Derviş Zaim Sineması’nda anlam yaratmada kurgu
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Tarih
2022
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
T.C. Maltepe Üniversitesi, Lisansüstü Eğitim Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Sanat kavramı yeryüzünde insanla beraber ortaya çıkmıştır. Tarih boyunca sanat insanların kendilerini çevreleyen doğaya yaklaşım biçimi olmuş, mimari, müzik, resim ve heykel gibi sanatlar insanın doğa ile etkileşiminin bir sonucu olarak ortaya çıkmıştır. İnsan çevresinden ilham alarak ortaya çıkardığı sanat eserlerine şekil vererek doğayı dönüştürürken, aynı zamanda kendi tarihini de yazmıştır. 7. Sanat olan sinema da bir çırpıda ortaya çıkmamış, insanın görme ve keşfetme macerasının bir ürünü olarak yüzyılların süzgecinden geçerek bugünkü şeklini almıştır. İlk icat edildiği yıllarda bir eğlence olarak kabul edilen sinema içinde doğup gelişmiş olduğu 20. yüzyılın zorlu koşullarıyla paralel ve insanlık mirasının ona kattığı değerlerle dolu olarak geleceğe yürümüştür. Teknolojik ilerlemelerle zenginleşen sinema, bir eğlence aracından çağımızın en güçlü iletişim aracına dönüşmüştür. Bunda dış gerçekliği güçlü bir şekilde kopyalayabilmesinin büyük payı vardır. Ancak onu kendisi yapan ve diğer sanatlardan ayıran en önemli özelliği kurgudur. Kurgu aracılığı ile dış gerçeklik yoğunlaştırılmış bir şekilde verilerek seyircilerin duygu ve düşüncelerine yön verilebilmektedir. Başlangıçta sessiz olan sinema, sesin eklenmesiyle birlikte bambaşka bir boyut kazanmıştır. Özellikle yüzyılın ikinci yarısında savaşların getirdiği yıkımlar sonrası ortaya çıkan yeni gerçekçilik akımları sinemayı derinden etkileyerek onu gerçekliği estetik olarak ifade edebilen evrensel bir sanat eseri haline getirmiştir. Bu ise, kurgu tekniklerini filmlerinde ilk defa kullanarak kurumsallaştıran Amerikalı Griffith ve O’ndan aldıkları teknikleri geliştirerek filmlerin bir sanat olarak değerlendirilmesinin önünü açan Sovyet sinema sanatçıları sayesinde mümkün olabilmiştir. Ülkemizde ise, bu akım etkisini 1960’lı yıllardan itibaren göstererek auteur yönetmenlerin ortaya çıkmasını sağlamıştır. Ancak yine de bu bağımsız yapımlar ana akım Yeşilçam sinemasının gölgesinde kalmışlardır. Sonrasında askeri darbeler yaşayarak düşüşe geçen ulus sineması 90’lı yıllara gelindiğinde yeni bir ivme yakalamış, bağımsız yapımlar tekrar kendini göstermeye başlamıştır. Sinema sanatçıları bu tarihlerde klasik Yeşilçam sineması mantığından sapan filmlere imza atmışlardır. Yönetmen Derviş Zaim, bu akımın kendine has ve öncü yönetmenlerinden birisi olarak göze çarpar. Zaim, geleneksel kültürümüze ait unsurları filmlerinin bir parçası haline getirerek kendine özgü disiplinler arası bir anlatım tarzı yakalamayı başarmıştır. Zaim, bu unsurları kurgunun bir bileşeni olarak kullanarak yeni ve denenmemiş bir yola girmiştir. Tez çalışmasında, sinemanın sessiz ve sonrasında gelen sesli dönemindeki kurgu anlayışı incelenerek tarihsel süreçte nasıl geliştiği irdelenecek ve sonrasında kurgunun film yapımındaki rolü ele alınacaktır. Tezin son bölümünde ise, yönetmen sinemasının ülkemizdeki en önemli temsilcilerinden Derviş Zaim’in filmleri Devir (2012), Balık (2014) ve Rüya (2016) filmleri kurgu yönünden ele alınacaktır.
