The representation of Ottoman court textiles in cinematographic narrative: Ferzan Özpetek’s Harem Suare

Abstract

Cinema benefits from design tools in many respects in the creation of both the representation and the reality. Making an interior design with textile design tools is closely related to the expression in cinema. The compatibility of each design object with the location and the content of a movie is important in terms of the fact that they will be presented to the audience. Especially in historical movies, textile objects are expected to reflect the reality. Textile and cinema, which contain different dynamics, are different from the other disciplines in semantic and technical terms. These two disciplines, which have a visual aesthetic in them, continuously improve in the historical process and contribute to the transformation of one another. This study in which the combination of textile and cinema in the creation of an interior design is discussed in design and time together, deals with the place of textile objects in the creation of the interior atmosphere and the movie image. Within the scope of this research, the relationship between textile and cinema has been analyzed through the images, places and characters presented to the audience in the movie Harem Suare (1999).