Gilles Deleuze'ün sinema felsefesi bağlamında Ömer Kavur sinemasında zaman-imgesi
Küçük Resim Yok
Tarih
2023
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İnönü Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Sinemayı imge yaratma olanı olarak nitelendiren Gilles Deleuze, iki farklı sinematik imge olduğunu ifade etmektedir. Sinema tarihinin farklı dönemine karşılık gelen bu iki imge türü, hareket-imgesi ve zaman-imgesi olarak kavramsallaştırılmaktadır. Hareket-imge ya da geleneksel gerçekçi sinema, İkinci Dünya Savaşı öncesi film yapma biçimidir. Burada karakterlerin hareketine ve aksiyona odaklanılmaktadır. Hareketin merkeze alındığı hareket-imgesinde zamanın da dolaylı bir imgesi sunulmaktadır. Organik olay örgüsünün söz konusu olduğu bu sinemada, olaylar nedensellik bağı içerisinde birbirine zincirlenir. İkinci Dünya Savaşı'nda yaşananlar geleneksel sinemada bir krize neden olur. İnsanın duyu-motor bütünlüğünün olduğu sinemanın çökmesiyle zaman-imge ya da modern sinema olarak nitelendirilen yeni bir film yapma tarzı öne çıkar. Duyumsal-devinimsel bütünlüğün çökmesiyle saf optik ve sessel durumlar ortaya çıkar. Zaman-imge sinemasında artık zamanın doğrudan sunumu söz konusudur. Bu çalışma, Ömer Kavur sinemasını zaman-imge bağlamında incelemeyi amaçlamaktadır. Bu doğrultuda örneklem olarak seçilen 'Anayurt Oteli' (1987), 'Gizli Yüz' (1991) ve 'Akrebin Yolculuğu' (1997) filmleri "öyküleme biçimi, karakterler, mekânın kullanımı, ses-görüntü unsurları ve zaman algısı" gibi unsurlara göre çözümlenmiştir.
Gilles Deleuze, who describes cinema as the one that creates images, states that there are two different cinematic images. These two image types, which correspond to different periods of cinema history, are conceptualized as movement-image and time-image. Motion-image, or traditional realistic cinema, is a pre-World War II form of filmmaking. Here, the focus is on the movement and action of the characters. An indirect image of time is also presented in the movement-image, in which movement is centered. In this cinema where organic plot is in question, events are chained to each other in a causal link. The events of the Second World War cause a crisis in traditional cinema. With the collapse of the cinema, where the human sensory-motor integrity is present, a new film-making style, which is characterized as time-image or modern cinema, comes to the fore. With the collapse of the sensory-motor integrity, pure optical and sonic states emerge. In time-image cinema, there is now a direct presentation of time. This study aims to examine Ömer Kavur's cinema in the context of time-image. In this direction, the films 'Anayurt Oteli' (1987), 'Gizli Yuz' (1991) and 'Akrebin Yolculugu' (1997), which were selected as samples, were analyzed according to elements such as "story style, characters, use of space, audio-visual elements and time perception".
Gilles Deleuze, who describes cinema as the one that creates images, states that there are two different cinematic images. These two image types, which correspond to different periods of cinema history, are conceptualized as movement-image and time-image. Motion-image, or traditional realistic cinema, is a pre-World War II form of filmmaking. Here, the focus is on the movement and action of the characters. An indirect image of time is also presented in the movement-image, in which movement is centered. In this cinema where organic plot is in question, events are chained to each other in a causal link. The events of the Second World War cause a crisis in traditional cinema. With the collapse of the cinema, where the human sensory-motor integrity is present, a new film-making style, which is characterized as time-image or modern cinema, comes to the fore. With the collapse of the sensory-motor integrity, pure optical and sonic states emerge. In time-image cinema, there is now a direct presentation of time. This study aims to examine Ömer Kavur's cinema in the context of time-image. In this direction, the films 'Anayurt Oteli' (1987), 'Gizli Yuz' (1991) and 'Akrebin Yolculugu' (1997), which were selected as samples, were analyzed according to elements such as "story style, characters, use of space, audio-visual elements and time perception".
Açıklama
Anahtar Kelimeler
Felsefe, Philosophy
