This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel "My Name is Red," by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award. This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). "My Name is Red" highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism--a dominance of vision--confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite--the absence of vision as supreme achievement within the Islamic-Turkic tradition. This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. Just as Pamuk gives individualized and in that sense, "modern" voices to his anachronistically created sixteenth-century characters, thus implementing a verbal technique of narration in an epoch where its practice would have been impossible, this essay intends to carry a camera concept to the same era. The methodology will be similar to that of Pamuk: To see the visual narration techniques of the period from the perspective of the "moving images" and to compare the two traditions, elaborated in "My Name is Red," from the viewpoint of cinema. (Contains 34 notes.)