MA in Film and Television
Bu koleksiyon için kalıcı URI
Güncel Gönderiler
Öğe An autoethnographic exploration: how did Agnès Varda change my way of seeing?(İstanbul Bilgi Üniversitesi, 2022) Demirhan, Zeynep; Çiçekoğlu, FerideABSTRACT: This thesis uses autoethnography as the research method to explore how Varda’s filmmaking has inspired the way I film and document my memories of the city. Agnès Varda’s autobiographic eye and cinematic subjectivity in the nexus of the urban environment are significant in three respects. First, Varda represents her memories by mixing autobiographical narration with artistic experiments with form. Thus, this thesis will explore two documentaries, L’Opéra Mouffe (1958) and Les Plâges d’Agnès (2008), and an installation Les Veuves de Noirmoutier (2004) from her exhibition L’île et Elle (The Island and She) at the Fondation Cartier in Paris. Second, Varda’s films are situated in certain places, which she deems important in constructing one’s identity. Hence, this thesis argues that the term genius loci is central to her take on places. Third, Varda’s filmmaking can be interpreted as a flâneusian activity. Thus, the focus will be on Varda’s relation to the city in her selected films Cléo from 5 to 7 (1962), Les Dites Cariatides (1984), and Uncle Yanco (1967). Whereas the first part of the thesis will emphasize Varda’s experiences of the city and her relation to the spirit of places, the second part of the thesis will highlight the resonances between Varda’s filmmaking and my way of recollecting my memories of the city in film, following the footsteps of Varda, and reflecting on my relationship with Istanbul after Ankara. In particular, the thesis will reveal the effects of Varda on my three short films Survival (Büyükada), Neighbor (Dolapdere,) and Faces (my grandmother’s gradual loss of memory).Öğe Differentiation of the narration in novel-to-tv adaptation: a case study of The Sinner(İstanbul Bilgi Üniversitesi, 2022) Kirezçik, Sena; Thwaites Diken, Ebru ÇiğdemABSTRACT: This thesis focuses on the TV drama series The Sinner (Purple et al., 20172021) based on the bestselling psychological thriller by Petra Hammesfahr. Both Hammesfahr’s novel by the same name and the series tell the story of Cora Tannetti (Jessica Biel). Tannetti suddenly stabs a stranger in the neck while enjoying a day on the beach, and later on, she pleads guilty in court. While detective Harry (Bill Pullman) is inquiring about the case, he suspects that there might be a traumatic event in Cora’s past and she may have committed the murder as a result of this incident, which she does not remember. Throughout the process of adaptation from literary text to screen, the same plotline is approached in three different ways. The same story told as a novel is different from its adaptation to a script. Likewise, the reflection of the story on the screen will also differ from the scenario. The main reason behind this differentiation is that literary texts, scripts, and TV series are based on different dramatic structures. The thesis highlights how the dramatic structures of a novel and its script adaptation differ from each other while using textual analysis as its main method. It compares the narratives and the narration of the novel and the series and focuses on the techniques of adaptation from one to the other.Öğe Representation of power relations in daytıme television in Turkey: the cases of Gelinim Mutfakta and Zuhal Topal"la Sofrada(İstanbul Bilgi Üniversitesi, 2021) Teoman, Öykü; Unur, Ayşegül KesirliABSTRACT: Daytime television was originally designed and structured to accompany ‘housewives’ on their domestic tasks. In a similar vein, daytime television in Turkey is still dominated by shows that put domestic life and intra-familial relationships into their focus. Among these contemporary media productions, however, one specific trend comes to the fore in particular: cooking competitions between in-laws. Accordingly, in this thesis the power dynamics between mothers-in-law and daughters-in-law represented in two daytime shows broadcast on private channels FOX and Kanal D, Zuhal Topal’la Sofrada (At the Dinner with Zuhal