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Dramatik Etki ve Anlatıda Derinlik; Sinemada Müzik Kullanımı

Yıl 2022, Cilt: 2 Sayı: 1, 44 - 55, 30.06.2022

Öz

Her film, karakterleri, hikâyesi ve olay örgüsü ile bir bütün olarak algılanır. Sürecin başarılı olması için en önemli bileşenlerinden birisi de filmin müziğidir. Film müziği karakterlerin durumlarına, rollerine veya işlevlerine, karakterler arasındaki ilişkilere, film anlatısının yorumlanmasına ilişkin algıları içermektedir. Film müziği ekranda gösterilen karakterlere, nesnelere, zamana, mekâna ve en genelinde hikâyeye yönelik izleyicilerin tutumları üzerinde güçlü bir etkiye sahiptir. Film müzikleri izleyiciyi aktif hale getiren önemli bir faktördür. Film müzikleri filmin sinemasal anlatım araçlarının en önemli öğelerinden biridir ve izleyicinin film boyunca düşünmesini sağlayacak ve bu düşünme sürecinde izleyiciyi duygudan duyguya sokacaktır. Bu bağlamda film anlatısını değiştirecek güce sahip olduğunu söylemek yanlış olmayacaktır. Ancak film müzikleri ne yapar, neden var ya da neden var olmalılar sorularını cevaplamak her zaman kolay değildir. Bu çalışmada filmsel anlatının içerisinde müziğin ne kadar önemli olduğu ve seyircilerin anlam yaratmasında ne denli güdüleyici ve ne kadar güçlü olduğu incelenip anlatılmaya çalışıldı.

