Abstract
Abstract This article reads Nuri Bilge Ceylan’s award-winning 2008 feature, Three Monkeys, which marks a significant maturity in the political aesthetics developed in New Turkish Cinema over the past fifteen years. Drawing from Deleuze’s theory of the cinematic time-image, and situating the film within Turkey’s particularly turbulent political climate, I try to show how stillness, non-reciprocal sound, ambiguous plot time and extensive long takes in Three Monkeys showcase New Turkish Cinema’s potential to articulate political critique.
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