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BibTex RIS Kaynak Göster

Space Representation Of The Film “Mute” In The Context Of Cyberpunk Genre

Yıl 2021, , 29 - 46, 31.12.2021
https://doi.org/10.31123/akil.988486

Öz

Kaynakça

  • Abrams, J. J. (2008). The Dialectic of Enlightenment in Metropolis (içinde) The Philosophy of Science Fiction Film. (Der.) Steven M. Sanders. Kentucky: The University Press of Kentucky. Sf:153-170.
  • Aitken, S. C.ve Dixon, D. P. (2006), Imagining Geographies of Film. Erdkunde, 60 (4), 326–336.
  • Benshoff, H. M. (2016). Film and Television Analysis: An Introduction to Methods, Theories, and Approaches. London, New York: Routledge.
  • Berliner, T. (2010). Hollywood Incoherent: Narration in Seventies Cinema. United States of America: University of Texas Press.
  • Cavallaro, D. (2000). Cyberpunk And Cyberculture: Science Fiction And The Work Of William Gibson. London & New Brunswick NJ: The Athlone Press.
  • Chatman, S. (1978). Story And Discourse: Narrative Structure In Fiction And Film. Ithaca And London: Cornell University Press.
  • Cornea, C. (2007). Science Fiction: Cinema Between Fantasy And Reality. Edinburgh: Edinburgh University Press Ltd.
  • Csıcsery-Ronay, Jr, I. (2003). Marxist theory and science fiction. (Içinde) The Cambridge Companion To Science Fiction. (Ed. Edward James ve Farah Mendlesohn). Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo: Cambridge University Press. Sf:113-124.
  • Demir, Y. (1994). Filmde Zaman ve Mekân Üzerine. Eskişehir: Turkuaz.
  • Elias, H. (2009). Cyberpunk 2.0 Fiction and Contemporary. Portugal: : LabCom Books.
  • Escher, A. (2006). The Geography of Cinema – A Cinematic World. Erdkunde, 60 (4), 307–314.
  • Farber, M. (1971), Negative Space: Manny Farber on the Movies. Praeger Publishers Inc.: New York.
  • Featherstone, M. ve Burrow, R. (2000) Cultures of Technological Embodiment: An Introduction. (Içinde) Cyberspace/Cyberbodies/Cyberpunk Cultures of Technological Embodiment (der.) Mike Featherstone and Roger Burrows. London: Sage Publications Inc.
  • Groh, J. M. (2014). Making Space: How the Brain Knows Where Things Are. Cambridge, Massachusetts: The Belknap Press of Harvard University Press.
  • Harvey, D. (1992). The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Massachusetts: Blackwell Publishers.
  • Herman, D., Jahn, M. ve Ryan, M. L. (2005) Routledge Encyclopedia of Narrative Theory, USA and Canada: Routledge Ltd.
  • Heuser, S. (2003) Virtual Geographies- Cyberpunk At The Intersection Of The Postmodern And Science Fiction.. Postmodern Studies. No: 34. Brill -Rodopi.
  • Keen, S. (2003). Narrative Form. New York, Palgrave Macmillan.
  • Koeck, R. (2013). Cine-scapes: Cinematic Spaces in Architecture and Cities. London, New york: Routledge.
  • Lefebvre, H. (1991). The Production of Space. Cambridge, Massachusetts: Basil Blackwell, Inc.
  • Lewis, J. (2014). Essential Cinema: An Introduction to Film Analysis. Australia, Brazil, Japan Korea, Mexico, Singapore, Spain, United Kingdom, United States: Wadsworth, Cengage Learning.
  • Lukinbeal, C. ve Zimmermann, Z. (2006). Film Geography: A New Subfield. Erdkunde, 60 (4), 315–325.
  • Lukinbeal, C. ve Zimmermann Z.; (2008). A Cinematic World. (Içinde) The Geography of Cinema:A Cinematic World. (Der.) Chris Lukinbeal and Stefan Zimmermann. Stuttgart: Franz Steiner Verlag (pp: 15-23).
  • McFarlane,A.; . Murphy, G. J. ve Schmeink, L. (2020). Cyberpunk as Cultural Formation. İçinde The Routledge Companion To Cyberpunk Culture (Ed). Anna McFarlane, Graham J. Murphy, and Lars Schmeink. New York, London: Routledge.
  • Palmer R. B. (2008). Imagining the Future, Contemplating the Past :The Screen Versions of 1984. (Içinde) The Philosophy of Science Fiction Film. (Der.) Steven M. Sanders. Kentucky: The University Press of Kentucky. Sf: 171-190.
  • Roberts, A. (2006). Science Fiction. London, New York: Routledge.
  • Rosário, F. ve Álvarez, Iván V. (2019). Introduction: Screen is the Place. (Içinde) New Approaches to Cinematic Space. (Der.) Filipa Rosário and Iván Villarmea Álvarez (pp.1-10). London, New york: Routledge.
  • Williams, J. S. (2013). Space and being in contemporary French cinema. Manchester and New York: Manchester University Press.
  • Zhang, H. ve Zhang, M. (2020). Research on Cyberpunk Images in the Visual Digital Media. 2020 International Conference on Computer Vision, Image and Deep Learning (CVIDL). Sf:39-43.
  • Film Jones, D. (2018). Mute. United Kingdom, Germany: Liberty Films UK Studio Babelsberg.

