Mimar mı Yönetmen mi? Sinemasal Mekânlarıyla Wes Anderson

Yıl 2024, Cilt: 12 Sayı: 4, 619 - 634, 29.12.2024

Serenay İnceoğlu , Özge Gündem

Öz

Sinema ve mimarlık etkileşimi, sinemanın mimariye deney ortamı hazırlaması ve mimarlığın da sinemaya yol göstermesi ile gerçekleşir. Bu çalışmada, filmlerinin yapımında her aşamaya hâkim olarak bağımsızlaşan auteur yönetmen Wes Anderson incelenmektedir. Bu çalışmanın amacı, pastel renklerin doğal ışıkla birleşimiyle yarattığı sinematik mekânlarla mimarlık-sinema kesişimine yeni bir soluk getiren Wes Anderson'ın tasarım anlayışını ortaya koyarak tıpkı bir mimar gibi düşünüp düşünmediğini tartışmaktır. Yapılan araştırmalardan elde edilen mimari parametreler kapsamında Wes Anderson'ın her filmine bir mimar olarak bakılmış ve The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Grand Budapest Hotel, Isle of Dogs ve The French Dispatch filmleri analiz edilmek üzere seçilmiştir. Çalışmanın sonucunda, sinemasal mekân yaratma biçimi ve bilinçli tasarım tavrı dolayısıyla yönetmen Wes Anderson’ın aynı zamanda bir mimar kimliğiyle de değerlendirilmesinin doğru olacağı tespit edilmiştir.

Anahtar Kelimeler

mekân, sinemasal mekân, mimarlık, sinema, wes anderson

Architect or Director? Wes Anderson with His Cinematic Spaces

Öz

The interaction of architecture and cinema takes place when the cinema prepares an experimental environment for architecture and architecture guides the cinema. In this study, auteur director Wes Anderson, who has become independent by dominating every phase in the production of his films, is examined. The aim of this study is to discuss whether Wes Anderson who has brought a new breath to the architecture-cinema intersection with his cinematic spaces created by the combination of pastel colors with natural light, is thinking just like an architect or not by revealing his design approach. Each film of Wes Anderson has been overviewed as an architect within the scope of the architectural parameters obtained from research made and The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Grand Budapest Hotel, Isle of Dogs and The French Dispatch films were selected to be analyzed. As a result of the study, it has been determined that it is correct to evaluate director Wes Anderson as an architect at the same time because of his creation of cinematic spaces and conscious design attitude.

Anahtar Kelimeler

space, cinematic space, architecture, cinema, wes anderson

Kaynakça

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