Cinema, which made its first public screenings in the early twentieth century, came to the fore as the art form that influenced the masses the most in social and artistic terms. Functioning as a work of art and a means of entertainment, cinema, unlike other branches of art, has followed certain visual rules and guided the masses. Despite certain physical constraints such as frame ratio, cinema has created its own style and this frame ratio has changed throughout history. In Turkish cinema, the frame ratio of 1.33:1 was used as the standard for many years. However, after television and then digital screening media changed the frame ratios in order to adapt to widescreen formats, this led to image loss in some films. This study examines the effect of digital film restoration on the cinematic style of Turkish cinema and director Metin Erksan's film The Revenge of the Snakes. The study first discusses the technical aspects, justifications and ethical dimension of digital film restoration, and then compares the original and restored copies of the film The Revenge of the Snakes and tries to reveal the effect of cutting the frame ratio on mise-en-scene and composition. As a result of the examination, it has been determined that the cut in the frame ratio as a result of the digital restoration made in the film The Revenge of the Snakes has an effect that directly affects the meaning of the film and completely changes the mise-en-scene and composition intended by the director.
Keywords: Metin Erksan, Digital Film Restoration, Style, Revenge of the Snakes, Turkish Cinema