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Kişisel ve Bağımsız Film Yapımı: Amerika Amerika

Year 2023, , 103 - 119, 30.05.2023
https://doi.org/10.56202/mbsjcs.1255573

Abstract

1950’lerde bağımsız yapımların sayısı artıp bu tarihe kadar piyasaya hakim olan seri film üretimi gerilediğinde, yönetmenler kısa sürede kendi yaptıkları filmler üzerinde daha fazla kontrole sahip oldular. Stüdyolar artık eskiden olduğu gibi tüm şartları belirleyememeye başlamış ve her iki tarafın da belirli kârlar edebilmesi için yönetmenlerle ortak bir zeminde buluşmak zorunda kalmışlardı. Fakat yine de yönetmenler finans ve dağıtım söz konusu olduğunda hala stüdyolara bağımlıydı. Eski bir sözleşmeli Hollywood yönetmeni olan Elia Kazan, bu süreçle birlikte bağımsız bir film yönetmeni olma yolunda ilk adımlarını attı ve kendi yapım şirketini kurdu. Yönetmenliğin finansal, politik ve estetik açıdan bağımsız olması gerektiğine inanan Kazan, Hollywood’un ve stüdyoların sözleşmeli bir çalışanı olmayı reddetti. Kazan, yaptığı filmler üzerinde daha fazla kontrol sahibi olmaya kararlıydı ve sinema anlayışını kâr üzerine değil, sanatsal özgürlüğünü kazanmak üzerine kurmaya başlamıştı. Bu çalışmada Kazan’ın bağımsızlaştığı ve kişisel üretimler yapmaya başladığı 1950’lerden itibaren yaptığı filmlerden biri olan Amerika Amerika filmi dramatik çözümleme yöntemi ile analiz edilecektir. Kazan daha da kişisel ve bağımsız hale geldikçe yönetmenin metnin ve alt metnin estetik ve anlatısal omurgalarını tanımlama yeteneği belirginleşti. Dolayısıyla Amerika Amerika ile başlayarak mizansen ve görsel dilin Kazan’ın filmlerinde öne çıkmaya başladığını söylemek mümkündür.

References

  • Andrew, J. D. (1976). The Major Film Theories. Oxford University Press.
  • Ciment, M. (1973). Kazan on Kazan. C. Williams ( Ed.). London: Secker & Warburg.
  • Cornfield, R. (Ed.). (2009). Kazan on Directing. Vintage Books.
  • Dombrowski, L. (Ed.). (2011). Kazan Revisited. Connecticut: Wesleyan University Press.
  • Jones, D. R. (1986). Great Directors at Work. University of California Press.
  • Kracauer, S. (1960). Theory of Film. Oxford University Press.
  • Lev, P. (2003). History of the American Cinema: Transforming the Screen 1950 - 1959. C. Harpole, (Ed.). Charles Scribner’s Sons.
  • MacCabe, C. (1976). Theory and Film: Principles of Realism and Pleasure, Screen, 17(3), 7–28.
  • Mann, D. (2008). Hollywood Independents: The Postwar Talent Takeover. University of Minnesota Press.
  • Michaels, L. (1985). Elia Kazan: A Retrospective, Film Criticism, 10(1), 32–46.
  • Neve, B. (2009). Elia Kazan: The Cinema of an American Outsider. I.B Tauris.
  • Nichols, Bill (1991). Representing Reality: Issues and Concepts in Documentary. Indiana University Press.
  • Perkins, V. F. (1972). Film as Film. London: Penguin Books.
  • Schickel, R. (2006). Elia Kazan: A Biography. Harper Perennial.
  • Sklar, R. (2001). Film: An International History of the Medium (2nd ed.). Prentice Hall.
  • Stam, R. (2000). Film Theory: An Introduction. Blackwell Publishing.
  • Stam, R. & Miller, T. (Eds.). (1999). A Companion to Film Theory. Blackwell Publishing.
  • Thomson, D. (2014). The New Biographical Dictionary of Film (6th ed.). Alfred A. Knopf.
  • Turner, G. (Ed.). (2002). The Film Cultures Reader. Routledge.
  • Williams, C. (Ed.). (1980). Realism and the Cinema. Routledge.
  • Young, J. (1999). Kazan: The Master Director Discusses His Films (1st ed.). Newmarket Press New York.
  • FILMS Rossellini, Roberto (Director). (1946). Paisà. Organizzazione Film Internazionali (OFI).
  • Kazan, Elia (Director). (1950). Panic in the Streets. Twentieth Century Fox.
  • Kazan, Elia (Director). (1951). A Streetcar Named Desire. Charles K. Feldman Group, Warner Bros.
  • Kazan, Elia (Director). (1954). On the Waterfront. Horizon Pictures.
  • Kazan, Elia (Director). (1955). East of Eden. Warner Bros.
  • Kazan, Elia (Director). (1960). Wild River. Twentieth Century Fox.
  • Kazan, Elia (Director). (1963). America America. Athena Enterprises, Warner Bros.
  • Kazan, Elia (Director). (1972). The Arrangement. Athena Productions.
  • Kazan, Elia (Director). (1976). The Last Tycoon. Academy Pictures Corporation.