Art could reveal itself only through the presence of humanity. During the course of history, art was always a mean to deal with the environment for human beings. Art forms like architecture, music, painting and sculpture emerged as a result of human - nature interaction. Human beings in fact, wrote their own history and transformed the nature at the same time while making art works with the inspiration coming from nature. Cinema as the 7. Art form didn’t show up as a coincidence. It could realize itself as a result of the experiences of decades and as a consequence of the adventure of human beings to see and to innovate. Regarded merely as a medium of entertainment in the early years of its invention, cinema made its way towards the future parallel not only with the hardships of 20. Century in which it emerged but also loading with the cultural values it inherited from the past. Introduced with a great deal of novelties along the way it continued to develop itself and became one of the most influential communication means of the century instead of a medium of entertainment. It was particularly it’s strong impression of reality which helped to fulfil that. However, the most significant element which distinguishes cinema from other art forms is the ‘art of editing’. Moving pictures can manipulate emotions and thoughts in a visual and unique way by the use of editing. Having no voice at the beginning, cinema gained a further dimension with the integration of voice. In the second half of the century, destruction of war led to new realist movements. Movements of social realism deeply influenced cinema and made it an art and expression form which represents thoughts. This is due to the efforts of Griffith who found and utilised editing techniques in his films in order to create meaning and also with the Soviet cinema artists who adopted the techniques of Griffith and developed them even further so that cinema would be acknowledged as an art form. This wave became particularly efficient in our country since 1960’s and auteur directors began to rise. But still, independent productions were ignored within the monopoly of Yeşilçam Cinema. After experiencing a few military interventions, national cinema has gained a new acceleration especially in the 90’s and independent works returned. Young cinema artists put their signature under the films which marked a deviation from the main stream Yeşilçam Cinema. Derviş Zaim, as a renowned cinema director is one of the specific and pioneering figures of this period. By utilising elements of our traditional culture into his films in a unique way he grasps an original interdisciplinary film style. By using antique elements in his films as an editing component he dares to enter a new and untried path. Within the scope of the thesis, the comprehension of editing notion during the silent and sound periods will be examined and then the role of editing in film making will be described. In the last part of the thesis, Auteur director Derviş Zaim’s films subsequently ‘Cycle’ (2012), ‘Fish’ (2014) and ‘Dream’ (2016) will be analysed in terms of their editing styles which create meaning.
Art could reveal itself only through the presence of humanity. During the course of history, art was always a mean to deal with the environment for human beings. Art forms like architecture, music, painting and sculpture emerged as a result of human - nature interaction. Human beings in fact, wrote their own history and transformed the nature at the same time while making art works with the inspiration coming from nature. Cinema as the 7. Art form didn’t show up as a coincidence. It could realize itself as a result of the experiences of decades and as a consequence of the adventure of human beings to see and to innovate. Regarded merely as a medium of entertainment in the early years of its invention, cinema made its way towards the future parallel not only with the hardships of 20. Century in which it emerged but also loading with the cultural values it inherited from the past. Introduced with a great deal of novelties along the way it continued to develop itself and became one of the most influential communication means of the century instead of a medium of entertainment. It was particularly it’s strong impression of reality which helped to fulfil that. However, the most significant element which distinguishes cinema from other art forms is the ‘art of editing’. Moving pictures can manipulate emotions and thoughts in a visual and unique way by the use of editing. Having no voice at the beginning, cinema gained a further dimension with the integration of voice. In the second half of the century, destruction of war led to new realist movements. Movements of social realism deeply influenced cinema and made it an art and expression form which represents thoughts. This is due to the efforts of Griffith who found and utilised editing techniques in his films in order to create meaning and also with the Soviet cinema artists who adopted the techniques of Griffith and developed them even further so that cinema would be acknowledged as an art form. This wave became particularly efficient in our country since 1960’s and auteur directors began to rise. But still, independent productions were ignored within the monopoly of Yeşilçam Cinema. After experiencing a few military interventions, national cinema has gained a new acceleration especially in the 90’s and independent works returned. Young cinema artists put their signature under the films which marked a deviation from the main stream Yeşilçam Cinema. Derviş Zaim, as a renowned cinema director is one of the specific and pioneering figures of this period. By utilising elements of our traditional culture into his films in a unique way he grasps an original interdisciplinary film style. By using antique elements in his films as an editing component he dares to enter a new and untried path. Within the scope of the thesis, the comprehension of editing notion during the silent and sound periods will be examined and then the role of editing in film making will be described. In the last part of the thesis, Auteur director Derviş Zaim’s films subsequently ‘Cycle’ (2012), ‘Fish’ (2014) and ‘Dream’ (2016) will be analysed in terms of their editing styles which create meaning.
Açıklama
Anahtar Kelimeler
Sinema, Kurgu, Sessiz sinema, Sesli sinema, Yönetmen sineması, Derviş Zaim Sineması, Cinema, Editing, Silent cinema, Sound cinema, Auteur cinema
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Erdem, M. Y. (2022). Derviş Zaim Sineması’nda anlam yaratmada kurgu / Editing in creating meaning within the context of Dervis Zaim’s Cinema. (Yayımlanmamış Yüksek Lisans Tezi). Maltepe Üniversitesi, Lisansüstü Eğitim Enstitüsü, İstanbul.