Kaynakça

  • Buhler, J.; Neumeyer, D. Ve Deemer, R. (2010). Hearing The Movies: Music and Sound in Film History. New York, Oxford: Oxford University Press.
  • Dolunay, A. Kasap, F. ve Kambur, H. (2021). The Effect, Importance And Functions Of Music In Cinema: Example Of Cahit Berkay In The Context Of Turkish Cinema. İçinde Journal of Gender and Interdisciplinarity. Vol no 02 no 01, ISSN: 2675-7451. Sf: 449-485. https://www.periodicojs.com.br/index.php/gei/index
  • Donnelly, K. J. (2016). How Far Can Too Far Go? Radical Approaches to Silent Film Music. İçinde Today’s Sounds for Yesterday’s Films: Making Music for Silent Cinema. (Der.) K. J. Donnelly ve Ann-Kristin Wallengren. U.K.: Palgrave Macmillan.
  • Donnelly, K.J. (2001). Introduction: The Hidden Heritage Of Film Music: History and Scholarship. İçinde Film music: Critical Approaches. (Der.). K.J Donnelly. Edinburgh: Edinburgh University Press Ltd.
  • Eerola, T. (2011). Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres. İçinde Journal of New Music Research. Vol. 40, No. 4. sf. 349–366. DOI: 10.1080/09298215.2011.602195. https://doi.org/10.1080/09298215.2011.602195
  • Erdoğan, İ; Solmaz, P.B. (2005). Sinema ve Müzik: Materyal Satış ve Bilinç Yönetimi İçin Bilişsel ve Duygusalın Oluşturulması. Ankara: Pozitif Matbaacılık.
  • Fossaceca, K. (2011). Sound Film and American Immigrant Identity in The Jazz Singer. İçinde Magnificat: A Journal Of Undergraduate Nonfiction. https://commons.marymount.edu/magnificat
  • Gorbman, C. (1987). Unheard Melodies: Narrative Film Music. London: BFI Publishing.
  • Goldmark, D. Kramer, L. Ve Leppert, R., (2007). Introduction: Phonoplay, Recasting Film Music. Beyond the Soundtrack: Representing Music in Cinema (der.). Daniel Goldmark, Lawrence Kramer, Richard Leppert. California: University of California Press.
  • Grajeda, T. (2012). Cinema: Introduction. İçinde Music, Sound, And Technology In America: A Documentary History Of Early Phonograph, Cinema, And Radio. (Der). Timothy D. Taylor, Mark Katz, and Tony Grajeda. Durham and London: Duke University Press.
  • Hayward, P. (2009) Introduction: Scoring the Edge. Içinde Terror Tracks Music, Sound and Horror Cinema (ed.). Philip Hayward. London: Equinox Publishing Ltd.
  • Herman, D., Jahn, M. and Ryan, M. L. (2005) Routledge Encyclopedia of Narrative Theory, USA and Canada: Routledge Ltd.
  • Hoeckner, B. Wyatt, E. W., Decety, J. ve Nusbaum, H. (2011). Film Music Influences How Viewers Relate to Movie Characters. İçinde Psychology of Aesthetics, Creativity, and the Arts. Vol. 5, No. 2, DOI: 10.1037/a0021544. Sf: 146-153. American Psychological Association.
  • Kalinak, K. (2010). Film Music: A Very Short Introduction. Oxforf: Oxford Univericity Press.
  • Kassabian, A. (2001). Hearing film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge.
  • Katz, M. (2012). Sound Recording: Introduction. İçinde Music, Sound, And Technology İn America: A Documentary History Of Early Phonograph, Cinema, And Radio. (Der). Timothy D. Taylor, Mark Katz, and Tony Grajeda. Durham and London: Duke University Press.
  • Knight, A. Ve Wojcik, P. R. (2001). Overture. İçince Soundtrack Available: Essays on Film and Popular Music. (Ed) Pamela Robertson Wojcik ve Arthur Knight. Durham and London: Duke University Press.
  • Lehman, F. (2018). Hollywood Harmony: Musical Wonder And The Sound Of Cinema. United States of America: Oxford University Press.
  • Musser, C. (2011). Why Did Negroes Love Al Jolson and The Jazz Singer? Melodrama, Blackface and Cosmopolitan Theatrical Culture. İçinde Film History, Vol. 23, No. 2, Black Representations. sf. 196-222. Indiana University Press.
  • Neumeyer, D. (2015). Meaning and Interpretation of Music in Cinema. Bloomington, Indiana: Indiana University Press Office of Scholarly Publishing.
  • Neumeyer, D. (2014). Overview: Film Studies and Film Music Studies. (Içinde) The Oxford Handbook of Film Music Studies. Oxford: Oxford University Press.
  • Richards, M. (2016). Film Music Themes: Analysis and Corpus Study. A Journal of the Society for Music Theory. Volume 22, Number 1.
  • Rogin, M. (1992). Blackface, White Noise: The Jewish Jazz Singer Finds His Voice. İçinde Critical Inquiry, Vol. 18, No. 3. sf. 417-453. The University of Chicago Press.
  • Rosar, W. H. (2002). Film Music—What’s in a Name? İçinde The Journal Of Fılm Musıc Volume 1, Number 1, Pages 1-18 ISSN 1087-7142. The International Film Music Society, Inc.
  • Tan, S.L., Spackman, M. P. ve Bezdek, M. (2007). Viewers' Interpretations of Film Characters' Emotions: Effects of Presenting Film Music Before or After a Character is Shown. İçinde Music Perception Volume 25, Issue 2, sf. 135–152, ISSN 0730-7829, Electronıc ISSN 1533-8312.: https://www.researchgate.net/publication/249978354
  • Tankel, J. D. (1978). The Impact of The Jazz Singer on the Conversion to Sound. İçinde Journal of the University Film Association. Sf. 21-25. University of Illinois Press.
  • Thayer, J. F. (1983). Effects Of Music On Psychophysiological Responses To A Stressful Film. İçinde Psychomusicology, Vol. 3, No.1. sf: 44-52. Psychomusicology Society, Inc.
  • Wierzbicki, J. (2009). Film Music: A History. New York: Routledge.

