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Victoria Filminde Mekân-Zamansal Sürekliliğin Dalım Üzerindeki Etkisi

Year 2021, Issue: 25, 119 - 132, 18.01.2021
https://doi.org/10.17484/yedi.803006

Abstract

Derin bir şekilde odaklanma, dâhil olma, dalıp gitme anlamlarına gelen dalım (immersion) terimi, özdeşleşme temelli tüm anlatıların ortak hedefidir. Kişi kendisini okuduğu bir kitaba ya da seyrettiği bir filme kaptırdığında bir dalım yaşar. Belirli bir mekân ve zamanda gerçekleşen olayların kesintisiz olarak aktarılması anlatımda mekân-zamansal sürekliliği oluşturur. Mekân-zamansal süreklilik özellikle içerdiği gerçekçilik dolayısıyla dalımı oluşturan etmenlerden birisidir. Filmde mekân-zamansal sürekliliği sağlamanın en etkin yolu kurgunun kullanılmamasıdır. Araştırmaya konu olan Schipper’in Victoria adlı filmi tek çekim olması ve gerçekçiliğiyle ile öne çıkmaktadır. Örnek olay incelemesi yönteminin kullanıldığı bu nitel araştırmada, Victoria’daki mekân-zamansal sürekliliğin dalım üzerindeki etkisi araştırılmıştır. Araştırmanın bulgularına göre, gerçekçilik öznel bir kavram olması nedeniyle Victoria’da dalıma göreceli olarak katkı sağlamaktadır. Filmde fiziksel dalım gösterim salonu, geniş çerçeve oranı ve çevresel ses bileşimi aracılığıyla gerçekleşirken, zihinsel dalımda (buradalık) senaryodan kurguya kadar filmin tüm ögelerinin etkisi vardır. Victoria’daki mekân-zamansal sürekliliğin dalımı çoğunlukla desteklediği görülmüştür. Ancak zihinsel dalımın öznel bir his olması nedeniyle filmde mekân-zamansal sürekliliğin etkisi nesnel olarak saptanamamıştır. Bununla birlikte Victoria’nın bir anlatı filmi olmasından hareketle senaryodaki mekân-zamansal sürekliliğin filmdeki zihinsel dalımın temel etmenlerinden biri olduğu söylenebilir. Zihinsel dalımdaki birincil etmenlerin ise senaryodaki geciktirim ve özdeşleşme unsurları olduğunu söylemek mümkündür. Çünkü seyircinin öyküye olan ilgisini ve katılımını sağlayan temel unsurlar bunlardır. Sonuç olarak Victoria filminde mekân-zamansal sürekliliğin dalımın birincil etmeni olmadığı varsayımında bulunulabilir.

Thanks

Bu araştırmanın yazım sürecindeki öneri ve yol göstericilikleri için babam Selim Yücel’e, hocalarım Pınar Eraslan Yayınoğlu ve Mehmet Yayınoğlu’na teşekkür ederim.

