Lütfi Ömer Akad ve Yalnızlar Rıhtımı (1959): biçemsel bir analiz
Yükleniyor...
Dosyalar
Tarih
2009
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi İletişim Fakültesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Sinema sanatında biçemi olan bir yönetmen her filmde kendi sinema diline ait unsurları barındırır ve bu dili mutlaka izleyicisine hissettirir. Biçemi oluşturan unsurlar anlatı yapısı, sinematografi, mizansen, kurgu ve ses gibi sinemasal anlatımın temel öğeleridir. Lütfi Ömer Akad, Türk Sinema Tarihi’nde gerçek anlamda sinema dilini kurma ve uygulama açısından akla gelebilecek ilk isimdir. Çünkü ondan önceki dönem, Türk Sineması’nda, tiyatrodan yetişme yönetmenlerin egemenliği altında geçen ve sinemanın “tiyatro gibi” yapıldığı bir etkilenme dönemidir. Akad ele aldığı içeriği, içinde yaşadığı toplumun ve sinemanın gerçeklerinden soyutlamayarak, kendisine özgü bir anlatım dili geliştirip sunan ilk Türk yönetmendir. Bu çalışmanın temel amacı, Akad’ın filmlerinde yaratmış olduğu bu özgün biçemi açıklamaya çalışmaktır. Bu amaçla, önce sinemada biçem konusundan bahsedilecek, daha sonra ise Yalnızlar Rıhtımı (1959) filmi üzerinden Akad’ın biçeminin izleri sürülerek ayrıntılı bir analiz yapılmaya çalışılacaktır. Bu çalışmada David Bordwell ve Kristin Thompson’un Film Art: An Introduction isimli araştırmalarında kullanılan biçemsel analiz yönteminden yararlanılmıştır.
A director having his/her own style in cinema nestles items belonging to his/her own film language in each of the films that he/she shoots, and he/she absolutely makes his/her spectators feel such film language. The items composing the said style are the basic elements of cinematic expression such as narrative structure, cinematography, mise-en-scene, editing and sound. Lutfi Omer Akad is probably the first name that comes to mind in Turkish Cinema History with regard to establishment of film language and the application thereof in the literal sense. As known, the period passed prior to him has been admitted as a "period of influence" since during such period, the Turkish Cinema was dominated by directors previously performed at theatres and accordingly, the art of cinema was carried out similar to the theater business. Akad is the first Turkish director who never abstracted the content that he dealt with from the realities of the art of cinema as well as the society he lived in. The purpose of this work is to try to explain such original style that Akad has created in his movies. As such, style in the art of cinema will be discussed first, and then Akad's style will be analysed in details through the movie called Yalnizlar Rihtimi (1959). The method of this work is the film style analysis of Film Art: An Introduction by David Bordwell and Kristin Thompson.
A director having his/her own style in cinema nestles items belonging to his/her own film language in each of the films that he/she shoots, and he/she absolutely makes his/her spectators feel such film language. The items composing the said style are the basic elements of cinematic expression such as narrative structure, cinematography, mise-en-scene, editing and sound. Lutfi Omer Akad is probably the first name that comes to mind in Turkish Cinema History with regard to establishment of film language and the application thereof in the literal sense. As known, the period passed prior to him has been admitted as a "period of influence" since during such period, the Turkish Cinema was dominated by directors previously performed at theatres and accordingly, the art of cinema was carried out similar to the theater business. Akad is the first Turkish director who never abstracted the content that he dealt with from the realities of the art of cinema as well as the society he lived in. The purpose of this work is to try to explain such original style that Akad has created in his movies. As such, style in the art of cinema will be discussed first, and then Akad's style will be analysed in details through the movie called Yalnizlar Rihtimi (1959). The method of this work is the film style analysis of Film Art: An Introduction by David Bordwell and Kristin Thompson.
Açıklama
Url: http://josc.selcuk.edu.tr/article/view/1075000150
Anahtar Kelimeler
Lütfi Ömer Akad, Türk sineması, Turkish cinema, Sinema estetiği, Film esthetics
Kaynak
Selçuk İletişim
WoS Q Değeri
Scopus Q Değeri
Cilt
5
Sayı
Künye
Serter, S. S. (2009). Lütfi Ömer Akad ve Yalnızlar Rıhtımı (1959): biçemsel bir analiz. Selçuk İletişim, 5, (4), 136-147.