Topal) and Gelinim Mutfakta (My Daughter-in-Law in the Kitchen) are analyzed by drawing on the Foucaldian conceptualization of ‘power’ and his understanding of ‘family’ as a site of power. These two shows take advantage of the stereotypes about this relationship while the formats resembling cooking shows revolve around four or five in-law pairs competing against each other based on the one immutable rule: daughters-in-law cook, and mothers-in-law eat and grade. Although mothers-in-law and daughters-in-law compete together in teams, the narrative of these shows highlights conflicts between them instead of companionship and points to a certain hierarchy between the pair. Despite the formats’ discourse, however, these daytime shows, with their rather unpolished narratives and diversified participants, generate new discussions about class, family and gender dynamics in Turkey while embodying unconventional power dynamics where traditional gender roles and intra-familial hierarchies are subverted. This study aspires to contribute to the emerging scholarship about daytime practices and contemporary gender discourses in Turkey.Öğe Humour as social critic in Romanian New Wave: The Death of Mr. Lazarescu, 12:08 East of Bucharest, The Happiest Girl in the World(İstanbul Bilgi Üniversitesi, 2021) Sefer, Onur; Thwaıtes Diken, Ebru ÇiğdemABSTRACT: The aim of this thesis is to analyse the humour that has a social critical function in the films The Death of Mr. Lazarescu (2005), 12:08 East of Bucharest (2006) and The Happiest Girl in the World (2009). Various theories of humour and the historical and cultural background of Romanian New Wave cinema are analysed in the thesis. Finally, by analysing the sense of humour that emerged in the new wave cinema, explaining how humour functions as social criticism has been the focus of the thesis.Öğe The cinematic representation of architecture in the tv series: "Eşik" (Threshold)(İstanbul Bilgi Üniversitesi, 2022) Ertek, Fevziye Hazal; Çiçekoğlu, FerideABSTRACT: This thesis focuses on how examples of architecture from the twenty-first century Turkey are reflected in the TV documentary series EŞİK (Threshold) with reference to the concepts of threshold and duration as developed by Bergson and Benjamin. Bergson underscored that problems should be defined in terms of time rather than in terms of space as summarized by Deleuze in Intuition as Method. Benjamin used this method intuitively while writing about the passages of Paris, and he emphasized experience as duration. The first season of the documentary series EŞİK was designed with a similar method, choosing thirteen buildings built in the twenty-first century. While presenting the buildings with a voice-over narration of their designers, the cinematographic representation aimed at offering an experiential point of view as if the spectators were moving through the spaces. The camera was used not as an alienated observer looking at the buildings and surfaces, but as a haptic interface inviting the observer to a lived experience of the spaces. "Haptic visuality" as coined by Laura Marks synthesizes a notion of embodied, tactile and multisensory visuality inspired by Bergson. The final aim of the documentary series was to initiate the spectator to visit the represented buildings by highlighting the effects of light, sound and the multisensory hapticity. Thus, the series itself was intended as a "threshold" to the prospective lived experience of the spectator. This thesis aims to conceptualize the haptic visuality of the series at a theoretical level.Öğe Yvonne Rainer films: Corporeality, performance, female subjectivity(İstanbul Bilgi Üniversitesi, 2021) Kılınç, Selen; Diken, Ebru Çiğdem ThwaitesABSTRACT: This thesis looks at how female subjectivities emerge in Yvonne Rainer’s films at three levels: at the level of director, at the level of the representation of women characters, at the level of women spectators. Her synthesis of movement both in her performance and filmmaking shows her selfreflexive attitude. Thus I analyzed the questions of how Rainer’s representation of performing bodies allows for possible female subjectivities by building a corporeal relation with the spectator. I analyze this question at three levels; at the level of director’s identity as a female experimental filmmaker and performer at the same time and how it allows for female subjectivities in her filmmaking; at the level of character, i.e., representations of women; at the level of the spectator’s relation with the screen and how her filmmaking affects spectators embodied relationship. I examined her films, “Trio A”, “Lives of Performers”, “A Film About a Woman Who…” and “Privilege” to illustrate all three chapters.