Kara filmler, içinden beslendikleri toplumsal yapının uyumsuzlukları, ekonomik, kültürel ve politik sıkıntılarının, toplumsal patlamaların perdeye yansımasıdır. Türkiye'de sinema toplumsal gerçeklikten, sosyal ve siyasal olaylardan dolayısıyla da gündelik hayat pratiğinden çokça etkilenmektedir. Bu gündelik hayat pratiğinde toplumsal uyumun bozulduğu ya da ekonomik açmazların insanları sürüklediği kötülük hali sinemada da kendisine yer bulmaktadır. Bu kötülük sinematografinin hâkimiyetinde suçla örülü hikâyelerin ve içine sürüklendiği kötülüğün sonuçları karşısında kendisiyle hesaplaşan karakterleri merkezine alan kara film anlatıları ile karşılaşılmaktadır. Stilin temayı belirlediği kara film, sosyolojik bir soruna sinematografik bir açılım katabilmiş bir alt tür olarak sinema tarihinde önemli bir yer edinmiştir. Yeni Türk Sineması içerisinde ise Nuri Bilge Ceylan sinemasının son yıllarda karafilm anlatılarıyla kurduğu yakın temas bu türü yeniden bir tartışma ortamına çekmiştir. Bu anlamda Bir Zamanlar Anadolu filmi ile Nuri Bilge Ceylan, en çok üzerine düşündüğü mekan olarak taşrayı, tanıdık bir stille anlamlandırmış ve bunu yaparken de kenti estetize eden kara filmin görsel üslubunu Anadolu'da suçla dolu bir geceyi anlatırken kullanmıştır. Nuri Bilge Ceylan sinemasının genel olarak önce stil daha sonra onu çağrıştıran tema ile olan ilişkisi Bir Zamanlar Anadolu filminde kara film estetiği ile şekillendirilmiştir. Bu çalışma boyunca Bir zamanlar Anadolu'da filminin yoğun stilize ve tematik üslubunun kara film perspektifinden Yeni Türk Sineması içerisindeki yeri ve de Kara filmin Türk sinema tarihindeki serüveni tartışılacak ve bu tartışma, tür eleştirisi ve sosyolojik eleştiri metoduyla gerçekleştirilecektir

Film noir movies reflect the economic, cultural and political inconsistencies and difficulties of the social structure in which they are situated and social explosions on the movie screen. Film noir movies reflect the economic, cultural and political inconsistencies and difficulties of the social structure in which they are situated and social explosions on the movie screen. In Turkey, cinema is heavily influenced by social reality, social and political events and thus daily life. Economic crises and breakdowns in social harmony find a place in movies. Examination of films in which such difficulties are reflected shows that there are film noir narratives focusing on stories about crime and characters who reckon with themselves because of the evilness they cannot avoid under the dominance of high cinematography. In film noir, the style determines the theme. Film noir has a remarkable place in the history of film-making as a subgenre that has managed to offer cinematographic insight to a sociological problem. The close contact that the filmography of Nuri Bilge Ceylan has recently established with the film noir narratives in New Turkish Cinema has caused this genre to be discussed again. In this regard, Nuri Bilge Ceylan has brought meaning to the country, his main spatial focus, using a familiar style and used at the same time the visual style of film noir, which aesthetizes the film, when telling the story of a night of crime in Anatolia. The relationship between the films of Nuri Bilge Ceylan and the style and then the theme that is associated with them in general is shaped by the aesthetics of film noir in Bir Zamanlar Anadolu’da (Once Upon A Time In Anatolia). This study will discuss the place of the intensive and thematic style in Bir Zamanlar Anadolu’da in Turkish cinema from the film noir perspective using genre and sociological criticism Film noir movies reflect the economic, cultural and political inconsistencies and difficulties of the social structure in which they are situated and social explosions on the movie screen. Therefore, film noir, as a film genre that feeds on social explosions that coincide with periods of social trauma, and includes rich ideological and sociological content. In Turkey, cinema is heavily influenced by social reality, social and political events and thus daily life. Economic crises and breakdowns in social harmony find a place in movies. Examination of films in which such difficulties are reflected shows that there are film noir narratives focusing on stories about crime and characters who reckon with themselves because of the evilness they cannot avoid under the dominance of high cinematography. Compared to foreign nations, the genre of film noir is less common in Turkish literature (such as detective stories) and cinema. However, film noir movies that are successful in terms of stylistic and thematic harmony have been shot in recent years. The aim of this study is to understand the adventure of film noir in Turkish cinema and how film noir has been positioned in Turkey from the perspective of the film, Once Upon a Time in Anatolia (Bir Zamanlar Anadolu’da). The genre of film noir