Author(s): Bahadır UÇAN

The very first trials in area of cartoon were noticed during the same periods of first cinema attempts. After the discovery of photography, which provides us to obtain the moments in images, the idea of reflecting the movement in time-space relation drew attention. In this purpose, some devices and tools were invented based on visual illusion. The first experiments in this direction were conducted by scientists as Edison. It is a tangible example of cartoons’ unevitable reality that they have to be producted and developed interdisciplinary, with technological advances and assistance. Historically, the power and influence of cartoons over people had increased after 20th century with pop art movements in USA. The boundaries between media and art blurred with pop art movements. In this sense, cartoons became strong media tools. The worldwide popularity of Mickey Mouse indicates the influence of cartoons over societies, clearly and the sources of cartoons are based on “culture”. From the first samples of cartoons to today, they have cultural contents as oral and written sources, tales, epics, mythological units, etc. As an example, in a production of Studio Ghibli, Muromachi periods of Japanese myhtology are undertaken, and differently, living habits of classical American families are analyzed in a Pixar movie. Therefore, cartoons can be distinguished not only by differences on drawing styles or technics, also with the perspectives of differing societies. In this study, it is aimed to analyze Turkish cartoon through cultural values. Evvel Zaman ?çinde (Once Upon A Time) (1951), Amentü Gemisi Nas?l Yürüdü? (How to Float Credo Ship?)(1969), Nasreddin Hoca (Hodja) (1990), Pepee (2008-), Keloglan (2009-) and Dede Korkut Hikâyeleri (Stories of Dede Korkut) (2014-2015) are the examined samples of Turkish cartoon. It is aimed to evaluate the cultural codes of Turkish cartoon which are mythology, legends, folcloric and religious elements, etc. with technical features and scenarios.


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