DENEYSEL BİR GÖRSEL ANLATICI OLARAK JONAS MEKAS

Year 2024, , 534 - 548, 30.11.2024

D. Alper Altunay , Özgür Çalışkan

https://doi.org/10.61742/sanatyazilari.1513175

Abstract

Jonas Mekas geleneksel ile deneysel anlatımı bir arada kullanan, sinema sanatının geliştirdiği ve biriktirdiği biçimleri, çağın getirdiği yenilikçi anlatımları farklı görsel tasarımlarla uygulayan bir yönetmen olarak öne çıkmıştır. Bu çalışmada deneysel bir görsel anlatıcı olarak Jonas Mekas’ın eserleri; deneysel film, genişletilmiş sinema ve video sanatı bağlamın-da incelenerek, Mekas’ın hem film hem de görsel sanatların bütünü bağlamındaki belirgin özellikleri ortaya konmaktadır. Bu çalışmada Jonas Mekas’ın klasikten deneysel anlatıya uzanan biçimsel uzlaştırıcılığı ve farklılığını ortaya koymak için farklı dönemlerden seçilen Guns of the Trees (1961), Diaries, Notes, and Sketches (1969), In Between: 1964-68 (1978), As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) ve Outtakes From the Life of a Happy Man (2012) filmleri biçimsel ve içerik açısından deneysel film ve genişletilmiş sinema bağlamında tartışılmaktadır. Sonuç ola-rak, Jonas Mekas, kişisel deneyimlerini ve şiirsel anlatım tarzını kullanarak, geleneksel anlatıyı reddeden ve deneysel bir görsel anlatım geliştiren öncü bir yönetmendir.

Keywords

Deneysel Film, Avangart Sinema, Jonas Mekas, Video, Genişletilmiş Sinema.

JONAS MEKAS AS AN EXPERIMENTAL VISUAL NARRATOR

Abstract

Jonas Mekas stands out as a director who integrates traditional and experimental narratives, employing various visual designs to apply both the forms developed by cinematic art and the innovative storytelling brought about by his era. This study examines Mekas's works as an experimental visual narrator within the contexts of experimental film, expanded cinema, and video art, revealing his distinctive features in the broader realm of both film and visual arts. To highlight Mekas's formal mediation and divergence from classic to experimental narratives, five films from different periods are analyzed: Guns of the Trees (1961), Diaries, Notes, and Sketches (1969), In Between: 1964-68 (1978), As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000), and Outtakes From the Life of a Happy Man (2012) in terms of the form and content of which, are also discussed in the context of experimental film and extended cinema. Ultimately, Mekas emerges as a pioneering director who uses personal experiences and poetic narrative style to reject traditional storytelling and develop experimental visual narration.

Keywords

Experimental Film, Avant-garde Cinema, Jonas Mekas, Video, Expanded Cinema

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