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FILM DIYALOĞU: KARAKTERLER NASIL KONUŞMALI?

Year 2020, Volume: 4 Issue: 7, 412 - 425, 28.02.2020
https://doi.org/10.30520/tjsosci.687753

Abstract

Bu çalışmanın amacı; sinemasal anlatının bir öğesi olarak diyaloğun özelliklerini farklı boyutlarıyla inceleyerek alandaki yazın ve uygulamalara katkı sağlamaktır. Bu bağlamda, kuramcıların diyaloğa ilişkin görüşleri ele alınmış ve film diyaloğunun günlük yaşamda, tiyatroda ve edebiyatta kullanılan diyaloglardan farkları incelenmiş, ardından film karakterlerinin nasıl konuşması gerektiği ortaya konulmuştur. Film diyaloğunun diğer alanlarda kullanılan diyaloglarla karşılaştırılmasından elde edilen en önemli sonuç; film diyaloğunun tamamen kendilerine özgü kuralları ve işlevleri olduğu, diyalog kavramının diğer her bir alan için de değişkenlik gösterdiği ve bir diyaloğun iyi bir diyalog olup olmadığını söyleyebilmek için nerede kullanıldığına bakmak gerektiğidir. Bu çalışmada ulaşılan sonuçlardan bir diğeri ise diyaloğun, tasarruflu ve dengeli bir şekilde oluşturulması; görüntünün, sözlerle birlikte daha derin anlamlar taşıyacağı durumlar dışında bilinçsizce kullanılan her diyaloğun, filmi zayıflatan bir unsura dönüşeceğidir.

References

  • Asheim, Lester E. (1949). From book to film: A comparative analysis of the content of selected novels and the motion pictures based upon them. Doctoral dissertation. Faculty of the Graduate Library School. University of Chicago.
  • Aslanyürek, S.(2014). Senaryo Kuramı: Agora kitaplığı
  • Başol, Ö. (2010). Senaryo Kitabı ‘Senaryo Yazım Teknikleri ve Film Örnekleri’. İstanbul: Pana Film.
  • Berliner, T. (1999). Hollywood movie dialogue and the “real realism” of John Cassavetes. Film Quarterly, 52(3): 2-16.
  • Blacker, I. (1986). The Elements of screenwriting: A guide for film and television writers. New York, Macmillan.
  • Bordwell, D. (1985). Narration in the fiction film. London: Methuen.
  • Brady, B. (1994). Principles of adaptationfor film and television. Austin,University of Texas Press.
  • Chion, M. (1987) Bir Senaryo Yazmak, Afa Yayınları.Çeviren: Nedret Tanyolaç.
  • Herman, V. (1995). Dramaticdiscourse: Dialogue as interaction in plays. London: Routledge.
  • Korz, M. (2011). Senaryoda Diyalog: Altıkırkbeş Yayın, Çeviri: Gonca Gülbey.
  • Kozloff, S. (2000). Overhearing Film Dialogue, University of California Press.
  • Kracauer, S. 1960). Theory of film: The redemption of physical reality: New York, Oxford University Press.
  • Luzzati, D. (2007). Spontane ousspoken dialogue: which objects for whichc orpora. Revued’ Interaction Homme-Machine. 8(2): 23-36.
  • McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. New York, Harper-Collins Publishers.
  • Peterson, V., ve B. Nicolosi (2015). Notes to Screenwriters: Advancing Your Story, Screenplay, and Career with Whatever Hollywood Throws at You. Studio City, CA: Michael Wiese Productions.
  • Rauma Sara I. 2004. Cinematic dialogue, literary dialogue, and the art of adaptation. Dialogue metamorphosis in the film adaptation of the Green Mile. Pro Gradu Thesis. University of Jyvaskyla.
  • Rimmon-Kenan, S. 1983 (1989). Narrative fiction: Contemporary poetics. London: Methuen
  • Truby, J. (2007). Anatomy of the story: 22 steps to becoming a master stroyteller. New York, Faber and Faber.

