Abstract
Bu makalenin amacı, yönetmenliğini Abbas Kiyarüstemi’nin yaptığı, yeni bir anlatı modu taşıyan 24 Kare (24 Frames) adlı eserin imge tasarımını estetik perspektiften irdelemektir. Kiyarüstemi’nin çektiği fotoğraflardan seçilmiş yirmi üç farklı görüntünün hareketli hâle getirilmesiyle oluşturulan deneysel nitelikli eser, kolaj yapısına benzer bir biçim ve biçeme sahiptir. Eserde sinema ve fotoğraf gibi iki sanat formunun bileşimi üzerinden farklı bir anlatı inşa edilmiştir. Bileşim motivasyon olarak şu düşünceye dayanmaktadır: Statik görsel imgeler (tablo, fotoğraf, vb.) doğaları gereği zamana ait yalnızca bir “an”ı betimler; dinamik/akan imgelerin (film) zamanla olan ilişkisi ise kaçınılmaz olarak farklıdır; çünkü gösterilen “an”ın öncesini ve sonrasını açık ya da örtük biçimde yansıtırlar. Dolayısıyla ontolojileri farklı olan imge modlarının bileşimi epistemolojik olarak da farklı anlatı modülasyonu üretmektedir. Eserin sanatsal anlamdaki başarısında durağan görüntülerin kendi sınırlarının ötesine geçip esnek zamansal görüntülere büründürülme özgünlüğü yatmaktadır. Bu kendine özgü oluş, onun tanımlanmasına ve sınıflandırılmasına kolayca imkân vermez. Bütün bunlarla birlikte Kiyarüstemi’nin asıl başarısı eserin görünürdeki özgünlüğünde değil, sinemanın amacını ve seyirci kavramını sorgulamasında ve fotoğraf, resim, sinema, dijital animasyon ve hatta sanat arasındaki alışılagelmiş sınırlara meydan okumasında yatmaktadır. Makale betimsel içerik analizi üzerine kurulmuş ve şu şekilde yapılandırılmıştır: İlk olarak esere ait estetiğin daha iyi anlaşılabilmesi için Kiyarüstemi sinemasının sinematografik kodları ele alınıp değerlendirilmiştir. İkincil olarak konvansiyonel imge estetiği ve füzyon olgusuna değinilmiş, ardından asal sorunsal olarak ele alınan eser belirlenen beş soru üzerinden irdelenmiş ve son olarak da tüm argümanlar genel değerlendirme başlığı altında somut veriler haline dönüştürülmüştür.
Keywords
References
- Abbott, Mathew. 2018. Abbas Kiarostami and Film-Philosophy. Edinburgh: Edinburgh University Press.
- Alexander, Iain. 2011. “NYC Photographer Jamie Beck Discusses The Cinemagraph.” Film Industry Network, 8 Temmuz 2011. https://filmindustry.network/nyc-photographer-jamie-beck-cinemagraph/12173. Burgin, Victor. 2004. The Remembered Film. Londra: Reaktion Books.
- Campany, David. 2008. Photography and Cinema. Londra: Reaktion Press.
- Cartier-Bresson, Henri. 2006. “Karar Anı.” Çeviren İlker Maga. Henri Cartier-Bresson Karar Anı içinde, editör İlker Maga. İstanbul: YGS Yayınları.
- Chaudhuri, Shohini ve Howard Finn. 2003. “The Open Image: Poetic Realism and the New Iranian Cinema.” Screen 44 (1): 38–57. https://doi.org/10.1093/screen/44.1.38.
- Cheshire, Godrey. 2018. “24 Frames.” 1 Şubat 2018. https://www.rogerebert.com/reviews/24-frames-2018.
- Dargis, Manohla. 2018. “Review: The Persistence of Abbas Kiarostami’s Vision in ‘24 Frames’.” The New York Times, 1 Şubat 2018. https://www.nytimes.com/2018/02/01/movies/24-frames-review-abbas-kiarostami.html.
- Deleuze, Gilles. 2014a. Sinema 1- Hareket-İmge. Çeviren Soner Özdemir. İstanbul: Norgunk Yayıncılık.
- Deleuze, Gilles. 2014b. Sinema II- Zaman-İmge. Çevirenler Burcu Yalım ve Emre Koyuncu. İstanbul: Norgunk Yayıncılık.