Öğe The presentation of evil in the cinema of Michael Haneke: an Arendt-centered approach(İstanbul Bilgi Üniversitesi, 2021) Kargıoğlu, İrem; Turner, Zeynep TalayABSTRACT: This study focuses on the Austrian director Michael Haneke’s cinema and specifically the presentation of evil in his films by means of form and content; it also targets to link them up with the German political theorist Hannah Arendt’s ideas. The aim of the research is to remark the particular interest the director grants to both ‘individual and social deteriorations’ and his unique way of storytelling that shows different mechanisms creating ‘evil’. In accordance with this purpose, selected feature films of the director will be analyzed by utilizing Arendt’s theories on malicious thoughts and acts. Ethical concerns related to the presentation of evil and violent acts will also be discussed to clarify how the director uniquely employs filmic language and deploys visual elements while conveying the subject. As the theoretical foundation of the study is nourished from both cinematic and philosophical doctrines, the thesis will come to a conclusion from both perspectives.Öğe The representation of collective traumas in essay films: a question of ethics and aesthetics(İstanbul Bilgi Üniversitesi, 2020) Erdede, Ruken Doğu; Çiçekoğlu, FerideABSTRACT: The main purpose of this research is to analyze the various representations of collective traumas in essay films in the context of the film form and ethics. It focuses on three essay films: ABC Africa (Abbas Kiarostami, 2001), Cameraperson (Kirsten Johnson, 2015) and The Pearl Button (Patricio Guzman, 2015). My starting point is that ethics and aesthetics are inextricably related. On this basis, the thesis demonstrates the audio-visual ethical propositions enabled by the film form and the films’ aesthetic choices. This research aims to answer the following questions: How does the intellectual root of the essay film which carry the legacy of critical thought and its formal style which diverge from conventional cinema effect the ways in which they represent collective traumas? How does the formalistic divergences in the essay films’ aesthetic choices form ethical indexes? The thesis takes issue with the directors’ subjectivity in terms of accepting responsibility of their aesthetic choices. In doing so, it aims to contribute to existing discussions in the literature on the reconsideration of film studies on the auteur and the genre based discussions in the context of the question of ethics. In this framework, the various points of analyses include the positioning of the director in the image ecology of films as a subject, the relationship between the director and the film subjects, and the anti-methodical, fragmented and the nonlinear narrative style. The positioning of the director as subject in the film blurs the conventional distinction between the director and film subjects and subverts the authoritative, objective and all-knowing authorial positions. In addition, the essay film problematizes the cinematic representations of collective traumas by exemplifying self-reflexive filmmaking practice. The anti-methodical, fragmented and nonlinear narratives of essay films point at the incomprehensibility of collective traumas. These qualities are significant in all three films in different ways. As such, these three films put forward audio-visual ethical propositions which enrich the relationship between films and ethics.