References

  • Anagnorisis. (2017). Literary devices online dictionary içinde. Erişim adresi: https://literarydevices.net/anagnorisis/
  • Arcimboldo, G. (1563). Sommer [Ihlamur ağacı üzerine yağlı boya]. Kunsthistorisches Museum, Wien. Erişim Adresi: https://www.khm.at/objektdb/detail/71/
  • Aristoteles. (2018). Poetika- şiir sanatı üzerine (A. Çokona, Ö. Aygün, Çev.) (4. b.). İstanbul: Türkiye İş Bankası Kültür Yayınları.
  • Astheimer, P., Dai, F., Göbel, M., Kruse, R., Müller, S. ve Zachmann, G. (1994). Realism in virtual reality. In Thalmann, N. M. and Thalmann, D. (ed.), Artificial life and virtual reality (pp. 189-210), Chichester: John Wiley & Sons.
  • Ayzenştayn, S. M. (Yönetmen/Senaryo Yazarı). (1925). Bronyenosyets Potyomkin. [Film]. Sovyetler Birliği: Mosfilm.
  • Barka2000 (2007, Mart 5). Virgil Widrich - interview. [Youtube Video]. Erişim adresi: https://www.youtube.com/watch?v=82ScuD7Srvo
  • Başol, Ö. (2010). Senaryo kitabı: Senaryo yazım teknikleri ve film örnekleri (1. b.). İstanbul: Pana Film Yayınları.
  • Bazin, A. (1967/2005). What is cinema? Volume I (H. Gray, Trans.). Los Angeles: University of California Press.
  • Bell, J. S. (2011). Elements of fiction writing - Conflict and suspense (1st ed.). London: Penguin Books.
  • Benjamin, W. (1935/2013). Fotoğrafın kısa tarihi/teknik araçlarla yeniden-üretim (çoğaltma) çağında sanat eseri (O. Akınhay, Çev.) (2. b.). İstanbul: Agora Kitaplığı.
  • Brooks, K. (2003). There is nothing virtual about immersion: Narrative immersion for VR and other interfaces. Erişim adresi: https://www.researchgate.net/publication/228764946_There_is_nothing_virtual_about_immersion_Narrative_immersion_for_VR_and_other_interfaces
  • Cawgill, L. J. (2007). The art of plotting, add emotion, suspense, and depth to your screenplay (1st ed.). Los Angeles: Lone Eagle.
  • Egri, L. (1960). The art of dramatic writing, its basis in the creative interpretation of human motives. New York: Simon & Schuster.
  • Ehrlich, D. (2015, Ekim 9). This director of this movie shot in a single take doesn’t resent birdman, actually. Vanity Fair. Erişim adresi: https://www.vanityfair.com/hollywood/2015/10/victoria-director-interview
  • Filming Victoria movie in one take. (2015). Erişim adresi: https://cpn.canoneurope.com/content/education/technical/filming_victoria_movie_in_one_take.do (Erişim tarihi: 11 Mayıs 2020)
  • Hodges, L. F., Rothbaum, B. O., Watson, B. A., Kessler, G. D. ve Opdyke, D. (1999). Virtual reality exposure for fear of flying therapy. IEEE Computer Graphics & Applications, 16(6), 42-49. Erişim adresi: https://www.researchgate.net/publication/2447495_Virtual_Reality_Exposure_for_Fear_of_Flying_Therapy
  • Hornby, A. S. (1989). Oxford advanced learner’s dictionary of current English (4th ed.). Oxford: Oxford University Press.
  • Howard, D. ve Mabley, E. (1995). The tools of screenwriting: A writer’s guide to the craft and elements of a screenplay (1st ed.) New York: St. Mrtin’s Griffin.
  • Mascelli, J. V. (1965). The five c’s of cinematography, motion picture filming techniques. Los Angeles: Silman-James Press.
  • Merriam, S. B. (2015). Nitel araştırma desen ve uygulama için bir rehber (S. Turan, Çev. Ed.) (3. b.). Ankara: Nobel Akademik Yayıncılık.
  • Mills, A. J., Eurepos, G. ve Wiebe, E. (ed.). (2010). Encyclopedia of case study research (Vol. 1). Los Angeles: Sage Publications.
  • Montgomery, R. (Yönetmen). (1946). Lady in the lake. [Film]. ABD: Metro-Goldwyn-Mayer.
  • Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. New York: Free Press.
  • Narrative Work. (t.y.). Victoria. [Video]. Sturla Brandth Grøvlen, DFF. Erişim adresi: https://www.sturla.dk/
  • Rayfield, D. (1997). Anton Chekhov: A life (1st ed.). Illinois: Northwestern Univesity Press.
  • Reisz, K. ve Millar. G. (1953/2014). The technique of film editing (2nd ed). Boston: Focal Press.
  • Ryan, M. L. (2001). Narrative as virtual reality, immersion and interactivity in literature and electronic media (1st ed.). Baltimore, Maryland: The Johns Hopkins University Press.
  • Schipper, S. (Yönetmen/Senaryo Yazarı). (2015). Victoria. [Film]. Berlin: MonkeyBoy, Deutschfilm, Radical Media, Westdeutscher Rundfunk (WDR), ARTE.
  • Sheridan, T. B. (1992). Musings on telepresence and virtual presence. PRESENCE: Teleoperators and Virtual Environments, 1(1), 120-126. doi: 10.1162/pres.1992.1.1.120
  • Sherman, W. R. ve Craig, A. B. (2003). Understanding virtual reality: interface, application, and design. San Francisco: Morgan Kaufman Publishers.
  • Simon, J. L. (1978). Basic research methods in social sciences: The art of empirical investigation. New York: Random House.
  • Slater, M. ve Usoh, M. (1993). Presence in immersive virtual environments. Proceedings of the IEEE 1993 Virtual Reality Annual International Symposium (VRAIS), 90-96. doi: 10.1109/VRAIS.1993.380793
  • Slater, M., Linakis, V., Usoh, M. ve Kooper, R. (1999). Immersion, presence, and performance in virtual environments: An experiment with tri-dimensional chess. VRST '96: Proceedings of the ACM Symposium on Virtual Reality Software and Technology, 163-172. Erişim adresi: https://www.researchgate.net/publication/2633779_Immersion_Presence_and_Performance_in_Virtual_Environments_An_Experiment_with_Tri-Dimensional_Chess
  • Slater, M. (2003). A note on presence terminology. [pdf]. A note on presence terminology. Erişim adresi: http://s3.amazonaws.com/publicationslist.org/data/melslater/ref-201/a%20note%20on%20presence%20terminology.pdf
  • Sobchack, T. ve Sobchack, V. C. (1987). An introduction to film (2nd ed.). Boston: Little Brown and Company.
  • Sonja. (2018, Ağustos 5). "Victoria" Film Locations Walk in Berlin. FilmFanTravel. Erişim adresi: https://filmfantravel.com/victoria-film-locations-walk-in-berlin/
  • Sophokles. (M.Ö. 428/2012). Kral Oidipus. (B. Tuncel, Çev.). İstanbul: Türkiye İş Bankası Kültür Yayınları.
  • Victoria technical specifications. (2015). IMDB. Erişim adresi: https://www.imdb.com/title/tt4226388/technical?ref_=tt_dt_spec
  • Wexman, V. W. (1980). The rhetoric of cinematic improvisation. [Özel sayı]. Cinema Journal, 20(1), 29-41. doi: 10.2307/1224969
  • Witmer, B. G. ve Singer, M. J. (1998). Measuring presence in virtual environments: A presence questionnaire. Presence: Tele-operators and virtual environments, 7(3), 225-240. doi: 10.1162/105474698565686
  • Yin, R. K. (2014). Case study research: Design and methods (5th ed.). Los Angeles: Sage Publications.
  • Yu, K. C., Neafus, D. ve Wyatt, R. (2016). Filmmaking for fulldome: Best practices and guidelines for immersive cinema (Part I). Planetarian, 45(4), 27-39. Erişim adresi: https://www.academia.edu/31687220/Filmmaking_for_the_Fulldome_Best_Practices_and_Guidelines_for_Immersive_Cinema_Part_I_