- Ewing, James Blake. 2014. “Fiction Criticizing Reality: Abbas Kiarostami and the Cracked Windshield of Cinema.” CINEJ Cinema Journal 3 (1): 28–46. https://doi.org/10.5195/cinej.2013.77.
- Medeiros, Margarida, Teresa Mendes Flores, Joana Cunha Leal. 2015. "Introduction" Photography and Cinema: 50 Years After Chris Marker's La Jetée içinde, editörler Margarida Medeiros, Teresa Mendes Flores ve Joana Cunha Leal, 1-13. Newcastle: Cambridge Scholars Publishing.
- Javid, Sareh. 2017. “Kiarostami’s The Traveller: A Cinema of the Seer.” The SOAS Journal of Postgraduate Research 10 (2016–2017): 81–99. https://doi.org/10.25501/SOAS.0002468.
- Keser, Nimet. 2009. Sanat Sözlüğü. Ankara: Ütopya Yayınevi.
- Kimiagari, Mehdi. 2022. “The Frames That Unframe: Abbas Kiarostami’s Method of Decreation in 24 Frames.” Film Criticism 46 (1). doi: https://doi.org/10.3998/fc.2713.
- McKibbin, Tony. 2003. “Sceptical Oscillations: Abbas Kiarostami and Film-Philosophy, by Matthew Abbott” Senses of Cinema 81, Eylül 2017. https://www.sensesofcinema.com/2017/book-reviews/abbas-kiarostami-film-philosophy/.
- Metz, Christian. 2015. “Photography and Fetish.” Photography and Cinema: 50 Years of Chris Marker’s La Jetée içinde, editörler Margarida Medeiros, Teresa Mendes Flores ve Joana Cunha Leal, 14-24. Newcastle: Cambridge Scholars Publishing.
- Morgenstern, Hans. 2018. “24 Frames (Abbas Kiarostami).” International Cinephile Society, 4 Mart 2018. https://icsfilm.org/reviews/24-frames-abbas-kiarostami/.
- Mulvey, Laura. 2006. Death 24x a Second: Stillness and the Moving Image. Londra: Reaktion Books.
- Nagy, Laszlo Moholy. 1969. Painting Photography Film. Londra: Lund Humphries.
- Özön, Nijat. 2000. Sinema Televizyon Video Bilgisayarlı Sinema Sözlüğü. İstanbul: Kabalcı Yayınları.
- Rifkin, Stephen J. 2011. “André Bazin’s ‘Ontology of the Photographic Image’: Representation, Desire, and Presence.” Doktora tezi, Carleton University.
- Saeed-Vafa, Mehrnaz ve Jonathan Rosenbaum. 2018. Abbas Kiarostami. Illinois: University of Illinois Press. Scott, Tobias. 2018. “When A Still Life Isn’t Entirely Still: ‘24 Frames’.” NPR, 1 Şubat 2018. https://www.npr.org/2018/02/01/581005890/when-a-still-life-isnt-entirely-still-24-frames.
- Sims, David. 2018. “‘24 Frames’ Is a Fitting Elegy for Abbas Kiarostami.” The Atlantic, 1 Şubat 2018. https://www.theatlantic.com/entertainment/archive/2018/02/24-frames-abbas-kiarostami-review/551999/.
- Slaymaker, James. 2019. “Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image.” Senses of Cinema, Ekim 2019. https://www.sensesofcinema.com/2019/feature-articles/cinema-never-dies-abbas-kiarostamis-24-frames-and-the-ontology-of-the-digital-image/.
- Streitberger, Alexander ve Hilde van Gelder. 2010. “Photo-Filmic Images in Contemporary Visual Culture.” Philosophy of Photography. 1 (1): 48–53. https://doi.org/10.1386/pop.1.1.48/7.
- Susanto, Eko, Yasraf Piliang ve Setiawan Sabana. 2020. “A New Discourse about Moving Photography as a Static Visual Narration.” Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities byFaculty of Art and Design. CONVASH. https://doi.org/10.4108/eai.2-11-2019.2294887.
- Trifonova, Temenuga. 2015. “Cinematic Photography.” Photography and Cinema: 50 Years of Chris Marker’s La Jetée içinde, editörler Margarida Medeiros, Teresa Mendes Flores ve Joana Cunha Leal, 103-121. Newcastle: Cambridge Scholars Publishing.
- Yıldırım, Ali ve Hasan Şimşek. 2008. Sosyal Bilimlerde Nitel Araştırma Yöntemleri. Ankara: Seçkin Yayıncılık.
