In this study, the films of Mexican director Alejandro Gonzáles Iñárritu were examined, and the director's analysis of Revenant Filmin, which took place in 2016, was conducted. After reviewing the films, it was assessed which techniques he preferred in his films. In Iñárritu's films, there is no narrative that goes on a linear line, which is the head, middle, and end of the traditional narrative. The director brings back and forth bouncing back and forth in fiction and fiction using the common features of different stories. The films are described in pieces, the viewer is expected to combine the pieces. It is the film when the back and forth splashes are seen and the space is not given clearly. losed endings like the traditional narrative are not seen in films. There is a general struggle for existence in his films. There is a general struggle for existence in his films. Your films are tantalized and left to your imagination. From the point of view of the film technique, it is possible to talk about a film language in which the viewer is drawn into the films with the camera shift movements, which are slowed down,
@article{2017,title={Iñárritu’s Cinema: An Analysis For Revenant},abstractNode={In this study, the films of Mexican director Alejandro Gonzáles Iñárritu were examined, and the director's analysis of Revenant Filmin, which took place in 2016, was conducted. After reviewing the films, it was assessed which techniques he preferred in his films. In Iñárritu's films, there is no narrative that goes on a linear line, which is the head, middle, and end of the traditional narrative. The director brings back and forth bouncing back and forth in fiction and fiction using the common features of different stories. The films are described in pieces, the viewer is expected to combine the pieces. It is the film when the back and forth splashes are seen and the space is not given clearly. losed endings like the traditional narrative are not seen in films. There is a general struggle for existence in his films. There is a general struggle for existence in his films. Your films are tantalized and left to your imagination. From the point of view of the film technique, it is possible to talk about a film language in which the viewer is drawn into the films with the camera shift movements, which are slowed down,},author={Gülşah SARI},year={2017},journal={Journal of Academic Value Studies (JAVStudies)}}
Gülşah SARI . 2017 . Iñárritu’s Cinema: An Analysis For Revenant . Journal of Academic Value Studies (JAVStudies).DOI:10.23929/javs.581
Gülşah SARI.(2017).Iñárritu’s Cinema: An Analysis For Revenant.Journal of Academic Value Studies (JAVStudies)
Gülşah SARI,"Iñárritu’s Cinema: An Analysis For Revenant" , Journal of Academic Value Studies (JAVStudies) (2017)
Gülşah SARI . 2017 . Iñárritu’s Cinema: An Analysis For Revenant . Journal of Academic Value Studies (JAVStudies) . 2017. DOI:10.23929/javs.581
Gülşah SARI .Iñárritu’s Cinema: An Analysis For Revenant. Journal of Academic Value Studies (JAVStudies) (2017)
Gülşah SARI .Iñárritu’s Cinema: An Analysis For Revenant. Journal of Academic Value Studies (JAVStudies) (2017)
Format:
Gülşah SARI. (2017) .Iñárritu’s Cinema: An Analysis For Revenant Journal of Academic Value Studies (JAVStudies)
Gülşah SARI . Iñárritu’s Cinema: An Analysis For Revenant . Journal of Academic Value Studies (JAVStudies) . 2017 doi:10.23929/javs.581
Gülşah SARI."Iñárritu’s Cinema: An Analysis For Revenant",Journal of Academic Value Studies (JAVStudies)(2017)