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Roy Andersson ve Film Yapımında Uzun Çekim-Sahne (LLSS) Tekniği “Analitik Betimsel Çalışma”

Yıl 2024, Sayı: 7, 1 - 11, 27.09.2024
https://doi.org/10.62425/at.1465689

Öz

Sinema, film yönetmeninin vizyonunu ve felsefesini ifade edebilen bir yaratma aracına dönüştüğünden, hikayenin sunumunda farklı çekim boyutlarının kullanılması ve sahne bileşenlerinin keşfedilmesi için kurallar belirlenmiştir. Uzun çekim boyutu, olguları ve gerçekliği müdahale olmaksızın sunma becerisiyle öne çıkmaktaydı. Çok uzun zamandır her bir film sahnesinin yerini belirlemek için kullanılıyordu ve yalnızca birkaç film yapımcısı uzun çekimi görsel metinlerin oluşturulmasında yaratıcı bir şekilde kullanmayı başardı. Bu yaratıcı film yapımcılarından biri de, Uzun Çekim-Sahne (LLSS) sinema tekniğiyle, yani film sahnesinin çekiminde yalnızca tek bir uzun çekim kullanma tekniğiyle İsveçli yönetmen “Roy Andersson”dur… Bu çalışmada, analitik betimsel bir yöntemle, Roy Andersson'un özgün Uzun Çekim-Sahne (LLSS) film yapım tekniği incelenmeye çalışılmış ve bu tekniğin film dilini zenginleştirme konusundaki kabiliyeti araştırılmıştır. Araştırma sonuçları, film sektörünü sınırlandıramayacağımızı ve belirli bir şablon içinde tanımlayamayacağımızı vurgulamıştır! Sinemada, sınırlarla kısıtlanmayan geniş bir yaratıcılık alanı bulunmaktadır ve ister yerleşmiş gelenekler yoluyla ister (LLSS) tarzı gibi yeni deneysel yöntemlerle olsun, birden fazla film yöntemi mevcuttur.

Kaynakça

  • Afonso, P. (2021): “Roy Andersson: The essence of the complex image. Journal of Science and Technology of the Arts. 13(1): 87-99. Doi: https://doi.org/10.34632/jsta.2021.9704
  • Andersson, R. (2010): “The Complex İmage.” In: Larsson, M. and Marklund,
  • A. (Eds.): Swedish Film: An introduction and reader. Lund: Nordic Academic Press.
  • Anderson, J. (2014): “A Pigeon sat on a branch reflecting on existence, Roy Andersson, Sweden.” Cinema Scope. (61): 38–39.
  • Allon, Y. (2001): “Songs from the second floor.” Journal of Religion & Film. (5)1. Doi: https://digitalcommons.unomaha.edu/jrf/vol5/iss1/9
  • Arnaud, D. (2011): “From bazin to deleuze: A matter of depth.” In: Andrew, D. and Joubert-Laurencin, H. (Eds.): Opening Bazin: Postwar Film Theory and Its Afterlife. Oxford and New York: Oxford University Press.
  • Bazin, A. (1967): What is cinema? Volume 1. Berkeley: University of California Press.
  • Bazin, A. (1997): “Cinema and theology.” In: Piette, A. and Cardullo, B. (Trans. and Eds.): Bazin at work: major essays & reviews from the forties and fifties. London: Routledge.
  • Bordwell, D. (1997): On the history of film style. cambridge: Harvard University Press.
  • Brewster, B. and Lea, J. (1987): Theatre to cinema: stage pictorialism and the early feature film. Oxford and New York: Oxford University Press.
  • Brunow, D. (2010): “The language of the complex image: Roy Andersson’s political aesthetics.” Journal of Scandinavian Cinema. 1(1): 83-86. Doi: https://doi.org/10.1386/jsca.1.1.83_1
  • Burch, N. (1981): Theory of film practice. Princeton: Princeton University Press.
  • Cardullo, B. (1997): “Introduction.” In: Piette A. and Cardullo B. (Trans. and Eds.): Bazin at Work: Major Essays & Reviews from the Forties and Fifties. London: Routledge.
  • Chinita, F. (2018): “Roy Andersson’s tableau aesthetic: A Cinematic Social Space Between Painting and Theatre.” Universitatis Sapientiae, Film and Media Studies. (15): 69-86. Doi: https://doi.org/10.1515/ausfm-2018-0004
  • Hanich, J. (2014): “Complex staging: The hidden dimension of Roy Andersson’s aesthetics.” Movie: A Journal of Film Criticism. (5): 37–49.
  • Hanke, B. (2019): “Roy Andersson’s living trilogy and Jean-Luc Nancy’s Evidence of Cinema.” Film-Philosophy. 23(1): 72-92. Doi: https://doi.org/10.3366/film.2019.0099
  • Joret, B. (2019): “Studying film with André Bazin”. In: Hediger V., Bao, W. and Lundemo, T. (Eds.): Film Theory in Media History. Amsterdam University Press.
  • Lindqvist, U. (2010): “Roy Andersson’s cinematic poetry and the specter of César Vallejo.” Scandinavian- Canadian Studies. (19): 200-229.
  • Lindqvist, U. (2016): Roy Andersson’s “Songs from the Second Floor”: Contemplating the Art of Existence. Seattle: University of Washington Press. URL: https://www.perlego.com/book/723844/roy-anderssons-songs-from-the- second-floor-contemplating-the-art-of-existence-pdf
  • Menard, D. (2003): “Toward a synthesis of cinema - A theory of the long take moving camera, Part 1.” Offscreen. Doi: https://offscreen.com/view/moving_camera1
  • Pethő, Á. (2015): “Between absorption, abstraction and exhibition: Inflections of the cinematic tableau in the films of corneliu porumboiu, Roy Andersson and Joanna Hogg.” Acta Universitatis Sapientiae, Film and Media Studies. 11(1): 39–76. Doi: https://doi.org/10.1515/ausfm-2015-0015
  • Ratner, M. (2015): “The trivialist cinema of Roy Andersson: An Interview.” Film Quarterly. 69(1): 36-44. California: University of California Press. URL: https://filmquarterly.org/2015/09/24/the-trivialist-cinema-of-roy- andersson-an- interview. Doi: https://doi.org/10.1525/fq.2015.69.1.36
  • Tucan, E. (2016): “Beloved be the ones who sit down: Aesthetics and political affect in Roy Andersson’s “Living” Trilogy.” Doctoral Thesis. Georgia State University. Doi: https://doi.org/10.57709/8517639 URL:https://scholarworks.gsu.edu/communication_theses/114.
  • Vishnevestsky, I. (2009): “Figurative and abstract: An interview with Roy Andersson.” URL: https://mubi.com/notebook/posts/figurative-and-abstract- an-interview-with-roy-andersson
  • Yang, J. (2013): “Towards a cinema of contemplation: Roy Andersson’s aesthetics and ethics.” MPhil Thesis. University of Hong Kong.
  • Yang, J. (2017): “Filming Guilt about the past through anachronistic Aesthetics: Roy Andersson’s a pigeon sat on a branch reflecting on existence.” Scandinavian Studies. 89(4): 573-596. Doi:
  • https://doi.org/10.5406/scanstud.89.4.0573
  • Zwick, R. (2008): “The apocalypse of Andersson: Biblical echoes in songs from the Second Floor.” In: Shepherd, D. (Ed.): Images of the Word: Hollywood’s Bible and Beyond. Atlanta: Society of Biblical Literature