in Turkey is influenced stylistically by foreign examples and focuses thematically on characters who are conscientious and have not completely severed their connection with established morals. On the other hand, in Turkey, film noir has often found a place for itself in the last ten years as a mixed genre closely associated with other genres in a cinematic landscape where melodrama and comedy have strong influences as genres. The importance of intense figural and thematic style of Once Upon a Time in Anatolia in New Turkish Cinema from the perspective of film noir is discussed throughout this study, which sought answers to these questions: -How are theme and style developed in film noir? What is the relationship between them? -How has film noir been discussed as a style in Turkey? What is its relationship with melodrama? -What are the examples of movies using the codes of film noir in Turkey? -How does Turkish cinema instantiate the codes of film noir in the film, Once Upon a Time in Anatolia? Throughout this study, Paul Schrader's cult article, "Notes on Film Noir," which is the first source that springs to mind when the subject is film noir was used often, along with Women in Film Noir by Ann Kaplan, which has changed feminist perspectives on the concept of the femme fatale, particularly in literature. A great number of film noir studies by Zeynep Tül Akbal who has drawn attention to the film noir narratives in Turkey in many articles were also used as references. Film noir narratives are rare both in literature and cinema in Turkey. However, this study aimed to identify many narratives in which new film noir narratives interpret both thematic and classical film noir style in a general framework. In this respect, this article examined the cinematic reflection of film noir in Turkey from a broad perspective. The film analysis uses genre criticism to shed light on film noir's position as a genre. Sociological criticism was also used because film noir is a genre that develops its themes under the influence of social events. Conclusion Classic film noir was a product of the Second World War years and the subsequent social depression, and it transformed itself in each social transformation with different styles. Film noir narratives, which were developed as a result of serious damage to the human psychology caused by periods of social trauma, have penetrated Turkish cinema by cooperating with a cultural environment tightly attached to a tradition of melodrama. It is clear that film noir narratives, which Zeynep Tül Akbal referred to as glorified nothingness, have been dominant in the cinema from the mid-1900s, the period of New Turkish Cinema (Akbal, 2009). Along with difficult periods experienced by society, the number of stories of escape from these deliriums has increased in the social sphere where daily life is often interrupted by violence, but the circularity of violence has turned into a kind of indifference. The most characteristic feature of this period is that these deliriums are generally narrated in masculine stories. Nejat Ulusay also found an intense, self-directed masculinity crisis that eludes the overemphasized glorifications of masculinity in Turkish cinema in the 2000s (Ulusay, 2004). As a matter of course, the narratives of men who pity themselves and portray themselves as if they were in a deeply problematic situation along with social pressure have also become dominant in this new cinema. It is not surprising that film noir has been regarded as a stylized genre preferred in the new cinema in an atmosphere of cultural representation where men cry for themselves. The thematic tendency of Turkish cinema towards film noir is apparent, but the transition of an extremely stylized genre in a figural manner into Turkish cinema occurred in the 2000s when technological developments in cinema were being closely followed. Difficulties imposed by the society upon individuals and traumas arising from their resistance methods host fatalistic nightmares that reckon with the past of the film noir universe, particularly in the new film noir movies. As Fatih Özgüven writes, which scare or stain on the state prosecutor’s face does the film want to scratch or remove? What should be done for the conscientious wounding mixed with his desire for the woman? (Özgüven, 2017). The director displays the stain appearing along with individuals’ selfishness and insensitivity to the audience in the final scene. Nuri Bilge Ceylan also creates a male character's inner stories, depression and deliriums with the hegemonic masculinities arranged in his film, Once Upon a Time in Anatolia, an allegory of Turkey, the first traces of which was expressed in his film, Three Monkeys (Üç Maymun). The director knowingly or unknowingly establishes both the thematic and visual styles of film noir in a very successful manner while creating this allegory.