Elektronik Cumhuriyet İletişim Dergisi

Abstract

Throughout the history of cinema, he has resorted to different patterns in a quest for methods of creating the narrative. The art of cinema adopted a classic or conventionally attributed narrative structure in its depiction of the story in its early years as a characteristic. Cinema, which developed its language-narrative ability over time, made storytelling using modern narrative structures, especially in the era of Soviet filmmakers, and allowed the viewer to encounter a new type of narrative. Modern narrative, the passive position of the audience; it has created a new audience profile and language of cinema that decries, questions, and helps establish cause-and-effect relationships between event patterns. In doing so, he decried the power of fiction and assembly as a tool, trying to create a balance of meaning between the visible and the unseen.
The neoformalist approach, which emerged as an important language in supporting the narrative of form, began with films belonging to the 95 movement and led to the formation of a new school in the formalist approach, as well as breaking the traditional narrative structure of cinema. The neoformalist approach has brought a new perspective to the process of understanding the film as a narrative genre accepted in literature in terms of the viewer's interpretation of the event rather than looking at the screen with a habit. Based on this, this study aims to describe the theoretical framework of the neoformalist narrative, which is not very much included in the literature in terms of narrative types, through the film “Labirent”.