Director and screenwriter Derviş Zaim was the guest speaker for the "Rethinking the Production of Space" lecture series at YUNT's center in Istanbul's Sultanbeyli, a space for art and interaction.
In his lecture titled "Cinema and Space," Zaim explained that cinema's fundamental relationship with space is one of "shaving off," similar to the work of a sculptor. He emphasized that in classic cinema, certain rules were developed to maintain the continuity of space, ensuring the viewer's sense of direction was preserved. He cited David Griffith as an example, noting that Griffith introduced the close-up to cinema, allowing the audience to "enter the space," ensuring a continuous relationship with the environment.
Zaim argued that unlike cinema, architecture does not rely on specific rules. "Architecture doesn’t impose the same rules on us because it doesn't make us experience space from a fixed point or perspective," he said. "In architecture, the subject of the experience is the person. This is a fundamental difference between cinema and space."
Zaim discussed how he has approached space in his films from different perspectives, citing his film “Waiting for Heaven” as his first to explore the concept of space. He recalled asking whether traditional Ottoman arts could offer new perspectives and possibilities for cinema. He observed that classic Ottoman miniatures depicted time and space in a fluid way, breaking and altering them to represent elements of the story that were not physically present.
He used this fluid construction of space in his own work, attempting to do so without disturbing the viewer’s perception, and explained how mirrors were used in “Waiting for Heaven” to explore time in a variable, changing form. He added that the reason the mirrors in the film often did not show the space they were in was because of this approach.
Zaim also shared that he continued his exploration of space in his film “Shadows and Faces,” where he was inspired by the shadow play tradition of “Karagöz-Hacivat.” In the film, Zaim used the concept of the "empty space" to explore how a small gesture or object, like a picture placed on a table, could transform that space into something meaningful. “‘In Shadows and Faces,’ the kitchen table is like the screen of a shadow play," he explained.
In his film “Dream,” Zaim continued to reflect on space through the story of a female architect, Sine, who aspires to build a mosque. Zaim elaborated on how the film's themes were inspired by the legend of the Seven Sleepers, with Sine’s desire to "freeze" time and retreat from her struggles symbolizing the relationship between dreams and utopia. The film’s core message, Zaim said, is "Hold on to your utopias."
He also spoke about his research into Ottoman architecture for the film. "The traditional Ottoman mosque architecture is built on repetition and variation," he said, noting that architect Mimar Sinan used rhythm and tempo to create these variations. In “Dream,” the film’s narrative structure is based on similar patterns of repetition found in Sinan’s work, where the same elements take on different meanings in different contexts.
YUNT, founded by Muratcan Sabuncu with art consultancy by Sergen Şehitoğlu, is designed to increase public access to artistic activities and foster interaction. Alongside exhibitions and events, YUNT offers educational programs and aims to enhance the potential for social change through its space and experiences.
The "Rethinking the Production of Space" event series previously featured talks by architect Han Tümertekin on "This is Not a Line," professor Uğur Tanyeli on "Can Political Domination Be Established in Architecture?" and associate professor Bülent Batuman on "(Social) Product as (Social) Space."