Öğe Non-place as home in road films(İstanbul Bilgi Üniversitesi, 2020) Bozgeyik, Övgü; Diken, Ebru Çiğdem ThwaitesABSTRACT: This thesis interrogates the meaning of place and home in three border-crossing road films in Europe and the Eastern Europe. The road film genre is thought to be born out of America, however, road films are continuously made in different countries and geographies. The American frontier no longer exists, but the concept of frontier can be found in various realms and the road is one of them. In road films, the road acts as a frontier, where self-searching happens; as the borders are crossed, the frontiers of self are challenged. Dislocation happens due to the absence at home, and the journey represents a search for a new home. In this context, the concept of road can be analyzed with Marc Auge’s place and non-place theory. The motivation behind dislocation comes from the restlessness that is associated with the absence at home; the road takes the protagonist to a journey of searching for self, home and feeling of belonging. Can the road, as a non-place that is not historical and not in relation with identity, become a home? Is it possible to feel home on the road? This thesis aims to find answers to these questions through thematic and visual analysis of the films In July (2000) by Fatih Akin, Limonata (2015) by Ali Atay and Mr. Bean’s Holiday (2007) by Steve Bendelack. The keywords are mobility, frontier, home, non-place and journey.Öğe The body, movement and performance in films: "Pina (WimWenders, 2011)", "Black Swan (Darren Aronofsky, 2010)" and "The Danish Girl (Tom Hooper, 2015)"(İstanbul Bilgi Üniversitesi, 2020) Erdoğan, Melisa Feride; Diken, Ebru Çiğdem ThwaitesABSTRACT: In this thesis, inspired by the film Pina (Wim Wenders, 2011), the concepts of the lived body, dancing body and repetitive movements are investigated in the films Black Swan (Darren Aronofsky, 2010) and The Danish Girl (Tom Hooper, 2016). This thesis looks at the cinematic representation of the lived body through performance/dance. The research question of this thesis: are as follows: a) How is movement different in the lived body and in the dancing body? b) What is the relationship between the repetitive movements and rhythm, the cinematic rhythm? and c) How do film and dance resonate in the context of the here and the now and the lived body? Considering these questions, an analysis of each film will be made. This thesis uses the analysis of narration. In this analysis, the focus is on the way the story is told, represented, and the visual tools used to show the story. This thesis analyzes the narration of certain scenes through images and signs such as the mise-en-scene, lighting, and camera movements, etc. of certain scenes. The phenomenological approach will be used for understanding the body, lived body, experience, and the here and the now. The thesis shows a set of relations between the lived body, dancing body, repetitive movements, and rhythm through reading scenes from the two films.Öğe Dystopıan representatıon ın contemporary Turkısh cınema(İstanbul Bilgi Üniversitesi, 2019) Ünal, Umutcan; Kesirli Unur, AyşegülABSTRACT: Any fictional filmic world can be formed as dystopian, regardless of visual features of the place designed before the audience. It means that the fictional worlds with which the audience is familiar can also be evaluated under the concept of dystopia. Therefore, in the first chapter of this thesis, three criteria and some discursive elements, that are used to decide whether a film is dystopian or not, are proposed. In Chapter 2, it is shown that creating realistic worlds, that are almost inseperable from the actual world of the audience, within the dystopian tradition is possible. In the last chapter, three films from contemporary Turkish cinema, that are “Abluka” (Alper, 2015), “Sarmaşık” (Karaçelik, 2015) and “Babamın Kanatları” (Sezer, 2016), are analyzed, based on the criteria and the discursive elements presented in the first chapter. Although all three films take place in non-estranging place and time; it is shown that they can still be analyzed within the dystopian tradition, as in the other dystopian films with realistic settings which are presented in the second chapter. It is concluded that Abluka and Sarmaşık are dystopian films according to the criteria that is proposed, while Babamın Kanatları is not.