Cyberpunk Evreninde Mekân Tasarımı Bağlamında “Sessiz Kahraman” Filmi

Yıl 2021, , 29 - 46, 31.12.2021
https://doi.org/10.31123/akil.988486

Öz

Filmsel anlatının içeriğini aktaran ve anlamlı kılan ilk şey görüntüdür. Görüntüde var olan nesneler, karakterler, zaman ve mekân bu içeriği oluşturmaktadır. Ancak görüntüdeki nesne dünyadaki nesneye her zaman bire bir benzemez, onun yansıması şeklinde belirebilir. Her görüntünün kendine ait bir formu vardır. Bu oluşturulan ve yeniden üretilen form ile anlam yaratılır. Yönetmen görüntüdeki nesneleri, karakterleri ve mekânı belirli kamera açılarıyla ve belirli bir ışık altında gösterir. Mekân sayesinde film yapımcıları ve yönetmenler, izleyicilerin neyi, ne şekilde göreceklerini kontrol edebilirler. Sinemada mekân, sahneyi nasıl okuduğumuz konusunda çok önemli bir rol oynar; yani zaman, yer, sosyal sınıf ve karakterlerin zihinsel durumu hakkında faydalı bilgiler sunar, oyuncuların davranışlarını, kamera ve ses kayıt ekipmanlarının nereye yerleştirilebileceğini etkiler. Bu çalışmanın konusunu, bilim kurgu filmlerinin bir alt türü olan cyberpunk oluşturmaktadır ve cyberpunk evreninde mekânın nasıl kurgulandığı tartışılacaktır. Cyberpunk alt türünün dijital platformlar için üretilmiş örneklerinden birisi, Netflix yapımı “Sessiz Kahraman” (Mute-2018) isimli film incelenmiştir.