Roy Andersson and the Lengthy-Long-Shot-Scene (LLSS) Technique of Filmmaking “An Analytical Descriptive Study”

Yıl 2024, Sayı: 7, 1 - 11, 27.09.2024
https://doi.org/10.62425/at.1465689

Öz

Since cinema was transformed into a creation medium able to express the film director's vision and philosophy, rules for employing different shot sizes in presenting the story and exploring scenes components were founded. The long shot size had been merited with its ability to present facts and reality without interfering. It was used ever since to establish the location of every film scene, and only few filmmakers managed to creatively employ the long shot in the formulation of visual texts. One of those creative filmmakers is the Swedish director “Roy Andersson” with his Lengthy-Long-Shot-Scene (LLSS) cinematic technique, i.e. the technique of using only one single lengthy long shot in shooting the film scene… Through an analytical descriptive methodology, this study attempted to study Roy Andersson's unique Lengthy-Long-Shot-Scene (LLSS) technique of filmmaking, and looked at the ability of such technique in enriching the film language. Research results emphasized that we cannot limit the film industry and define it in a specific template! In cinema, there is a wide field for creativity that is not limited by borders, and there are multiple film methods, whether through regular well-established conventions or through new experimental methodologies like the (LLSS) style.

Kaynakça

  • Afonso, P. (2021): “Roy Andersson: The essence of the complex image. Journal of Science and Technology of the Arts. 13(1): 87-99. Doi: https://doi.org/10.34632/jsta.2021.9704
  • Andersson, R. (2010): “The Complex İmage.” In: Larsson, M. and Marklund,
  • A. (Eds.): Swedish Film: An introduction and reader. Lund: Nordic Academic Press.
  • Anderson, J. (2014): “A Pigeon sat on a branch reflecting on existence, Roy Andersson, Sweden.” Cinema Scope. (61): 38–39.
  • Allon, Y. (2001): “Songs from the second floor.” Journal of Religion & Film. (5)1. Doi: https://digitalcommons.unomaha.edu/jrf/vol5/iss1/9
  • Arnaud, D. (2011): “From bazin to deleuze: A matter of depth.” In: Andrew, D. and Joubert-Laurencin, H. (Eds.): Opening Bazin: Postwar Film Theory and Its Afterlife. Oxford and New York: Oxford University Press.
  • Bazin, A. (1967): What is cinema? Volume 1. Berkeley: University of California Press.
  • Bazin, A. (1997): “Cinema and theology.” In: Piette, A. and Cardullo, B. (Trans. and Eds.): Bazin at work: major essays & reviews from the forties and fifties. London: Routledge.
  • Bordwell, D. (1997): On the history of film style. cambridge: Harvard University Press.
  • Brewster, B. and Lea, J. (1987): Theatre to cinema: stage pictorialism and the early feature film. Oxford and New York: Oxford University Press.
  • Brunow, D. (2010): “The language of the complex image: Roy Andersson’s political aesthetics.” Journal of Scandinavian Cinema. 1(1): 83-86. Doi: https://doi.org/10.1386/jsca.1.1.83_1
  • Burch, N. (1981): Theory of film practice. Princeton: Princeton University Press.
  • Cardullo, B. (1997): “Introduction.” In: Piette A. and Cardullo B. (Trans. and Eds.): Bazin at Work: Major Essays & Reviews from the Forties and Fifties. London: Routledge.
