Abstract
Bu çalışma, bilim kurgu sinemasında renklerin işlevsel kullanımını araştırmakta ve durum çalışması olarak siberpunk alt türüne odaklanmak suretiyle renklerin görsel anlatıları şekillendirmede, tematik derinliği zenginleştirmede ve semantik, kompozisyonel, duygusal işlevler aracılığıyla izleyici algısını etkilemede oynadıkları önemli rolü vurgulamaktadır. Herbert Zettl'ın renklerin işlevleri bağlamında önerdiği bilgi verme, kompozisyon yaratma ve etkileyicilik işlevleri çerçevesini kullanan çalışmada, amaçlı örneklem alma yöntemi ile belirlenen iki önemli siberpunk filmi incelenmektedir: The Matrix (1999) ve Blade Runner 2049 (2017). Her iki filme yönelik şekilde gerçekleştirilen söylem analizi, belirli renk şemalarının filmlerin distopik estetiklerine, tematik derinliklerine ve anlatının izleyicideki duygusal yankılarına nasıl katkıda bulunduklarını göstermektedir. Çalışma sonucunda, siberpunk alt türüne dair iki farklı filmin, kendi temaları ve odakları doğrultusunda farklı renkler ve stilistik renk kullanım tercihleri üzerinden görsel dillerini inşa ettikleri görülmüştür. Ancak, türe karakteristik yapısını kazandıran yüksek teknoloji-düşük yaşam ikiliğine dayalı zıtlıklar, karmaşa ve belirsizlik gibi nitelikler doğrultusunda renklerin üç temel işlevinden faydalanarak birbirlerine paralel bir görsel anlatı yaklaşımını ortaya koydukları da bulgulanmıştır. Bu çalışma, işlevsel renk kullanımının genel olarak sinemada, özel olarak ise bir bilim kurgu alt türü olan siberpunktaki dönüştürücü potansiyelini vurgulayarak, fütüristik ve spekülatif sinematik anlatılarda teknoloji, estetik ve hikâye anlatıcılığı arasındaki gelişen etkileşime dair içgörüler sunmaktadır.
Keywords
References
- Altman, R. (1996). Cinema and genre. G. Nowell-Smith (Ed.), The oxford history of world cinema (ss. 276-286). Oxford University Press. Arnheim, R. (1957). Film as art. University of California Press. Arnheim, R. (1974). Art and visual perception: A psychology of creative eye. University of California Press.
- Arnheim, R. (1998). The expression and composition of color. The Journal of Aesthetics and Art Criticism, 56(4), 349-352. https://doi.org/10.2307/432125 806 TANRIKULU, Halid Bilal ve KESİM, Mehmet. (2025). Bilim Kurgu Sinemasında İşlevsel Renk Kullanımı: Siberpunk Alt Türü Üzerinden Bir İnceleme. Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi (egifder), 13 (2), 777- 808
- Barthes, R., & Duisit, L. (1975). An introduction to the structural analysis of narrative. New Literary History, 6(2), 237-272. https://doi.org/10.2307/468419 Bazin, A. (1967). What is cinema? (H. Gray, Ed. & Çev.). University of California Press. Booker, K. M. (2010). Historical dictionary of science fiction cinema. The Scarecrow Press, Inc.
- Booker, M. K., & Thomas, A.-M. (2009). The science fiction handbook. Wiley- Blackwell. Bordwell, D., & Thompson, K. (1997). Film art: An introduction. (5. Baskı). McGraw- Hill. Brosnan, J. (1978). Future tense: The cinema of science fiction. St. Martin’s Press, Inc. Brown, B. (2012). Cinematography theory and practice: Image making for cinematographers, directors, and videographers. (2. Baskı). Focal Press. Chapman, L. H. (1992). A world of images. Davis Publications, Inc.
- De Leeuw, B. (1997). Digital cinematography. AP Professional. Edgar, R., Marland, J., & Rawle, S. (2015). The language of film. (2. Baskı). Bloomsbury. Edwards, B. (2004). Color: A course in mastering the art of mixing colors. Jeremy P. Tarcher/Penguin. Feisner, E. A. (2005). Color studies. (2. Baskı). Fairchild Books. Feisner, E. A., & Reed, R. (2014). Color studies. (3. Baskı). Fairchild Books.