Personal And Independent Filmmaking: Elia Kazan’s America America

Year 2023, , 103 - 119, 30.05.2023
https://doi.org/10.56202/mbsjcs.1255573

Abstract

As the independent production increased and factory-like production receded in 1950s, filmmakers were soon in greater control. The studios could no longer dictate all the terms and were forced to meet halfway so that both sides could profit. However, filmmakers were still dependent on the studios when it came to finance and distribution. Elia Kazan, being a former Hollywood contract director, became one of those independent filmmakers and established his own production company. By the time he first got to Hollywood in the mid-1940s, producers were already dominating the film industry. Kazan, believing the director should come first and be independent in financial, politic and aesthetic terms at all costs, refused to be a studio-contract worker. He was determined to assert greater control over the films he made, and his way of filmmaking would be less about profits and more about gaining artistic freedom. He produced and directed all his subsequent films of the 1950s and 1960s. In this study, one of these films, America America will be analyzed through analysis of narrative. As Kazan became more personal and independent; the director’s ability to define the aesthetic and narrative spines of the text and the sub-text became evident. Hence, it is possible to say that the mise-enscène started to come forth in Kazan’s films starting with America America.

References

  • Andrew, J. D. (1976). The Major Film Theories. Oxford University Press.
  • Ciment, M. (1973). Kazan on Kazan. C. Williams ( Ed.). London: Secker & Warburg.
  • Cornfield, R. (Ed.). (2009). Kazan on Directing. Vintage Books.
  • Dombrowski, L. (Ed.). (2011). Kazan Revisited. Connecticut: Wesleyan University Press.
  • Jones, D. R. (1986). Great Directors at Work. University of California Press.
  • Kracauer, S. (1960). Theory of Film. Oxford University Press.
  • Lev, P. (2003). History of the American Cinema: Transforming the Screen 1950 - 1959. C. Harpole, (Ed.). Charles Scribner’s Sons.
  • MacCabe, C. (1976). Theory and Film: Principles of Realism and Pleasure, Screen, 17(3), 7–28.
  • Mann, D. (2008). Hollywood Independents: The Postwar Talent Takeover. University of Minnesota Press.
  • Michaels, L. (1985). Elia Kazan: A Retrospective, Film Criticism, 10(1), 32–46.
  • Neve, B. (2009). Elia Kazan: The Cinema of an American Outsider. I.B Tauris.
  • Nichols, Bill (1991). Representing Reality: Issues and Concepts in Documentary. Indiana University Press.
  • Perkins, V. F. (1972). Film as Film. London: Penguin Books.
  • Schickel, R. (2006). Elia Kazan: A Biography. Harper Perennial.
  • Sklar, R. (2001). Film: An International History of the Medium (2nd ed.). Prentice Hall.
  • Stam, R. (2000). Film Theory: An Introduction. Blackwell Publishing.
  • Stam, R. & Miller, T. (Eds.). (1999). A Companion to Film Theory. Blackwell Publishing.
  • Thomson, D. (2014). The New Biographical Dictionary of Film (6th ed.). Alfred A. Knopf.
  • Turner, G. (Ed.). (2002). The Film Cultures Reader. Routledge.
  • Williams, C. (Ed.). (1980). Realism and the Cinema. Routledge.
  • Young, J. (1999). Kazan: The Master Director Discusses His Films (1st ed.). Newmarket Press New York.
  • FILMS Rossellini, Roberto (Director). (1946). Paisà. Organizzazione Film Internazionali (OFI).
  • Kazan, Elia (Director). (1950). Panic in the Streets. Twentieth Century Fox.
  • Kazan, Elia (Director). (1951). A Streetcar Named Desire. Charles K. Feldman Group, Warner Bros.
  • Kazan, Elia (Director). (1954). On the Waterfront. Horizon Pictures.
  • Kazan, Elia (Director). (1955). East of Eden. Warner Bros.
  • Kazan, Elia (Director). (1960). Wild River. Twentieth Century Fox.
  • Kazan, Elia (Director). (1963). America America. Athena Enterprises, Warner Bros.
  • Kazan, Elia (Director). (1972). The Arrangement. Athena Productions.
  • Kazan, Elia (Director). (1976). The Last Tycoon. Academy Pictures Corporation.
There are 30 citations in total.

Details

Primary Language English
Subjects Communication and Media Studies
Journal Section Makale
Authors

Besna Ağın 0000-0002-1591-0352

Publication Date May 30, 2023
Published in Issue Year 2023

Cite

APA Ağın, B. (2023). Personal And Independent Filmmaking: Elia Kazan’s America America. Middle Black Sea Journal of Communication Studies, 8(1), 103-119. https://doi.org/10.56202/mbsjcs.1255573