Hale TORUN

The war is the most fundamental fact of the world in which we live. Throughout the history of mankind, the struggle of sharing among different classes has caused mass wars. The humanitarian thought is broken down into pieces several times as a body, for the humanity, who remains helpless in the nature and logic of war. This dark side of the history of humanity has become a spectacle with all the means of mass communication. The wars went beyond being merely military operations, but became the dramas in which civilians watch other civilians getting killed. The political world and the political camera may not always reflect the war in the same way. Sometimes the signs, which should not be done or shown in the global system, come into play. Ethics of journalism and reportage is confronted with the political background of war. Nowadays, along with the evolution of wars, the areas of conflict, which we call hot regions, have started to shift to cities and metropolises. Besides the political consequences, from a social perspective, we are now facing destructive wars that shake the entire world with waves of global migration. The other side of the global war is civil war and terrorism. Terrorism is now regarded as another face of war. The witnesses of all these are the journalists, documentarists and reporters whom we have expectations about their objectivity. The job of documenting, to which they dedicated their lives, means to get news from other sides of the world for us. This study will attempt to convey the contradiction of the means of war and the narrative language of the documentary. The difficulties of explaining the conditions of war and documenting in the visual world by means of the language of cinema have been studied. The concepts studied will be examined through war, cyclical and globalization, capitalism, political camera. In this article, the concept of Visual Storytelling ”and the concept of documentary are emphasized.

Key Words: Documentary, War, Cinema Language, Visual Storytelling