Öğe Another version of reality: Yearning (Ben Hopkins,2015) and 10 to 11 (Pelin Esmer)(İstanbul Bilgi Üniversitesi, 2019) Yalçın, Yusuf Emre; Çiçekoğlu, FerideABSTRACT: In this thesis, alternative realities produced by hybrid films using fiction and documentary methods are investigated. The controversies about the different uses of cinematic reality and the definition of the boundaries of documentary cinema will be analyzed focusing on two films: Pelin Esmer's 10 to 11 (2009) and Ben Hopkins' Yearning (2015). The concept of 'faction' will be a key concept in questioning how fiction and reality may be merged in a film: Where does the fiction or reality begin in a film, and where does it end? Or at which point do they merge with each other? What is the impact of using reality and fiction in defining the genre in films? Considering these questions, the boundaries of documentary cinema will be explored. Other key concepts besides 'faction' are cinema-truth, cinéma vérité and ecstatic truth and the two films selected will be explored based on these concepts. Should a documentary film be merely concerned with the facts that stand before it, or should it be considered as an artistic expression of its creator's perception of the facts? The first approach, or the Cinema-Truth movement, inspired by the ideas of Dziga Vertov on Kino-Pravda genre and Cinéma Vérité concept, and the second approach, conceptualized by Werner Herzog's as Ecstatic truth are the theoretical references for analysis. In conclusion, the attempt will be to figure out how the methods utilized in the selected films contribute to a new understanding of hybrid filmmaking beyond the boundaries of the traditional differentiation of fiction and documentary films.Öğe The theme of nostalgia in coming-of-age films(İstanbul Bilgi Üniversitesi, 2020) Özdemir, Bahar; Erhart, ItırABSTRACT: Despite the fact that the theme of nostalgia and coming-of-age films seem contrasting, there is a possibility to set up a correlation between two. The purpose of this thesis is to create means to form a link by studying two films Call Me by Your Name (Luca Guadagnino, 2017) and The Perks of Being A Wallflower (Stephen Chbosky, 2012). Psychoanalytical film theory and Sigmund Freud’s works, especially Three Essays on the Theory of Sexuality (1905) in which adolescent’s evolution is examined are main sources for this dissertation. Alongside Freud, Harry Stack Sullivan’s (1953) Interpersonal Theory is also used intensively as it expands the scope on an adolescent’s character development. The protagonists’ search is analysed under two captions; namely identity and home. Nostalgia is the fundamental element, around which this body of work shapes itself. The narrations of the films belong to 1980s and early 1990s respectively with both cinematography and music reflecting the emotions of the old days. Svetlana Boym’s (2001) The Future of Nostalgia serves as an essential source in my research of nostalgia. Boym (2001) investigates the concept under two headings while referring to the different eras from the past. First one is restorative nostalgia defined as reinventing the old house and consolidating the belonging and reminiscences and feelings attached to them. The second one, used more dominantly for the purposes of this dissertation is reflective nostalgia. It focuses on a desire for the past and re-creates remembrances in the person’s mind. This also consists of courage for change during the period in which the adolescent steps into adulthood. The protagonists are in search for their homes where they really belong to while the genuine identity is discovered. The explanation lies in the re-creation of the stories. The sad and joyful time period of younger days may correlate to the bittersweet time zone of nostalgia.