Abstract
References
- Anderson, J. (1989). Dance view; modern dance: a harmonious melting pot. The New York Times, 20 08 1989, 02-07. Erişim adresi: http://www.nytimes.com/1989/08/20/arts/dance-view-modern-dance-a-harmonious-melting-pot.html
- Deleuze, G. (1993). The Fold: Leibniz and the Baroque. Tom Conley (Çev.). Minneapolis: University of Minneapolis Press. (Originally published 1988).
- Devernay, F., Beardsley, P. (2010). Stereoscopic cinema: image and geometry processing for 3-d cinematography chapter 5. Rémi Ronfard, and Gabriel Taubin (Ed.). Springer Berlin Heidelberg, 11-51. doi: 10.1007/978-3-642-12392-4 2.
- Elsaesser, T. (2013). The return of 3d: on some of the logics and genealogies of the image in the twenty-first century. Critical Inquiry, 39, 217- 246.
- Fleming, J., Honour, H. (2016). Dünya sanat tarihi. İstanbul: Alfa Yayınları.
- Focillion, H. (1992). The life of forms in art. London: Zone Books.
- Gayford, M. (2010, 13 Temmuz). How caravaggio saw in the dark. The Telegraph. Erişim adresi: https://www.telegraph.co.uk/culture/art/art-features/7887249/How-Caravaggio-saw-in-the-dark.html
- Karnet, S. (2010). Baroque art: cinema of the 17th century. Academia.edu, Erişim adresi: https://www.academia.edu/5552/Baroque_Art_Cinema_of_the_17th_Century
- Leppert, R. (2009). Sanatta anlamın görüntüsü: imgelerin toplumsal işlevi. İstanbul: Ayrıntı Yayınları.
- Lipton, L. (1982) Foundations of the stereoscopıc cınema a study in depth. New York: Van Nostrand Reinhold Company Inc.
- Ndalianis, A. (2004). Neo-Baroque aesthetics and contemporary entertainment. London: The MIT Press, Cambridge.
- Ndalianis, A. (2000, 25 Mart). Baroque perceptual regimes: special affects. Technologies of the Screen Symposium sunulan bildiri, University of Melbourne, Melbourne. Erişim adresi: http://sensesofcinema.com/2000/conference-special-effects-special-affects/baroque/
- Ocak, E. (2016). Belgesel sinemanın 3 boyutlu olarak dansla karşılaşması: Wim Wenders’in Pina belgeselinde mecralararasılık. Foklor Edebiyat Dergisi, 22 (86).
- Simith, S. (2015, 12 Mayıs). Michelangelo Merisi da Caravaggio: beneath the surface. Erişim adresi: http://threemagi.com/art/papers/Caravaggio.pdf
- Spiro, L. (2012). History through the stereoscope: stereoscopy and virtual travel. Texas: Rice University. Erişim adresi: http://cnx.or/content/col10371/1.3/
- Spöhrer, M. (2016). The aesthetic and narrative dimensions of 3d film: new perspectives on stereoscopy. Wiesbaden:Springer, 19-34. doi: 10.1007/978-3-658-09422-5_2.
- Wenders, W., Thomas, J., Ringel, G. P. (Yapımcı) ve Wenders, W. (Yönetmen – Senarist). (2011). Pina “Dance dance otherwise we are lost” [3B Belgesel Film]. Almanya.
- Wenders, W. (t.y.). Pina film, the development of the project. Erişim adresi: http://www.pina film.de/en/about-the-movie.html.
- Wagner, B. B. (2011). From 3d to mumblecore. Film Quarterly, 64 (4), 6872.
- Whitfield, C. (2010). Caravaggio’s friends & foes, exhibition catalogue. London: Whitfield Auction House.
Abstract
Sinema; resim, edebiyat, heykel, mimari, müzik
ve gösteri sanatları ile etkileşim içinde olan ve bunları bünyesinde toplayan, mecralararası
bir sanat formudur. Anlatı dili olan sinematografi ise resim sanatıyla daima
çok yakın ve özel bir ilişki içerisinde olmuştur. Sinematografi kompozisyon, perspektif
ve renk gibi normları temelde resim sanatından miras almıştır. Yeni ifade biçimleri
arayan film yapımcıları için, dijital üç boyutlu (3B[1])
sinema heyecan verici ve fırsatlarla dolu bir gelişme olmuştur. 3B sinemanın
anlatı dili stereoskopidir (3B sinematografi). Stereoskopinin
sinematografiden ayrılan en önemli özelliği ise perspektif kurulumunu perde
yüzeyinin önünde ve dışında başlatması, görüntüleri perdenin sınırlarının
dışına taşı(r)masıdır. Kompozisyonu kanvasın dışına taşırmak barok resmin
önemli özelliklerinden biridir. Bu bağlamda barok resim sanatı ve stereoskopi örtüşürler. Bu makale, genel olarak Barok sanatın,
özelde ise Caravaggio’nun resimlerinin, Wim Wenders’in Pina (2011) belgeselindeki Bahar
Ayini (The Rite of Spring) sekansı
üzerindeki etkisini irdelemeyi amaçlamaktadır.
