Publication: Canlandırma sineması ve imgenin gerçekliği
Abstract
Bu çalışma, canlandırma sinemasını live-action sinemadan farklılaştıran unsurların belirlenmesine ve özgün gücünün kaynağına dair bir keşif ihtiyacı ile ortaya çıktı. Hareketli fotografik imgeye dayandırılmış sinematik imgenin alanında, üretim biçimi ile özerk bir alan açan canlandırma sinemasında imge ve anlatı üzerine kuramsal ve uygulamalı bir çalışma gerçekleştirildi. Çalışma bünyesinde, Vişnu-Düş isimli kısa canlandırma filmi, canlandırma imgenin gerçek imge ile sınırlarını düş görme ve düş imgeleri üzerinden ele almak üzere, analog kağıt kukla stop-motion ve live-action çekim yöntemleri ile üretildi. Canlandırma sinemasında imgenin gerçeklik ve etkisinin anlaşılabilmesi için, sanatsal ve sinematik imgelerin özellikleri incelendi. Mimetik işleyen sinematik imgenin hareket ve zamanla ilişkisinin kamera ve kurgu aracılığıyla oluşturulduğu ve anlatıcının buralarda gözüken izinin diegetik anlatı ögelerini ortaya çıkardığı anlaşılarak hareket edildi. Canlandırma sinemasının şeffaflık etkisini sıklıkla göz ardı ettiği ve üretim süreci boyunca imgenin içerisine anlatıcının izini dahil ettiği görüldü. Canlandırma imgesinin her yönüyle dönüştürülebilir olma ve cansız olanı canlandırma özelliğinin, gerçekliğin yeniden-üretiminin ötesine geçtiği ve imgenin bu özelliğinin anlatıda özdüşünümsellik, anlatıcının varlığı, tutarlı bir evren ve olağandışı ögelerle desteklendiği gözlemlendi. Canlandırma sinemasında imgenin üretim zamanı, izlenme zamanı ve bakış süresi ile ilişkisi incelendi. Kuramsal incelemelerde, canlandırma sineması, sanatçının dolayımı ile boşluğa öge eklenmesiyle yapıldığı için eklemeli bir alan; fotoğraf ve sinema ise gerçeklikten bir çerçeve çıkartıldığı için eksiltmeli alanlar olarak ele alındı. Canlandırma sinemasında bu durumun anlatıcının imge dahilindeki iziyle birleşerek, daha diegetik özelliklerin vurgulanmasını sağladığı belirlendi. Kuramsal ve uygulamalı olarak canlandırmanın, içsel ve zihinsel hallerin ifadesinde sinema dahilinde imgesel ve anlatısal olarak daha derinlere inme imkanı tanıdığı saptandı. nema, Canlandırma Sineması, Stop-motion, Fotograf, İmge, Gerçeklik, Anlatı Çeşitleri, Diegesis, Mimesis.
This study arose from the necessity for an identification of the factors differentiating animation from live-action film and the source of energy behind its authentic images. Theoretical and artistic studies were conducted regarding the particular space that the animated image and narrative created within the field of cinema. As part of this study, a short animation called Vishnu-Dream was produced with cut-out stop-motion and live-action techniques, exploring the boundaries of the animated and real images from a perspective of dream-images. In order to further understand the reality and impact of the animated image, qualities of artistic and cinematic images were considered. It was acknowledged that within the mimetic field of cinema, camera use and editing founded the relationship of the image to movement and time; hence, the visible evidence of the narrator herein reintroduced diegetic aspects to narrative. It was observed that animation often disregarded the transparency of editing and incorporated traces of the narrator into the animated image throughout its production process. It was discovered that the animated image’s overall transformability and power to blow life into the inanimate transcended realistic reproduction, and was supported in narrative by self-reflexivity, the presence of the narrator, a consistent universe and use of extraordinary elements. The relationship of the image to the times of its creation and viewing, and the duration of viewership was examined. In theoretical explorations, animation was approached as an additive field for its addition of elements onto blank space with the artist’s mediation, and photography and cinema as subtractive fields for their extraction of a frame from reality. It was disclosed that in animation, this coupled with the animator’s imprint within the image, and highlighted diegetic aspects. It was noted that the animated image allowed for a deeper expression of human inner-scape and consciousness. Key Words: Cinema, Animation, Stop-motion, Photograph, Image, Reality, Narrative, Diegesis, Mimesis.
This study arose from the necessity for an identification of the factors differentiating animation from live-action film and the source of energy behind its authentic images. Theoretical and artistic studies were conducted regarding the particular space that the animated image and narrative created within the field of cinema. As part of this study, a short animation called Vishnu-Dream was produced with cut-out stop-motion and live-action techniques, exploring the boundaries of the animated and real images from a perspective of dream-images. In order to further understand the reality and impact of the animated image, qualities of artistic and cinematic images were considered. It was acknowledged that within the mimetic field of cinema, camera use and editing founded the relationship of the image to movement and time; hence, the visible evidence of the narrator herein reintroduced diegetic aspects to narrative. It was observed that animation often disregarded the transparency of editing and incorporated traces of the narrator into the animated image throughout its production process. It was discovered that the animated image’s overall transformability and power to blow life into the inanimate transcended realistic reproduction, and was supported in narrative by self-reflexivity, the presence of the narrator, a consistent universe and use of extraordinary elements. The relationship of the image to the times of its creation and viewing, and the duration of viewership was examined. In theoretical explorations, animation was approached as an additive field for its addition of elements onto blank space with the artist’s mediation, and photography and cinema as subtractive fields for their extraction of a frame from reality. It was disclosed that in animation, this coupled with the animator’s imprint within the image, and highlighted diegetic aspects. It was noted that the animated image allowed for a deeper expression of human inner-scape and consciousness. Key Words: Cinema, Animation, Stop-motion, Photograph, Image, Reality, Narrative, Diegesis, Mimesis.