Öğe Exploring alternative distribution mechanisms in the film industry in Turkey(İstanbul Bilgi Üniversitesi, 2019) Bilir, İlknur; Unur, Ayşegül KesirliThe film distribution in Turkey has been in a crisis of monopoly in recent years after MARS Group bought AFM movie theatres. The monopolistic market hasn't left any room for the rest of the players in the industry since this mergence. After Mars Group was sold to South Korean conglomerate CGV Group in 2016, the vertical business model of this company seizes the whole film distribution market with its production, distribution, exhibition, and marketing divisions. Today, as the box-office numbers indicate, South Korean CGV Group dominates the whole film distribution sector with its 43% market share. In this thesis, I embark on a journey to explore alternative film distribution methods that are used by independent filmmakers to reach out to the audience in such a monopolistic market. In the film industry in Turkey, independent films are not supported by direct subsidies for film distribution. That’s why, the distribution strategy of independent films is limited to film festivals, TV channels, and SVOD platforms. The results bring out that online streaming platforms, festivals, and organizational self-distribution might be positioned as alternative distribution models, nonetheless, cultural and industrial politics in Turkey have a significant power to shape the creative industries. In closing, I deduce that the industry conditions are to be designed according to the insight of filmmakers, artists, and representatives of the film industry to regulate the politics of film distribution in Turkey. Otherwise, the independent cinema of Turkey will be brought to an end due to the absence of plurality, diversity, and equity of opportunities.Öğe "Kuştepe Şans Park"(İstanbul Bilgi Üniversitesi, 2004) Özmen, Alkım; Candan, Can[Abstract Not Available]Öğe Parçalar(İstanbul Bilgi Üniversitesi, 2008) Vatansever, Ali; Çiçekoğlu, FerideBir aşk mektubundan parçalar? Her birini rüzgar farklı yöne savurdu? Ufak kasabada onları bulanlar kendince yorumladı? PARÇALAR o kağıt parçalarını bulanların hikayesidir. İç içe geçmiş kasaba hayatında çıkış yolu arayanların masalsı bir günde başlarından geçenlerdir. Ragıp, ilkokul ikiye geçecek; aşk mektubunun yazarı. Sevgili Zeynep Öğretmenim diye başlıyor mektup. Tam zarfa koyacakken kasabanın çocukları elinden kapıyor. Doğruca Zeynep Öğretmen'e. Zeynep Öğretmen de tüm kasaba gibi tören alanında. Kasaba meydanında hoşgeldin eğlencesi var; Amerika'dan gelen yeni İngilizce öğretmeni az sonra kasabaya varacak. Zeynep, yedi senedir kasabada, Celal ile uzun süredir beraber. Şimdi tüm mahalleli ona Celal'le şehire yerleşmesi için baskı yapıyor. Celal'in bağlı olduğu siyasi partide önü çok açık. Zeynep baskıdan bunalmış, hala kararsız. Celal az sonra tören alanına gelecek; yarınki genel seçim için okulda hazırlıklar son aşamada. Ahmet de tören alanında, okul müdürünün oğlu. Köyden bir kız seviyor. Gülbahar. Farklı mezhepten. Köy de kasaba da karşı bu birlikteliğe. Gülbahar yayladan bugün geldi. Henüz görüşmediler; ama haberi geldi Ahmet'e; başkasını sevmiş Gülbahar. İftira! İftiranın sonu olmuyor köy ve kasaba arasında, er geç inanılır. Ahmet de inanacak. Ragıp da mektubun peşinden kasaba meydanına geldi. Mektup, çocukların lideri Bekir'in elinde. Aniden davullar gümlüyor. Uzakta İngilizce öğretmenini taşıyan araba göründü. Herkes yol kenarında, elinde konfetiler. Zeynep Ahmet ve Ragıp dışında herkes heyecan içinde. İşte tam o anda, birkaç büyülü saniye içerisinde mektup kendini Bekir'in elinden kurtarıyor, Bekir tam yakalayacak; kağıt elini kesiyor. Bekir sinirlenip kağıdı parçalara ayırıyor. Her bir cümle bir parça, parçalar konfetilere karışıp havaya saçılıyor. Hava alanında bulamamışlar yabancı öğretmeni; eğlence başlamadan bitiyor.Tören alanında bir önemli kişi daha var. Yaşlı Ferit -Ragıp'ın dedesi; ona da mektubun zarfı kısmet. Zarf ona kırk sene öncesini hatırlattı. Köyden kız sevmişti, Saniye; mezhep farklı. İftiralar. Son gece mektup yazdı: Kaçalım! Ertesi gün arkadaşları öldü haberini getirdiler. Şimdi rüzgar boş zarf getirdi. ?Saniye beni çağırıyor.? Köye gidecek.Gece bitti. Rüzgar kağıt parçalarını farklı yönlere uçurdu. Yeni gün üç hikayemize üç yeni yüz getirecek: Volkan, Julia ve Sevgi. Kağıtlar yirmi dört saat sonra buluştuğunda Zeynep, Ahmet ve Ragıp değişmiş olacak.