  • Chinita, F. (2018): “Roy Andersson’s tableau aesthetic: A Cinematic Social Space Between Painting and Theatre.” Universitatis Sapientiae, Film and Media Studies. (15): 69-86. Doi: https://doi.org/10.1515/ausfm-2018-0004
  • Hanich, J. (2014): “Complex staging: The hidden dimension of Roy Andersson’s aesthetics.” Movie: A Journal of Film Criticism. (5): 37–49.
  • Hanke, B. (2019): “Roy Andersson’s living trilogy and Jean-Luc Nancy’s Evidence of Cinema.” Film-Philosophy. 23(1): 72-92. Doi: https://doi.org/10.3366/film.2019.0099
  • Joret, B. (2019): “Studying film with André Bazin”. In: Hediger V., Bao, W. and Lundemo, T. (Eds.): Film Theory in Media History. Amsterdam University Press.
  • Lindqvist, U. (2010): “Roy Andersson’s cinematic poetry and the specter of César Vallejo.” Scandinavian- Canadian Studies. (19): 200-229.
  • Lindqvist, U. (2016): Roy Andersson’s “Songs from the Second Floor”: Contemplating the Art of Existence. Seattle: University of Washington Press. URL: https://www.perlego.com/book/723844/roy-anderssons-songs-from-the- second-floor-contemplating-the-art-of-existence-pdf
  • Menard, D. (2003): “Toward a synthesis of cinema - A theory of the long take moving camera, Part 1.” Offscreen. Doi: https://offscreen.com/view/moving_camera1
  • Pethő, Á. (2015): “Between absorption, abstraction and exhibition: Inflections of the cinematic tableau in the films of corneliu porumboiu, Roy Andersson and Joanna Hogg.” Acta Universitatis Sapientiae, Film and Media Studies. 11(1): 39–76. Doi: https://doi.org/10.1515/ausfm-2015-0015
  • Ratner, M. (2015): “The trivialist cinema of Roy Andersson: An Interview.” Film Quarterly. 69(1): 36-44. California: University of California Press. URL: https://filmquarterly.org/2015/09/24/the-trivialist-cinema-of-roy- andersson-an- interview. Doi: https://doi.org/10.1525/fq.2015.69.1.36
  • Tucan, E. (2016): “Beloved be the ones who sit down: Aesthetics and political affect in Roy Andersson’s “Living” Trilogy.” Doctoral Thesis. Georgia State University. Doi: https://doi.org/10.57709/8517639 URL:https://scholarworks.gsu.edu/communication_theses/114.
  • Vishnevestsky, I. (2009): “Figurative and abstract: An interview with Roy Andersson.” URL: https://mubi.com/notebook/posts/figurative-and-abstract- an-interview-with-roy-andersson
  • Yang, J. (2013): “Towards a cinema of contemplation: Roy Andersson’s aesthetics and ethics.” MPhil Thesis. University of Hong Kong.
  • Yang, J. (2017): “Filming Guilt about the past through anachronistic Aesthetics: Roy Andersson’s a pigeon sat on a branch reflecting on existence.” Scandinavian Studies. 89(4): 573-596. Doi:
  • https://doi.org/10.5406/scanstud.89.4.0573
  • Zwick, R. (2008): “The apocalypse of Andersson: Biblical echoes in songs from the Second Floor.” In: Shepherd, D. (Ed.): Images of the Word: Hollywood’s Bible and Beyond. Atlanta: Society of Biblical Literature
Toplam 28 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Fotoğraf, Video ve Lens Tabanlı Uygulama
Bölüm Araştırma Makaleleri
Yazarlar

Mustafa Yousry Matbouly 0000-0001-5004-0666

Yayımlanma Tarihi 27 Eylül 2024
Gönderilme Tarihi 5 Nisan 2024
Kabul Tarihi 23 Temmuz 2024
Yayımlandığı Sayı Yıl 2024 Sayı: 7

Kaynak Göster

APA Yousry Matbouly, M. (2024). Roy Andersson and the Lengthy-Long-Shot-Scene (LLSS) Technique of Filmmaking “An Analytical Descriptive Study”. Art Time(7), 1-11. https://doi.org/10.62425/at.1465689