Suha Arın (1942-2004) broke a new ground with over sixty documentaries produced from the mid-1970s to the end of the 1990s. Arın is accepted as an ecole in the field of documentary cinema because he trained many students during his life time. According to Arın, documentary cinema is an intersection where science meets art. Therefore, a documentary filmmaker must be both a scientist and an artist. Arın conducted a rigorous research process in his own documentaries and tried to put the subject he had handled into a “framework”. Reevaluation of Sinan Through Hüseyin Anka (1989) is one of Arın’s works that brought his views on documentary cinema the closest to the ideal level. The aim of this study is to analyze the creative approach of the documentary which combines science and art. Suha Arın’s creative approach which handles the subject in three planes keeps the documentary away from being an ordinary artist portrait. In the first plane, sculptor Hüseyin Anka Özkan’s (1909-2001) reevaluation of the sculpture of Sinan the Architect (1489-1588) by inspiring his image in a newly discovered miniature and his memories is presented. The pile of mud on the bench evolves into an impressive figure of Sinan the Architect in the skillful hands of Hüseyin Anka who works with great passion. In the second plane, the story of the chief architect of the Ottoman Empire is conveyed through the mouth of one of the most important sculptors in the history of the Republic. Hüseyin Anka reshapes the sculpture according to the course of the events he tells. In the third plane, Suha Arın establishes a parallelism between the lives of these two great artists -one from the Republic and the other from the Ottoman Empire. The artworks of three great masters are exhibited in a single documentary.
Keywords: Art, science, creativity, documentary cinema