Abstract
Screenwriter Ayse Sasa, with her active role in the intellectual history of Turkish cinema, her ideas and determinations, and the theories of cinema she put forward, is the subject of this study. The general question addressed in the study is whether Ayse Sasa establishes her idea of cinema in her screenplays. Discourse analysis using the concepts of Michel Foucault, Pierre Bourdieu, and Karl Marx was used to answer this question. The two films that Sasa highlighted the most in the books she wrote and in the interviews with her were classified and analyzed according to the evolution of her cinematic thought. In her own words, Sasa's cinematic thought consists of two periods. In this study, Ayse Sasa's cinematic thought is traced through the films Ah Guzel Istanbul (1966), which she wrote in her first period, and Gramofon Avrat (1987), which she wrote in her second period. As a result of the research, it was determined that Sasa's thoughts existed in her screenplays within the limits of possibility.
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