The Effect of Spatio-Temporal Continuity on the Immersion in the Film Victoria

Year 2021, Issue: 25, 119 - 132, 18.01.2021
https://doi.org/10.17484/yedi.803006

Abstract

The term immersion, which means focusing deeply, involvement, and to be engrossed in, is the common objective of all identification-based narratives. A person who becomes wholly absorbed in a book or film, experiences an immersion. The uninterrupted conveyance of events taking place at a certain place and time creates spatio-temporal continuity in the narration. Spatio-temporal continuity is one of the factors that creates immersion, especially because of the realism it contains. The most efficient way to ensure spatio-temporal continuity in the film is to not to use editing. The subject of the research, Schipper’s Victoria stands out as a one shot and realist film. In this qualitative research using the case study method, the effect of spatio-temporal continuity on the immersion in Victoria was explored. According to the findings, realism contributes relatively to the immersion in Victoria, as it is a subjective concept. While the physical immersion in the film is created by the screening room, wide aspect ratio and surround sound mix, the mental immersion (presence) is created by the effect of all the elements of the film from screenplay to editing. Spatio-temporal continuity in Victoria mostly supports immersion. However, the effect of spatio-temporal continuity in the film could not be objectively determined because the mental immersion is a subjective feeling. However, considering that Victoria is a narrative film, it can be said that the spatio-temporal continuity in the screenplay is one of the main factors of the mental immersion. It is possible to say that the primary factors in the mental immersion are suspense and identification elements in the screenplay. Because these are the basic elements that provide the audience’s interest and participation in the story. Consequently, it can be assumed that spatio-temporal continuity is not the primary factor of the immersion in Victoria. 