- Downey, Robert Sr. 1966. Chafed Elbows. ABD: Goosedown Production.
- Kiyarüstemi, Abbas. 1990. Yakın Plan. İran: Celluloid Dreams.
- Kiyarüstemi, Abbas. 1997. Kirazın Tadı. İran: Artificial Eye.
- Kiyarüstemi, Abbas. 2008. Shirin. İran: MK2.
- Kiyarüstemi, Abbas. 2010. Aslı Gibidir. Fransa: MK2.
- Kiyarüstemi, Abbas. 2017. 24 Kare. İran, Fransa: CG Cinéma.
- Kiyarüstemi, Abbas. Arkadaşımın Evi Nerede?. 1987. İran: Janus Films.
- Kiyarüstemi, Abbas. Zeytin Ağaçlarının Altında. 1994. İran: Miramax.
- Marker, Chris. La Jetee. 1962. Fransa: Argos Films.
- Varda, Agnes. 1963. Salut Les Cubains. Fransa: MK2.
- Warhol, Andy. Sleep. 1964. ABD: Andy Warhol.
- Wyler, William. 1946. Hayatımızın En Güzel Yılları. ABD: The Samuel Goldwyn Company.
A Fusion Experiment: A Different Narrative Modulation Through the Interaction of Painting, Photography, and Cinematic Images
Abstract
The aim of this article is to analyze the image design of 24 Frames, directed by Abbas Kiarostami, from an aesthetic perspective. This work, which in 2018 was among the winners of the International Cinephile Society’s award for best picture not released in 2017, has a novel narrative model and image design. The experimental work, created by animating twenty-three different images selected from paintings by painter Peter Bruegel and photographs taken by Kiarostami, has a form and style similar to collage. In the experimental work, a distinctive narrative is constructed through the combination of two art forms. The composition is motivated by the idea that static visual images (paintings, photographs, etc.), by their very nature, depict only a single moment in time, whereas dynamic/floating images (film) inevitably have a different relationship with time, because they reflect, explicitly or implicitly, the before and after of the projected moment. The combination of the two different image modes and their contrasting ontologies produces an epistemologically distinct narrative modulation. The artistic success of the work lies in its originality, transcending the limits of static images and transforming them into flexible temporal images. This uniqueness makes the work difficult to define and categorize. Nevertheless, Kiarostami’s real success lies not in the apparent originality of the work, but in questioning the purpose of cinema and the concept of the audience, and in challenging the conventional boundaries between photography, painting, cinema, digital animation, and even art. The article is based on descriptive content analysis and is structured as follows: First, the cinematographic codes of Kiarostami’s cinema are discussed and evaluated in order to better understand the aesthetics of the work. Second, conventional image aesthetics and the phenomenon of fusion are discussed. Third, the work, which is taken as the main problematic, is analyzed through five questions. Finally, in the general evaluation section, all arguments are transformed into concrete data.
Keywords
References
- Abbott, Mathew. 2018. Abbas Kiarostami and Film-Philosophy. Edinburgh: Edinburgh University Press.
- Alexander, Iain. 2011. “NYC Photographer Jamie Beck Discusses The Cinemagraph.” Film Industry Network, 8 Temmuz 2011. https://filmindustry.network/nyc-photographer-jamie-beck-cinemagraph/12173. Burgin, Victor. 2004. The Remembered Film. Londra: Reaktion Books.
- Campany, David. 2008. Photography and Cinema. Londra: Reaktion Press.
- Cartier-Bresson, Henri. 2006. “Karar Anı.” Çeviren İlker Maga. Henri Cartier-Bresson Karar Anı içinde, editör İlker Maga. İstanbul: YGS Yayınları.
- Chaudhuri, Shohini ve Howard Finn. 2003. “The Open Image: Poetic Realism and the New Iranian Cinema.” Screen 44 (1): 38–57. https://doi.org/10.1093/screen/44.1.38.
- Cheshire, Godrey. 2018. “24 Frames.” 1 Şubat 2018. https://www.rogerebert.com/reviews/24-frames-2018.
- Dargis, Manohla. 2018. “Review: The Persistence of Abbas Kiarostami’s Vision in ‘24 Frames’.” The New York Times, 1 Şubat 2018. https://www.nytimes.com/2018/02/01/movies/24-frames-review-abbas-kiarostami.html.
- Deleuze, Gilles. 2014a. Sinema 1- Hareket-İmge. Çeviren Soner Özdemir. İstanbul: Norgunk Yayıncılık.