The Use Of Music In Cinema To Create Dramatic Impact And Perspective

Yıl 2022, Cilt: 2 Sayı: 1, 44 - 55, 30.06.2022

Öz

Every film is perceived as a whole with its characters, story and plot. One of the most important components for the success of the film is the music or the soundtrack of the film. The film music includes perceptions of the characters' situations, roles or functions, the relationships between the characters, and the interpretation of the film narrative. The film music has a strong influence on the audience's attitudes towards the characters, objects, time, place, and, in general, the story. Film music is an important factor and one of the most important elements of the cinematic expression tools that keeps the audience active and constantly makes the audience think throughout the film. In this context, it would not be wrong to say that the film music has the power to change the narrative of the film. But it's not always easy to answer the questions of what film music does, why it exists, or why it should exist. In this study, it has been tried to examine and explain how important the film music is in the film narrative and how motivating and how powerful it is for the audience to create meaning.

Kaynakça

  • Buhler, J.; Neumeyer, D. Ve Deemer, R. (2010). Hearing The Movies: Music and Sound in Film History. New York, Oxford: Oxford University Press.
  • Dolunay, A. Kasap, F. ve Kambur, H. (2021). The Effect, Importance And Functions Of Music In Cinema: Example Of Cahit Berkay In The Context Of Turkish Cinema. İçinde Journal of Gender and Interdisciplinarity. Vol no 02 no 01, ISSN: 2675-7451. Sf: 449-485. https://www.periodicojs.com.br/index.php/gei/index
  • Donnelly, K. J. (2016). How Far Can Too Far Go? Radical Approaches to Silent Film Music. İçinde Today’s Sounds for Yesterday’s Films: Making Music for Silent Cinema. (Der.) K. J. Donnelly ve Ann-Kristin Wallengren. U.K.: Palgrave Macmillan.
  • Donnelly, K.J. (2001). Introduction: The Hidden Heritage Of Film Music: History and Scholarship. İçinde Film music: Critical Approaches. (Der.). K.J Donnelly. Edinburgh: Edinburgh University Press Ltd.
  • Eerola, T. (2011). Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres. İçinde Journal of New Music Research. Vol. 40, No. 4. sf. 349–366. DOI: 10.1080/09298215.2011.602195. https://doi.org/10.1080/09298215.2011.602195
  • Erdoğan, İ; Solmaz, P.B. (2005). Sinema ve Müzik: Materyal Satış ve Bilinç Yönetimi İçin Bilişsel ve Duygusalın Oluşturulması. Ankara: Pozitif Matbaacılık.
  • Fossaceca, K. (2011). Sound Film and American Immigrant Identity in The Jazz Singer. İçinde Magnificat: A Journal Of Undergraduate Nonfiction. https://commons.marymount.edu/magnificat
  • Gorbman, C. (1987). Unheard Melodies: Narrative Film Music. London: BFI Publishing.
  • Goldmark, D. Kramer, L. Ve Leppert, R., (2007). Introduction: Phonoplay, Recasting Film Music. Beyond the Soundtrack: Representing Music in Cinema (der.). Daniel Goldmark, Lawrence Kramer, Richard Leppert. California: University of California Press.
  • Grajeda, T. (2012). Cinema: Introduction. İçinde Music, Sound, And Technology In America: A Documentary History Of Early Phonograph, Cinema, And Radio. (Der). Timothy D. Taylor, Mark Katz, and Tony Grajeda. Durham and London: Duke University Press.
  • Hayward, P. (2009) Introduction: Scoring the Edge. Içinde Terror Tracks Music, Sound and Horror Cinema (ed.). Philip Hayward. London: Equinox Publishing Ltd.