References

  • Anagnorisis. (2017). Literary devices online dictionary içinde. Erişim adresi: https://literarydevices.net/anagnorisis/
  • Arcimboldo, G. (1563). Sommer [Ihlamur ağacı üzerine yağlı boya]. Kunsthistorisches Museum, Wien. Erişim Adresi: https://www.khm.at/objektdb/detail/71/
  • Aristoteles. (2018). Poetika- şiir sanatı üzerine (A. Çokona, Ö. Aygün, Çev.) (4. b.). İstanbul: Türkiye İş Bankası Kültür Yayınları.
  • Astheimer, P., Dai, F., Göbel, M., Kruse, R., Müller, S. ve Zachmann, G. (1994). Realism in virtual reality. In Thalmann, N. M. and Thalmann, D. (ed.), Artificial life and virtual reality (pp. 189-210), Chichester: John Wiley & Sons.
  • Ayzenştayn, S. M. (Yönetmen/Senaryo Yazarı). (1925). Bronyenosyets Potyomkin. [Film]. Sovyetler Birliği: Mosfilm.
  • Barka2000 (2007, Mart 5). Virgil Widrich - interview. [Youtube Video]. Erişim adresi: https://www.youtube.com/watch?v=82ScuD7Srvo
  • Başol, Ö. (2010). Senaryo kitabı: Senaryo yazım teknikleri ve film örnekleri (1. b.). İstanbul: Pana Film Yayınları.
  • Bazin, A. (1967/2005). What is cinema? Volume I (H. Gray, Trans.). Los Angeles: University of California Press.
  • Bell, J. S. (2011). Elements of fiction writing - Conflict and suspense (1st ed.). London: Penguin Books.
  • Benjamin, W. (1935/2013). Fotoğrafın kısa tarihi/teknik araçlarla yeniden-üretim (çoğaltma) çağında sanat eseri (O. Akınhay, Çev.) (2. b.). İstanbul: Agora Kitaplığı.
  • Brooks, K. (2003). There is nothing virtual about immersion: Narrative immersion for VR and other interfaces. Erişim adresi: https://www.researchgate.net/publication/228764946_There_is_nothing_virtual_about_immersion_Narrative_immersion_for_VR_and_other_interfaces
  • Cawgill, L. J. (2007). The art of plotting, add emotion, suspense, and depth to your screenplay (1st ed.). Los Angeles: Lone Eagle.
  • Egri, L. (1960). The art of dramatic writing, its basis in the creative interpretation of human motives. New York: Simon & Schuster.
  • Ehrlich, D. (2015, Ekim 9). This director of this movie shot in a single take doesn’t resent birdman, actually. Vanity Fair. Erişim adresi: https://www.vanityfair.com/hollywood/2015/10/victoria-director-interview
  • Filming Victoria movie in one take. (2015). Erişim adresi: https://cpn.canoneurope.com/content/education/technical/filming_victoria_movie_in_one_take.do (Erişim tarihi: 11 Mayıs 2020)
  • Hodges, L. F., Rothbaum, B. O., Watson, B. A., Kessler, G. D. ve Opdyke, D. (1999). Virtual reality exposure for fear of flying therapy. IEEE Computer Graphics & Applications, 16(6), 42-49. Erişim adresi: https://www.researchgate.net/publication/2447495_Virtual_Reality_Exposure_for_Fear_of_Flying_Therapy
  • Hornby, A. S. (1989). Oxford advanced learner’s dictionary of current English (4th ed.). Oxford: Oxford University Press.
  • Howard, D. ve Mabley, E. (1995). The tools of screenwriting: A writer’s guide to the craft and elements of a screenplay (1st ed.) New York: St. Mrtin’s Griffin.
  • Mascelli, J. V. (1965). The five c’s of cinematography, motion picture filming techniques. Los Angeles: Silman-James Press.
  • Merriam, S. B. (2015). Nitel araştırma desen ve uygulama için bir rehber (S. Turan, Çev. Ed.) (3. b.). Ankara: Nobel Akademik Yayıncılık.
  • Mills, A. J., Eurepos, G. ve Wiebe, E. (ed.). (2010). Encyclopedia of case study research (Vol. 1). Los Angeles: Sage Publications.
  • Montgomery, R. (Yönetmen). (1946). Lady in the lake. [Film]. ABD: Metro-Goldwyn-Mayer.
  • Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. New York: Free Press.
  • Narrative Work. (t.y.). Victoria. [Video]. Sturla Brandth Grøvlen, DFF. Erişim adresi: https://www.sturla.dk/