Kaynakça

  • Abrams, J. J. (2008). The Dialectic of Enlightenment in Metropolis (içinde) The Philosophy of Science Fiction Film. (Der.) Steven M. Sanders. Kentucky: The University Press of Kentucky. Sf:153-170.
  • Aitken, S. C.ve Dixon, D. P. (2006), Imagining Geographies of Film. Erdkunde, 60 (4), 326–336.
  • Benshoff, H. M. (2016). Film and Television Analysis: An Introduction to Methods, Theories, and Approaches. London, New York: Routledge.
  • Berliner, T. (2010). Hollywood Incoherent: Narration in Seventies Cinema. United States of America: University of Texas Press.
  • Cavallaro, D. (2000). Cyberpunk And Cyberculture: Science Fiction And The Work Of William Gibson. London & New Brunswick NJ: The Athlone Press.
  • Chatman, S. (1978). Story And Discourse: Narrative Structure In Fiction And Film. Ithaca And London: Cornell University Press.
  • Cornea, C. (2007). Science Fiction: Cinema Between Fantasy And Reality. Edinburgh: Edinburgh University Press Ltd.
  • Csıcsery-Ronay, Jr, I. (2003). Marxist theory and science fiction. (Içinde) The Cambridge Companion To Science Fiction. (Ed. Edward James ve Farah Mendlesohn). Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo: Cambridge University Press. Sf:113-124.
  • Demir, Y. (1994). Filmde Zaman ve Mekân Üzerine. Eskişehir: Turkuaz.
  • Elias, H. (2009). Cyberpunk 2.0 Fiction and Contemporary. Portugal: : LabCom Books.
  • Escher, A. (2006). The Geography of Cinema – A Cinematic World. Erdkunde, 60 (4), 307–314.
  • Farber, M. (1971), Negative Space: Manny Farber on the Movies. Praeger Publishers Inc.: New York.
  • Featherstone, M. ve Burrow, R. (2000) Cultures of Technological Embodiment: An Introduction. (Içinde) Cyberspace/Cyberbodies/Cyberpunk Cultures of Technological Embodiment (der.) Mike Featherstone and Roger Burrows. London: Sage Publications Inc.
  • Groh, J. M. (2014). Making Space: How the Brain Knows Where Things Are. Cambridge, Massachusetts: The Belknap Press of Harvard University Press.
  • Harvey, D. (1992). The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Massachusetts: Blackwell Publishers.
  • Herman, D., Jahn, M. ve Ryan, M. L. (2005) Routledge Encyclopedia of Narrative Theory, USA and Canada: Routledge Ltd.
  • Heuser, S. (2003) Virtual Geographies- Cyberpunk At The Intersection Of The Postmodern And Science Fiction.. Postmodern Studies. No: 34. Brill -Rodopi.
  • Keen, S. (2003). Narrative Form. New York, Palgrave Macmillan.
  • Koeck, R. (2013). Cine-scapes: Cinematic Spaces in Architecture and Cities. London, New york: Routledge.
  • Lefebvre, H. (1991). The Production of Space. Cambridge, Massachusetts: Basil Blackwell, Inc.
  • Lewis, J. (2014). Essential Cinema: An Introduction to Film Analysis. Australia, Brazil, Japan Korea, Mexico, Singapore, Spain, United Kingdom, United States: Wadsworth, Cengage Learning.
  • Lukinbeal, C. ve Zimmermann, Z. (2006). Film Geography: A New Subfield. Erdkunde, 60 (4), 315–325.
  • Lukinbeal, C. ve Zimmermann Z.; (2008). A Cinematic World. (Içinde) The Geography of Cinema:A Cinematic World. (Der.) Chris Lukinbeal and Stefan Zimmermann. Stuttgart: Franz Steiner Verlag (pp: 15-23).
  • McFarlane,A.; . Murphy, G. J. ve Schmeink, L. (2020). Cyberpunk as Cultural Formation. İçinde The Routledge Companion To Cyberpunk Culture (Ed). Anna McFarlane, Graham J. Murphy, and Lars Schmeink. New York, London: Routledge.
  • Palmer R. B. (2008). Imagining the Future, Contemplating the Past :The Screen Versions of 1984. (Içinde) The Philosophy of Science Fiction Film. (Der.) Steven M. Sanders. Kentucky: The University Press of Kentucky. Sf: 171-190.
  • Roberts, A. (2006). Science Fiction. London, New York: Routledge.
  • Rosário, F. ve Álvarez, Iván V. (2019). Introduction: Screen is the Place. (Içinde) New Approaches to Cinematic Space. (Der.) Filipa Rosário and Iván Villarmea Álvarez (pp.1-10). London, New york: Routledge.
  • Williams, J. S. (2013). Space and being in contemporary French cinema. Manchester and New York: Manchester University Press.
  • Zhang, H. ve Zhang, M. (2020). Research on Cyberpunk Images in the Visual Digital Media. 2020 International Conference on Computer Vision, Image and Deep Learning (CVIDL). Sf:39-43.
  • Film Jones, D. (2018). Mute. United Kingdom, Germany: Liberty Films UK Studio Babelsberg.
Toplam 30 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular İletişim ve Medya Çalışmaları
Bölüm Makaleler
Yazarlar

Ozan Otan 0000-0003-2335-7910

Yayımlanma Tarihi 31 Aralık 2021
Gönderilme Tarihi 30 Ağustos 2021
Yayımlandığı Sayı Yıl 2021

Kaynak Göster

APA Otan, O. (2021). Cyberpunk Evreninde Mekân Tasarımı Bağlamında “Sessiz Kahraman” Filmi. Akdeniz Üniversitesi İletişim Fakültesi Dergisi(36), 29-46. https://doi.org/10.31123/akil.988486