- Field, G. G. (2004). Color and its reproduction: Fundamentals for the digital imaging and printing industry. (3. Baskı). GAFT Press. Finlay, V. (2014). The brilliant history of color in art. Getty Publications. Harari, Y. N. (2018). 21. yüzyıl için 21 ders. (S. Siral, Çev.). Kolektif Kitap. 807 TANRIKULU, Halid Bilal ve KESİM, Mehmet. (2025). Bilim Kurgu Sinemasında İşlevsel Renk Kullanımı: Siberpunk Alt Türü Üzerinden Bir İnceleme. Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi (egifder), 13 (2), 777- 808
- Hardy, P. (1984). Science fiction. William Morrowand Company, Inc. Hubel, D. H. (1988). Eye, brain, and vision. Scientific American Library. Itten, J. (1970). The elements of color: A treatise on the color system of johannes itten, based on his book the art of color. Van Nostr and Reinhold Co. Kılıç, L. (2000). Görüntü estetiği. İnkılâp Kitabevi. King, G., & Krzywinska, T. (2000). Science fiction cinema: From outerspace to cyberspace. Wallflower. Kolker, R. P. (2005). Film, form, and culture. (3. Baskı). McGraw-Hill.
- McIver, G. (2017). Art history for filmmakers: The art of visual storytelling. Bloomsbury. Nassau, K. (2001). The physics and chemistry of color. (2. Baskı). John Wiley & Sons. Norman, D. A. (2004). Emotional design: Why we love (or hate) everyday things. Basic Books. Pohl, F. J. (1981). Science fiction: Studies in film. ACE Books. Sherin, A. (2012). Design elements: Color fundamentals: A graphic style manual for understanding how color affects design. Rockport Publishers.
- Swartz, C. S. (2004). Understanding digital cinema: A professional handbook. Focal Press. Thompson, K., & Bordwell, D. (2003). Film history: An introduction. McGraw-Hill. Villeneuve, D. (2017). Blade runner 2049 [Film]. Warner Bros. Wachowski, L., & Wachowski, L. (1999). The matrix [Film]. Warner Bros. Wuckel, D., & Cassiday, B. (1989). The illustrated history of science fiction. Ungar. Zelanski, P., & Fisher, M. P. (1994). Color. (2. Baskı). Prentice Hall.
Abstract
This study investigates the functional use of colors in science fiction cinema, focusing on the cyberpunk subgenre as a case study to highlight the significant role colors play in shaping visual narratives, enriching thematic depth, and influencing audience perception through semantic, compositional, and emotional functions. Utilizing Herbert Zettl's framework of informational, compositional, and affective functions of colors, the study examines two significant cyberpunk films selected through purposive sampling: The Matrix (1999) and Blade Runner 2049 (2017). The discourse analysis conducted on these films reveals how specific color schemes contribute to their dystopian aesthetics, thematic depth, and the emotional resonance of the narratives with the audience. The study finds that these two films construct their visual languages through different color choices and stylistic uses of colors aligned with their respective themes and focuses. However, it also uncovers a parallel visual narrative approach derived from the three primary functions of colors, reflecting the contrasts, complexities, and ambiguities characteristic of the subgenre's high-tech, low-life dichotomy. By emphasizing the transformative potential of functional color use in cinema generally, and specifically in the cyberpunk subgenre, this study offers insights into the evolving interplay between technology, aesthetics, and storytelling in futuristic and speculative cinematic narratives.
Keywords
References
- Altman, R. (1996). Cinema and genre. G. Nowell-Smith (Ed.), The oxford history of world cinema (ss. 276-286). Oxford University Press. Arnheim, R. (1957). Film as art. University of California Press. Arnheim, R. (1974). Art and visual perception: A psychology of creative eye. University of California Press.
