Textuality » 3LSCA Interacting

NRoncarĂ  - Can's characterisation - 13/10/2019
by NRoncara - (2019-10-13)
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In the present text I am going to discuss the characterization of Can Yaman as presented in the first episode of the romantic comedy “Erkenci Kus” (in English “Early Bird”).

Can Yaman is one of the protagonists in the comedy.

In order to reach my objective I will follow scene after scene all that the director chooses to do to introduce Can Yaman’s personality in the first episode. It goes without saying that the function of the first episode is to introduce main and secondary characters and, last but not least, to raise curiosity so that the reader or watcher will feel involved in the story and, as a result, go on watching or reading between the lines and put themselves to test to decide how the comedy will be developed.

There must be some reason why the director has made the decision to have him appeared in the second scene. Indeed, considering the first one, the naive reader wouldn’t expect that one of the protagonists is missing. Therefore he will soon understand the choice is meant to create suspense and curiosity and give the reader the opportunity to find the film/video/text involving and avoid boredom.
Indeed, Can seems to came out of the blue. The effect is reinforced by the surrounding landscape. To tell the truth the character is appearing on the screen is abrupt. A more careful reading makes you understand that the pretext exploited by the director is a telephone call from Can’s brother Emre and the spectator is plunged from Istanbul city center to a more distant wild landscape that creates a totally different atmosphere. The director focused his attention on macro details that besides raising the attention provide the reader with some feature with Can’s personality. From such choice the watcher is compel to focus on Can’s car, one typically used by adventurous people who like to live in the middle of nature
Sound contributes to the scene and the reader is eager to find out about the scene. Colors also attract the attention because the car and his equipment always in the scene are clearly visible.
In the end, comes the acclimating moment that will unveil the protagonist. The director wants his audience to concentrate on Can’s body that becomes a metaphor for his strong personality.
The focus is on his energy and passionate attitude to a wild sports young man. Both the rose and the kayak are of vivid colors that impressed the reader. His personality is shown by his skill to face a wild water that seems to fight against him, he does not even feel afraid, even if the water seems to drug him.

When he comes back on the screen at first you can see the nature to underline his personality and then him with his kayak and his car. His brother calls him again and you can notice differences between them. Unlike his brother, Can wears casual clothes and it represent his sporting spirit.

It’s possible to immediately understand Can prefers to be alone but when he goes into his father office you can feel the strong connection with him.