MOVIE DIALOGUE: HOW SHOULD CHARACTERS TALK?

Year 2020, Volume: 4 Issue: 7, 412 - 425, 28.02.2020
https://doi.org/10.30520/tjsosci.687753

Abstract

The purpose of this study is to investigate different aspects of the dialogue as an element of the cinematic narrative and contribute to the literature and practices. In this regard, theorists' views on dialogue are reviewed, the difference of the movie dialogue from the dialogues used in daily life is examined, theater and literature are examined, and then how movie characters should speak is suggested. The most important finding revealed by comparing the movie dialogue with the other dialogues is that movie dialogue has its own rules and functions, the concept of dialogue varies in different areas and to decide whether a dialogue is a good dialogue or not, it is necessary to look at where it is used. Another finding in this study is that the dialogue should be created in a moderate and balanced way by reason of the fact that each dialogue used unconsciously will become a factor that weakens the film, except the situations that picture will display deep meanings with words.

References

  • Asheim, Lester E. (1949). From book to film: A comparative analysis of the content of selected novels and the motion pictures based upon them. Doctoral dissertation. Faculty of the Graduate Library School. University of Chicago.
  • Aslanyürek, S.(2014). Senaryo Kuramı: Agora kitaplığı
  • Başol, Ö. (2010). Senaryo Kitabı ‘Senaryo Yazım Teknikleri ve Film Örnekleri’. İstanbul: Pana Film.
  • Berliner, T. (1999). Hollywood movie dialogue and the “real realism” of John Cassavetes. Film Quarterly, 52(3): 2-16.
  • Blacker, I. (1986). The Elements of screenwriting: A guide for film and television writers. New York, Macmillan.
  • Bordwell, D. (1985). Narration in the fiction film. London: Methuen.
  • Brady, B. (1994). Principles of adaptationfor film and television. Austin,University of Texas Press.
  • Chion, M. (1987) Bir Senaryo Yazmak, Afa Yayınları.Çeviren: Nedret Tanyolaç.
  • Herman, V. (1995). Dramaticdiscourse: Dialogue as interaction in plays. London: Routledge.
  • Korz, M. (2011). Senaryoda Diyalog: Altıkırkbeş Yayın, Çeviri: Gonca Gülbey.
  • Kozloff, S. (2000). Overhearing Film Dialogue, University of California Press.
  • Kracauer, S. 1960). Theory of film: The redemption of physical reality: New York, Oxford University Press.
  • Luzzati, D. (2007). Spontane ousspoken dialogue: which objects for whichc orpora. Revued’ Interaction Homme-Machine. 8(2): 23-36.
  • McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. New York, Harper-Collins Publishers.
  • Peterson, V., ve B. Nicolosi (2015). Notes to Screenwriters: Advancing Your Story, Screenplay, and Career with Whatever Hollywood Throws at You. Studio City, CA: Michael Wiese Productions.
  • Rauma Sara I. 2004. Cinematic dialogue, literary dialogue, and the art of adaptation. Dialogue metamorphosis in the film adaptation of the Green Mile. Pro Gradu Thesis. University of Jyvaskyla.
  • Rimmon-Kenan, S. 1983 (1989). Narrative fiction: Contemporary poetics. London: Methuen
  • Truby, J. (2007). Anatomy of the story: 22 steps to becoming a master stroyteller. New York, Faber and Faber.
There are 18 citations in total.

Details

Primary Language Turkish
Journal Section Articles
Authors

Sevra Baklacı 0000-0002-2804-0923

Publication Date February 28, 2020
Published in Issue Year 2020 Volume: 4 Issue: 7

Cite

APA Baklacı, S. (2020). FILM DIYALOĞU: KARAKTERLER NASIL KONUŞMALI?. The Journal of Social Science, 4(7), 412-425. https://doi.org/10.30520/tjsosci.687753