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.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