  • Herman, D., Jahn, M. and Ryan, M. L. (2005) Routledge Encyclopedia of Narrative Theory, USA and Canada: Routledge Ltd.
  • Hoeckner, B. Wyatt, E. W., Decety, J. ve Nusbaum, H. (2011). Film Music Influences How Viewers Relate to Movie Characters. İçinde Psychology of Aesthetics, Creativity, and the Arts. Vol. 5, No. 2, DOI: 10.1037/a0021544. Sf: 146-153. American Psychological Association.
  • Kalinak, K. (2010). Film Music: A Very Short Introduction. Oxforf: Oxford Univericity Press.
  • Kassabian, A. (2001). Hearing film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge.
  • Katz, M. (2012). Sound Recording: Introduction. İçinde Music, Sound, And Technology İn America: A Documentary History Of Early Phonograph, Cinema, And Radio. (Der). Timothy D. Taylor, Mark Katz, and Tony Grajeda. Durham and London: Duke University Press.
  • Knight, A. Ve Wojcik, P. R. (2001). Overture. İçince Soundtrack Available: Essays on Film and Popular Music. (Ed) Pamela Robertson Wojcik ve Arthur Knight. Durham and London: Duke University Press.
  • Lehman, F. (2018). Hollywood Harmony: Musical Wonder And The Sound Of Cinema. United States of America: Oxford University Press.
  • Musser, C. (2011). Why Did Negroes Love Al Jolson and The Jazz Singer? Melodrama, Blackface and Cosmopolitan Theatrical Culture. İçinde Film History, Vol. 23, No. 2, Black Representations. sf. 196-222. Indiana University Press.
  • Neumeyer, D. (2015). Meaning and Interpretation of Music in Cinema. Bloomington, Indiana: Indiana University Press Office of Scholarly Publishing.
  • Neumeyer, D. (2014). Overview: Film Studies and Film Music Studies. (Içinde) The Oxford Handbook of Film Music Studies. Oxford: Oxford University Press.
  • Richards, M. (2016). Film Music Themes: Analysis and Corpus Study. A Journal of the Society for Music Theory. Volume 22, Number 1.
  • Rogin, M. (1992). Blackface, White Noise: The Jewish Jazz Singer Finds His Voice. İçinde Critical Inquiry, Vol. 18, No. 3. sf. 417-453. The University of Chicago Press.
  • Rosar, W. H. (2002). Film Music—What’s in a Name? İçinde The Journal Of Fılm Musıc Volume 1, Number 1, Pages 1-18 ISSN 1087-7142. The International Film Music Society, Inc.
  • Tan, S.L., Spackman, M. P. ve Bezdek, M. (2007). Viewers' Interpretations of Film Characters' Emotions: Effects of Presenting Film Music Before or After a Character is Shown. İçinde Music Perception Volume 25, Issue 2, sf. 135–152, ISSN 0730-7829, Electronıc ISSN 1533-8312.: https://www.researchgate.net/publication/249978354
  • Tankel, J. D. (1978). The Impact of The Jazz Singer on the Conversion to Sound. İçinde Journal of the University Film Association. Sf. 21-25. University of Illinois Press.
  • Thayer, J. F. (1983). Effects Of Music On Psychophysiological Responses To A Stressful Film. İçinde Psychomusicology, Vol. 3, No.1. sf: 44-52. Psychomusicology Society, Inc.
  • Wierzbicki, J. (2009). Film Music: A History. New York: Routledge.
Toplam 28 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Radyo-Televizyon
Bölüm Araştırma Makaleleri
Yazarlar

Ozan Otan 0000-0003-2335-7910

Yayımlanma Tarihi 30 Haziran 2022
Gönderilme Tarihi 20 Nisan 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 2 Sayı: 1

Kaynak Göster

APA Otan, O. (2022). Dramatik Etki ve Anlatıda Derinlik; Sinemada Müzik Kullanımı. Türkiye Film Araştırmaları Dergisi, 2(1), 44-55.

Dergiye makale gönderimi sürekli açıktır.