- Arnheim, R. (1998). The expression and composition of color. The Journal of Aesthetics and Art Criticism, 56(4), 349-352. https://doi.org/10.2307/432125 806 TANRIKULU, Halid Bilal ve KESİM, Mehmet. (2025). Bilim Kurgu Sinemasında İşlevsel Renk Kullanımı: Siberpunk Alt Türü Üzerinden Bir İnceleme. Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi (egifder), 13 (2), 777- 808
- Barthes, R., & Duisit, L. (1975). An introduction to the structural analysis of narrative. New Literary History, 6(2), 237-272. https://doi.org/10.2307/468419 Bazin, A. (1967). What is cinema? (H. Gray, Ed. & Çev.). University of California Press. Booker, K. M. (2010). Historical dictionary of science fiction cinema. The Scarecrow Press, Inc.
- Booker, M. K., & Thomas, A.-M. (2009). The science fiction handbook. Wiley- Blackwell. Bordwell, D., & Thompson, K. (1997). Film art: An introduction. (5. Baskı). McGraw- Hill. Brosnan, J. (1978). Future tense: The cinema of science fiction. St. Martin’s Press, Inc. Brown, B. (2012). Cinematography theory and practice: Image making for cinematographers, directors, and videographers. (2. Baskı). Focal Press. Chapman, L. H. (1992). A world of images. Davis Publications, Inc.
- De Leeuw, B. (1997). Digital cinematography. AP Professional. Edgar, R., Marland, J., & Rawle, S. (2015). The language of film. (2. Baskı). Bloomsbury. Edwards, B. (2004). Color: A course in mastering the art of mixing colors. Jeremy P. Tarcher/Penguin. Feisner, E. A. (2005). Color studies. (2. Baskı). Fairchild Books. Feisner, E. A., & Reed, R. (2014). Color studies. (3. Baskı). Fairchild Books.
- Field, G. G. (2004). Color and its reproduction: Fundamentals for the digital imaging and printing industry. (3. Baskı). GAFT Press. Finlay, V. (2014). The brilliant history of color in art. Getty Publications. Harari, Y. N. (2018). 21. yüzyıl için 21 ders. (S. Siral, Çev.). Kolektif Kitap. 807 TANRIKULU, Halid Bilal ve KESİM, Mehmet. (2025). Bilim Kurgu Sinemasında İşlevsel Renk Kullanımı: Siberpunk Alt Türü Üzerinden Bir İnceleme. Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi (egifder), 13 (2), 777- 808
- Hardy, P. (1984). Science fiction. William Morrowand Company, Inc. Hubel, D. H. (1988). Eye, brain, and vision. Scientific American Library. Itten, J. (1970). The elements of color: A treatise on the color system of johannes itten, based on his book the art of color. Van Nostr and Reinhold Co. Kılıç, L. (2000). Görüntü estetiği. İnkılâp Kitabevi. King, G., & Krzywinska, T. (2000). Science fiction cinema: From outerspace to cyberspace. Wallflower. Kolker, R. P. (2005). Film, form, and culture. (3. Baskı). McGraw-Hill.
- McIver, G. (2017). Art history for filmmakers: The art of visual storytelling. Bloomsbury. Nassau, K. (2001). The physics and chemistry of color. (2. Baskı). John Wiley & Sons. Norman, D. A. (2004). Emotional design: Why we love (or hate) everyday things. Basic Books. Pohl, F. J. (1981). Science fiction: Studies in film. ACE Books. Sherin, A. (2012). Design elements: Color fundamentals: A graphic style manual for understanding how color affects design. Rockport Publishers.
- Swartz, C. S. (2004). Understanding digital cinema: A professional handbook. Focal Press. Thompson, K., & Bordwell, D. (2003). Film history: An introduction. McGraw-Hill. Villeneuve, D. (2017). Blade runner 2049 [Film]. Warner Bros. Wachowski, L., & Wachowski, L. (1999). The matrix [Film]. Warner Bros. Wuckel, D., & Cassiday, B. (1989). The illustrated history of science fiction. Ungar. Zelanski, P., & Fisher, M. P. (1994). Color. (2. Baskı). Prentice Hall.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Communication and Media Studies (Other) |
| Journal Section | Makaleler |
| Authors | |
| Publication Date | September 30, 2025 |
| Submission Date | April 21, 2025 |
| Acceptance Date | August 25, 2025 |
| Published in Issue | Year 2025 Volume: 13 Issue: 2 |