  • Rayfield, D. (1997). Anton Chekhov: A life (1st ed.). Illinois: Northwestern Univesity Press.
  • Reisz, K. ve Millar. G. (1953/2014). The technique of film editing (2nd ed). Boston: Focal Press.
  • Ryan, M. L. (2001). Narrative as virtual reality, immersion and interactivity in literature and electronic media (1st ed.). Baltimore, Maryland: The Johns Hopkins University Press.
  • Schipper, S. (Yönetmen/Senaryo Yazarı). (2015). Victoria. [Film]. Berlin: MonkeyBoy, Deutschfilm, Radical Media, Westdeutscher Rundfunk (WDR), ARTE.
  • Sheridan, T. B. (1992). Musings on telepresence and virtual presence. PRESENCE: Teleoperators and Virtual Environments, 1(1), 120-126. doi: 10.1162/pres.1992.1.1.120
  • Sherman, W. R. ve Craig, A. B. (2003). Understanding virtual reality: interface, application, and design. San Francisco: Morgan Kaufman Publishers.
  • Simon, J. L. (1978). Basic research methods in social sciences: The art of empirical investigation. New York: Random House.
  • Slater, M. ve Usoh, M. (1993). Presence in immersive virtual environments. Proceedings of the IEEE 1993 Virtual Reality Annual International Symposium (VRAIS), 90-96. doi: 10.1109/VRAIS.1993.380793
  • Slater, M., Linakis, V., Usoh, M. ve Kooper, R. (1999). Immersion, presence, and performance in virtual environments: An experiment with tri-dimensional chess. VRST '96: Proceedings of the ACM Symposium on Virtual Reality Software and Technology, 163-172. Erişim adresi: https://www.researchgate.net/publication/2633779_Immersion_Presence_and_Performance_in_Virtual_Environments_An_Experiment_with_Tri-Dimensional_Chess
  • Slater, M. (2003). A note on presence terminology. [pdf]. A note on presence terminology. Erişim adresi: http://s3.amazonaws.com/publicationslist.org/data/melslater/ref-201/a%20note%20on%20presence%20terminology.pdf
  • Sobchack, T. ve Sobchack, V. C. (1987). An introduction to film (2nd ed.). Boston: Little Brown and Company.
  • Sonja. (2018, Ağustos 5). "Victoria" Film Locations Walk in Berlin. FilmFanTravel. Erişim adresi: https://filmfantravel.com/victoria-film-locations-walk-in-berlin/
  • Sophokles. (M.Ö. 428/2012). Kral Oidipus. (B. Tuncel, Çev.). İstanbul: Türkiye İş Bankası Kültür Yayınları.
  • Victoria technical specifications. (2015). IMDB. Erişim adresi: https://www.imdb.com/title/tt4226388/technical?ref_=tt_dt_spec
  • Wexman, V. W. (1980). The rhetoric of cinematic improvisation. [Özel sayı]. Cinema Journal, 20(1), 29-41. doi: 10.2307/1224969
  • Witmer, B. G. ve Singer, M. J. (1998). Measuring presence in virtual environments: A presence questionnaire. Presence: Tele-operators and virtual environments, 7(3), 225-240. doi: 10.1162/105474698565686
  • Yin, R. K. (2014). Case study research: Design and methods (5th ed.). Los Angeles: Sage Publications.
  • Yu, K. C., Neafus, D. ve Wyatt, R. (2016). Filmmaking for fulldome: Best practices and guidelines for immersive cinema (Part I). Planetarian, 45(4), 27-39. Erişim adresi: https://www.academia.edu/31687220/Filmmaking_for_the_Fulldome_Best_Practices_and_Guidelines_for_Immersive_Cinema_Part_I_
There are 42 citations in total.

Details

Primary Language Turkish
Journal Section Araştırma Makaleler
Authors

Ali Altan Yücel 0000-0001-7537-6908

Publication Date January 18, 2021
Submission Date September 30, 2020
Acceptance Date December 26, 2020
Published in Issue Year 2021 Issue: 25

Cite

APA Yücel, A. A. (2021). Victoria Filminde Mekân-Zamansal Sürekliliğin Dalım Üzerindeki Etkisi. Yedi(25), 119-132. https://doi.org/10.17484/yedi.803006

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