Scratch and Mark: Affective Intermediality Towards Mathilde

Yıl 2024, Sayı: 29, 127 - 144, 31.05.2024

Cansu Yılmaz

https://doi.org/10.56074/msgsusbd.1453809

Öz

Claire Denis’ cinema relies on in-betweenness of the film medium, combining it with other art forms and media through sensations. Towards Mathilde (2005) documents the correspondence between the director’s own work and that of the famous choreographer, Mathilde Monnier, reflecting on artistic expression, movement, and embodiment with the senses. This article explores the intricate texture of affective intermediality within the film. Interweaving the theories of affect and intermediality within film studies, this analysis delves into the ways in which Denis embodies a wide range of intermedial elements to inspire emotional responses. Through a detailed examination of the use of cinematography, sound design, and music, it uncovers how Denis engages in different arts and media to create a deeply affective cinematic experience. By examining the interplay between visual, auditory, and sense in dance and cinema as two distinct but intertwined art forms, this article aims to illuminate the affective intermediality at work in the film, offering insights into the complex ways in which cinema and dance can move and communicate emotion.

Anahtar Kelimeler

Claire Denis, affective intermediality, cinematic body, Affect Theory, choreography

Sıyrık ve İz: Towards Mathilde Filminde Duygulanımsal Medyalararasılık

Öz

Claire Denis’nin sineması, diğer sanat formları ve medya ile duyumlar aracılığıyla birleşen film mecrasının bu aradalığına dayanır. Towards Mathilde, onun kendi çalışması ile ünlü koreograf Mathilde Monnier’ınki arasında var olan ilişkiyi duygularla kaydeder ve bunu yaparken de sanatsal ifade, hareket ve bedenlenme üzerine düşünür. Bu makale, filmdeki duygulanımsal medyalararasılığın karmaşık dokusunu araştırmaktadır. Film çalışmalarında duygulanım ve medyalararasılık kuramlarını harmanlayan bu analiz, Denis’in duygusal tepkiler uyandırmak için çok çeşitli medyalararası unsurları nasıl kullandığını araştırır. Filmin sinematografi, ses tasarımı ve müzik kullanımının ayrıntılı bir incelemesi yoluyla, ayrıca Denis’in derinlemesine duygusal bir sinema deneyimi yaratmak için farklı sanatları ve medyayı nasıl kullandığını ortaya çıkarır.
Sonuçta iki farklı ama iç içe geçmiş sanat formu olarak dans ve sinemada görsel, işitsel ve duyusal arasındaki etkileşimi inceleyen bu makale, filmde var olan duygusal medyalararasılığı açığa
çıkarmayı ve sinema ile dansın duyguları harekete geçirip temasa kurduğu karmaşık yollara dair
iç görüler sunmayı amaçlar.

Anahtar Kelimeler

duygulanımsal medyalararasılık, sinemasal beden, koreografi, Duygulanım teorisi, Claire Denis

Kaynakça

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