Öğe Şimdi haberler(İstanbul Bilgi Üniversitesi, 2008) Yılmaz, Kemal; Çiçekoğlu, FerideDünyada, ve özellikle Amerika Birleşik Devletleri'nde kablolu kanalların da etkisiyle kalite çıtasını yükselten televizyon dizilerinin, kültür endüstrisinin giderek genişleyen önemli bir alanı haline geldiği günümüzde Türkiye'deki televizyon dizilerinin genelde niteliksiz olan yapısı sürmektedir. Yayın süresinin reklam kaygısıyla uzun tutulmasından da kaynaklanan ve nitelik yerine niceliği ön plana çıkaran diziler Türkiye'deki popüler kültürü de olumsuz yönde etkilemektedir. Sinema ve Televizyon alanında eğitim veren bir yüksek lisans programının bu durumun tamamen dışında kalmak yerine, TV dizi formatı üzerine alternatif öneriler geliştirebileceği varsayımından yola çıkan bu tez, ileride aynı programda benzer projelerin geliştirilmesinin yolunu açmayı hedefliyor. Tezin uzun vadeli amacı, nitelikli bir televizyon dizisi tasarımının akademik ortamda yapılabileceğini ve bu sürecin dizinin profesyonel bağlamda alıcı bulabilir hale getirilmesine katkıda bulunabileceğini kanıtlamaktır. İleride, program kapsamında benzer projelerin geliştirilmesi, programın sektöre daha aktif bir katkıda bulunmasını sağlayabilecektir. Bu tezde teorik bir çalışmanın sağladığı koşullarla, ülkemizdeki yaygın eğilimlerden farklı bir sitcom yapısı üzerinde çalışıldı. ?Şimdi Haberler? aslen bir sitcom olarak tasarlanmış olsa da, üç kademeli yapısıyla klasik sitcom modelinden farklılaşmaktadır. Bir TV kanalında çalışanların özel hayatları ve bu çerçevede yaşadıkları çatışmalar klasik sitcom formatını sürdürürken, çekimler sırasında yaşananlar bir kamera arkası belgeseli atmosferi ile anlatılmaktadır. Üçüncü bir kademe olarak ise dizi içinde çekilen programın, diziyi izleyen seyirciye aynen aktarılması planlanmaktadır. Bu üç katmanla birlikte dizi hem karakterlerinin günlük yaşantılarını bize aktaracak, hem çalışma koşullarına dair yorumlarda bulunacak, hem de dizi içinde hazırlanan programları skeç mantığıyla dizi seyircisinin önüne getirecektir. Dizinin, kendini yansılama (self-reflexivity) yaklaşımı ve kendi üretim şartlarını hicvetme mantığı, klasik sitcom formatına bir alternatif olarak sunulmaktadır.Öğe Masal(İstanbul Bilgi Üniversitesi, 2007) Avcıoğlu, Alkan; Çiçekoğlu, FerideBu tez uzun metraj bir film senaryosunu içerir. Bu senaryo Umut, Volkan ve Sedef arasındaki entrikalarla dolu iliskiyi konu alır. Ortalama bir uzun metraj film senaryosuna göre az karakter ve az mekan içerdigi söylenebilecek bu senaryo fazlalıklardan arınarak temel dramatik gerilime odaklanmayı ve yüzeyde görünenin arkasındaki bilinmeyenleri açıga çıkartarak karakterler arasındaki dramatik yapıyı çetrefilli hale getirmeyi amaçlar. Olay örgüsü dramatik çeliskilerin meydana geldigi bir haftada / 7 günde geçer. Bu senaryonun geri dönüs (flashback) üzerine bir kurulu bir yapısı vardır. Olay örgüsünün ilerledigi bir hafta, 5 sene önceki bir güne paralel kurguyla anlatılır. Dramatik yapı erkek karakterlerin kadın karakter üzerinde oynadıgı oyun üzerine kurulurken bunun temelindeki nedenleri ve erkek karakterlerin bilinçaltındaki maskülin endiseleri ifsa etmeyi amaçlar. Geri dönüslerin senaryoya yerlestirilme tarzı Michel Chion'un travma geri dönüsleri diye adlandırdıgı türe yakındır ve bas karakter Umut'un zihninden anlatılır. Bu geri dönüsler olay örgüsündeki merak unsurlarına ani dönüs (twist) ekleyecek ve anlamı çevirecek bir yapıyla kullanılır. Hikaye senaryoya dönüstürülürken bilgilerin ve bakıs açısının seçilmesi olay örgüsünün iskeletindeki temel gerilim unsurlarına ve çatısmaya uygun düzenlendigi gibi; kadına özel bir temsil alanı yaratmadan asırılık üzerinden maçolugu yansıtmayı hedefler. Erkek-merkezli öyküleme tarzının seçimi geleneksel rock sarkısının kadını dıslayan ve eril kaygıları yansıtan yapısını bu hikayenin öykülemesine de tasımaya araç olarak kullanılır. Bu senaryodaki geri dönüslerin zamanlaması ve içerigi bu dogrultuda da hizmet eder.Öğe Documenting lives of female prodigies(İstanbul Bilgi Üniversitesi, 2019) Pişkinsüt, Şebnem Bahar; Çiçekoğlu, Feride[Abstract Not Available]Öğe Cryptoanalysis of cinema(İstanbul Bilgi Üniversitesi, 2019) Özgünen, Bilgi Tuncay; Unur, Ayşegül Kesirli[Abstract Not Available]
- «
- 1 (current)
- 2
- 3
- »
