Publication: Sinemada montaj ve Reha Erdem söylemini anlamak
Abstract
Sinema sanatının varlık ve işlevselliğinde önemli görevler üstlenen kurgu, sinemanın en önemli öğelerinden biri olarak kabul edilir. Kurgu, senaryo yazımından çekim aşamasına kadar çok sayıda bileşenin göz önünde bulundurulduğu bir alana tekabül etmektedir. Kapsamının genişliği itibariyle de kuramlara konu olmuş ve yaratıcı yönetmenlerin estetik anlayışlarının temelini oluşturmuştur. Sinema ilk yıllarında, hareketli görüntünün saptanılmasından ibaretti. Kurguyla beraber, dramatik etki sinemaya girmiş oldu. Farklı çekim ölçeklerinin dramatik etki oluşturacak şekilde kurgulanması, sinemayı sanatsal bir etkinliğe dönüştürdü. Melies’in, kayıttayken arızalanıp duran, tekrar çalıştığındaysa zamansal farklılığı da kaydeden kamerası, rastlantı sonucu kurguyu sinemaya kazandırmıştır. Ardından Griffith’in çekim ölçeklerini, özellikle yakın çekimi kurgu aracılığıyla dramatik etkiyi artıracak şekilde kullanması, sinema sanatının kendisine ait dilini oluşturmuştur. Böylece kurgu aracılığıyla, film dilinin varlığını mümkün kılan filmsel zaman ve mekân yaratılmış oldu. Filmsel zaman ve mekân, film boyunca izleyiciyi gerçek yaşamdaki zaman ve mekân zorunluluklarından kurtarır. Sanat faaliyetinin temelini oluşturan filmsel zaman ve filmsel mekânı kurgu meydana getirmiştir. Kendisine has özellikleriyle öne çıkan kurgu, zihinsel faaliyetin izdüşümü gibi çalışarak, sinema sanatında en görünür hale gelmektedir. Sinemanın kendisine özgü yapısı, kurgunun varlığı ve etkin olarak kullanımından kaynaklanmaktadır. Çalışmada, filmlerin en güçlü öğelerinden biri olan kurgunun sinemayı sanatsal bir faaliyete dönüştürmesinin ardından sinematografideki yeri ve önemi saptanmıştır. Kurgunun sinemasal etki alanından başka günlük yaşamdaki yeri araştırılıp, sinemada anlam inşasındaki etkin rolü, Reha Erdem filmleriyle incelenerek sergilenmektedir. Sanat, Sinema, Kurgu, Gerçek Zaman, Filmsel Zaman, Biçim, Anlam
Montage, which takes on important functions in the existence and functionality of cinema, is accepted as one of the most important elements of cinema. It corresponds to the discipline in which lots of components ,from the stage of script writing to shooting, are taken into consideration. It becomes a subject to theories and underlies some creative directors’ sense of aesthetics because of its content variety. In the first years, cinema was only made up of images with motion. The dramatic effect in cinema came up with montage. Some different scales of shots were fictionalized in a way that formed dramatic effect and this transformed cinema into an artistic activity. Melies’camera ,which often broke down on record and recorded the time difference when it started working again, brought montage into cinema accidentally. Afterwards Griffith’s scales of shots and his using close-up to increase dramatic effect by means of montage made the art of cinema form its own language. In this way setting which also made the presence of film language possible, was created by means of montage. Setting (time and place) makes audience relieve of real-life obligations of time and place during the film. Setting that forms the base of artistic work is created by montage. Montage, which comes forward with its specific characteristics, becomes the most apparent in cinema by working as the projection of mental activity. The distinctive structure of cinema originates from the presence of montage and its efficient use. In this work montage’s -one of the strongest film elements- transforming cinema into an artistic activity, its place and importance in cinematography are all determined. Apart from its cinematic effects, the place of montage in daily life is also searched and the active role of montage in cinematic formation of sense is reflected by examining the movies of Reha Erdem. Key Words: Art, Cinema, Montage, Real Time, Setting, Form, Sense.
Montage, which takes on important functions in the existence and functionality of cinema, is accepted as one of the most important elements of cinema. It corresponds to the discipline in which lots of components ,from the stage of script writing to shooting, are taken into consideration. It becomes a subject to theories and underlies some creative directors’ sense of aesthetics because of its content variety. In the first years, cinema was only made up of images with motion. The dramatic effect in cinema came up with montage. Some different scales of shots were fictionalized in a way that formed dramatic effect and this transformed cinema into an artistic activity. Melies’camera ,which often broke down on record and recorded the time difference when it started working again, brought montage into cinema accidentally. Afterwards Griffith’s scales of shots and his using close-up to increase dramatic effect by means of montage made the art of cinema form its own language. In this way setting which also made the presence of film language possible, was created by means of montage. Setting (time and place) makes audience relieve of real-life obligations of time and place during the film. Setting that forms the base of artistic work is created by montage. Montage, which comes forward with its specific characteristics, becomes the most apparent in cinema by working as the projection of mental activity. The distinctive structure of cinema originates from the presence of montage and its efficient use. In this work montage’s -one of the strongest film elements- transforming cinema into an artistic activity, its place and importance in cinematography are all determined. Apart from its cinematic effects, the place of montage in daily life is also searched and the active role of montage in cinematic formation of sense is reflected by examining the movies of Reha Erdem. Key Words: Art, Cinema, Montage, Real Time, Setting, Form, Sense.