New Turkish Cinema and Deleuze's Philosophy

What do we see and hear when we extract films from socio-economic patterns that change over time but remain essentially the same? Is it not cinema's singular existence that is removed from the screen in the endless inflation of "the new" that defines the historical boundaries of these patterns? If we disregard this existence, what difference remains, for example, between reading a novel and watching a film? It is precisely this ability to ponder this difference that makes Deleuze valuable for film studies. With Deleuze, we can examine both the difference of cinema and the differentiation within this difference – images and signs – together.