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Modernist directors such as Bresson, Antonioni, Bergman, Godard, Pasolini, Resnais, Tarkovski sought new narrative methods by breaking the rules and traditions of classical narrative in general. Thus, different forms called modern (contemporary) narrative emerged. We cannot explain modern narratives with specific rules and traditions; because these narratives have emerged as a result of efforts to break existing traditions and find freer expression opportunities outside the requirements of the industry; However, we can talk about their common aspects, especially their narrative methods. In modern narratives; • The plot is not linear. • The causal relationship between events is weak. • The way the narrative elements are created and presented creates the impression that the characters, events, and story are incomplete. • Other events and episodes that are not related to the course of the events can be included in the film. • The backgrounds of the characters, what motivates them, and their goals are unclear. It is difficult for the audience to identify with them. “Concentration on characters in modern cinema does not involve psychological characterization. The focus of attention of modern art films is the general human condition of the characters rather than the encounter of a special character with a special environment. ” (Kovacs, 2010: 68). • Conflicts are not obvious. • Conflicts may not be resolved at the end of the film. • How the events turn out and what happens to the characters can be left to the audience’s interpretation. • The audience is not informed about the reasons before the events. • An event is simply implied rather than told. We get an impression that this event is happening. This is called subtraction. • Concepts, thoughts and themes come to the fore rather than events. • The audience is asked to reflect on how the film is telling rather than the events it tells. Modern narratives want the audience to participate in the film intellectually, concentrating on both the thoughts behind the narrative and the narrative style rather than being caught up in the events of the film. Let me now try to better understand the features of modern narrative by examining Robert Bresson’s films Pickpocket (Pickpocket, 1959) and Michelangelo Antonioni’s Eclipse (L’Eclisse, 1962). In Pickpocket, events follow each other with almost little causation. There are time jumps between events and we are not told what happened during those times that were skipped. The protagonist of the movie steals the wallets of people watching horse races, on the bus or on a crowded street. No clear information is given as to why he did this throughout the film. Why he is not interested in his mother, why he is a thief instead of working, whether he has any training or skills, and living against the money he stole. We do not know why the temperature has not changed. We do not understand the reasons behind his behavior and what kind of person he is. Not affected by events

It has a callous expression. It is extremely artificial for her to cry even to her death. For these reasons, it becomes impossible for us to identify with it. The main character tells about what he did and what happened to him by writing in a notebook from time to time. However, the things he describes do not contain any additional information or explanation other than what we see in the film. There is almost no conflict in the film. Conversations between characters often break before finalizing or forming a particular thought. There are some conversations about theft between the police character and the pickpocket, but there is no police-thief clash or pursuit as in classical narratives.

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