Thematic Analysis of the Film The Third Page (Demirkubuz, 1999) in the Context of Kitchen Sink Realism
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https://doi.org/10.5281/zenodo.13864083Keywords:
Social Realist Cinema, Kitchen Sink Realism, Working Class, Social Inequality, The Third PageAbstract
Cinema has always been a closely related art form to social reality, reflecting the social, economic, and cultural characteristics of its geographical context throughout different periods. At the same time, cinema is an art form that draws from various disciplines and continuously renews itself both visually and narratively. There is also a strong connection between cinema and theater, which, like cinema, is a visual and literary art form. Both disciplines have influenced each other and have produced various shared movements. Kitchen sink realism, a popular theater and cinema movement in the second half of the 1950s in England, is a product of this close relationship. Kitchen sink realism is characterized by its focus on the harsh realities of working-class life and its depiction of characters amidst everyday struggles. This study aims to establish a connection between the New Turkish Cinema, which gained prominence in the late 1990s, and kitchen sink realism. To this end, Zeki Demirkubuz's 1999 film The Third Page was selected through purposeful sampling, and the similarities between the film and kitchen sink realism were identified. In this context, thematic analysis was chosen as the method to examine the narrative and thematic structure, visual style, and use of space in the film. This study analyzes how the film depicts the economic struggles, alienation, working-class anger, and the rising cycles of power in society that took place in Turkey's socio-economic climate in the 1990s. The study aims to offer a new perspective on how themes produced within the context of foreign cinema movements can be related to local meanings. As a result of the thematic analysis, it was concluded that The Third Page shares similar themes with kitchen sink realism, such as economic crisis and social inequality, working-class anger in the face of economic dead-ends, the representation of the home as a site of power, and the portrayal of women within the context of gender norms.
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