References
- Anderson, J. (1989). Dance view; modern dance: a harmonious melting pot. The New York Times, 20 08 1989, 02-07. Erişim adresi: http://www.nytimes.com/1989/08/20/arts/dance-view-modern-dance-a-harmonious-melting-pot.html
- Deleuze, G. (1993). The Fold: Leibniz and the Baroque. Tom Conley (Çev.). Minneapolis: University of Minneapolis Press. (Originally published 1988).
- Devernay, F., Beardsley, P. (2010). Stereoscopic cinema: image and geometry processing for 3-d cinematography chapter 5. Rémi Ronfard, and Gabriel Taubin (Ed.). Springer Berlin Heidelberg, 11-51. doi: 10.1007/978-3-642-12392-4 2.
- Elsaesser, T. (2013). The return of 3d: on some of the logics and genealogies of the image in the twenty-first century. Critical Inquiry, 39, 217- 246.
- Fleming, J., Honour, H. (2016). Dünya sanat tarihi. İstanbul: Alfa Yayınları.
- Focillion, H. (1992). The life of forms in art. London: Zone Books.
- Gayford, M. (2010, 13 Temmuz). How caravaggio saw in the dark. The Telegraph. Erişim adresi: https://www.telegraph.co.uk/culture/art/art-features/7887249/How-Caravaggio-saw-in-the-dark.html
- Karnet, S. (2010). Baroque art: cinema of the 17th century. Academia.edu, Erişim adresi: https://www.academia.edu/5552/Baroque_Art_Cinema_of_the_17th_Century
- Leppert, R. (2009). Sanatta anlamın görüntüsü: imgelerin toplumsal işlevi. İstanbul: Ayrıntı Yayınları.
- Lipton, L. (1982) Foundations of the stereoscopıc cınema a study in depth. New York: Van Nostrand Reinhold Company Inc.
- Ndalianis, A. (2004). Neo-Baroque aesthetics and contemporary entertainment. London: The MIT Press, Cambridge.
- Ndalianis, A. (2000, 25 Mart). Baroque perceptual regimes: special affects. Technologies of the Screen Symposium sunulan bildiri, University of Melbourne, Melbourne. Erişim adresi: http://sensesofcinema.com/2000/conference-special-effects-special-affects/baroque/
- Ocak, E. (2016). Belgesel sinemanın 3 boyutlu olarak dansla karşılaşması: Wim Wenders’in Pina belgeselinde mecralararasılık. Foklor Edebiyat Dergisi, 22 (86).
- Simith, S. (2015, 12 Mayıs). Michelangelo Merisi da Caravaggio: beneath the surface. Erişim adresi: http://threemagi.com/art/papers/Caravaggio.pdf
- Spiro, L. (2012). History through the stereoscope: stereoscopy and virtual travel. Texas: Rice University. Erişim adresi: http://cnx.or/content/col10371/1.3/
- Spöhrer, M. (2016). The aesthetic and narrative dimensions of 3d film: new perspectives on stereoscopy. Wiesbaden:Springer, 19-34. doi: 10.1007/978-3-658-09422-5_2.
- Wenders, W., Thomas, J., Ringel, G. P. (Yapımcı) ve Wenders, W. (Yönetmen – Senarist). (2011). Pina “Dance dance otherwise we are lost” [3B Belgesel Film]. Almanya.
- Wenders, W. (t.y.). Pina film, the development of the project. Erişim adresi: http://www.pina film.de/en/about-the-movie.html.
- Wagner, B. B. (2011). From 3d to mumblecore. Film Quarterly, 64 (4), 6872.
- Whitfield, C. (2010). Caravaggio’s friends & foes, exhibition catalogue. London: Whitfield Auction House.
Details
| Primary Language | Turkish |
|---|---|
| Journal Section | Articles |
| Authors | |
| Publication Date | April 28, 2018 |
| Submission Date | March 19, 2018 |
| Published in Issue | Year 2018 Issue: 40 |
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