The paper trying to comprehend minör cinema from Deleuzian perspective, aims to read the movie “Sarmaşık” by Tolga Karaçelik within the frame of becoming and rhizome.

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