- Deleuze, Gilles. 2014b. Sinema II- Zaman-İmge. Çevirenler Burcu Yalım ve Emre Koyuncu. İstanbul: Norgunk Yayıncılık.
- Ewing, James Blake. 2014. “Fiction Criticizing Reality: Abbas Kiarostami and the Cracked Windshield of Cinema.” CINEJ Cinema Journal 3 (1): 28–46. https://doi.org/10.5195/cinej.2013.77.
- Medeiros, Margarida, Teresa Mendes Flores, Joana Cunha Leal. 2015. "Introduction" Photography and Cinema: 50 Years After Chris Marker's La Jetée içinde, editörler Margarida Medeiros, Teresa Mendes Flores ve Joana Cunha Leal, 1-13. Newcastle: Cambridge Scholars Publishing.
- Javid, Sareh. 2017. “Kiarostami’s The Traveller: A Cinema of the Seer.” The SOAS Journal of Postgraduate Research 10 (2016–2017): 81–99. https://doi.org/10.25501/SOAS.0002468.
- Keser, Nimet. 2009. Sanat Sözlüğü. Ankara: Ütopya Yayınevi.
- Kimiagari, Mehdi. 2022. “The Frames That Unframe: Abbas Kiarostami’s Method of Decreation in 24 Frames.” Film Criticism 46 (1). doi: https://doi.org/10.3998/fc.2713.
- McKibbin, Tony. 2003. “Sceptical Oscillations: Abbas Kiarostami and Film-Philosophy, by Matthew Abbott” Senses of Cinema 81, Eylül 2017. https://www.sensesofcinema.com/2017/book-reviews/abbas-kiarostami-film-philosophy/.
- Metz, Christian. 2015. “Photography and Fetish.” Photography and Cinema: 50 Years of Chris Marker’s La Jetée içinde, editörler Margarida Medeiros, Teresa Mendes Flores ve Joana Cunha Leal, 14-24. Newcastle: Cambridge Scholars Publishing.
- Morgenstern, Hans. 2018. “24 Frames (Abbas Kiarostami).” International Cinephile Society, 4 Mart 2018. https://icsfilm.org/reviews/24-frames-abbas-kiarostami/.
- Mulvey, Laura. 2006. Death 24x a Second: Stillness and the Moving Image. Londra: Reaktion Books.
- Nagy, Laszlo Moholy. 1969. Painting Photography Film. Londra: Lund Humphries.
- Özön, Nijat. 2000. Sinema Televizyon Video Bilgisayarlı Sinema Sözlüğü. İstanbul: Kabalcı Yayınları.
- Rifkin, Stephen J. 2011. “André Bazin’s ‘Ontology of the Photographic Image’: Representation, Desire, and Presence.” Doktora tezi, Carleton University.
- Saeed-Vafa, Mehrnaz ve Jonathan Rosenbaum. 2018. Abbas Kiarostami. Illinois: University of Illinois Press. Scott, Tobias. 2018. “When A Still Life Isn’t Entirely Still: ‘24 Frames’.” NPR, 1 Şubat 2018. https://www.npr.org/2018/02/01/581005890/when-a-still-life-isnt-entirely-still-24-frames.
- Sims, David. 2018. “‘24 Frames’ Is a Fitting Elegy for Abbas Kiarostami.” The Atlantic, 1 Şubat 2018. https://www.theatlantic.com/entertainment/archive/2018/02/24-frames-abbas-kiarostami-review/551999/.
- Slaymaker, James. 2019. “Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image.” Senses of Cinema, Ekim 2019. https://www.sensesofcinema.com/2019/feature-articles/cinema-never-dies-abbas-kiarostamis-24-frames-and-the-ontology-of-the-digital-image/.
- Streitberger, Alexander ve Hilde van Gelder. 2010. “Photo-Filmic Images in Contemporary Visual Culture.” Philosophy of Photography. 1 (1): 48–53. https://doi.org/10.1386/pop.1.1.48/7.
- Susanto, Eko, Yasraf Piliang ve Setiawan Sabana. 2020. “A New Discourse about Moving Photography as a Static Visual Narration.” Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities byFaculty of Art and Design. CONVASH. https://doi.org/10.4108/eai.2-11-2019.2294887.
- Trifonova, Temenuga. 2015. “Cinematic Photography.” Photography and Cinema: 50 Years of Chris Marker’s La Jetée içinde, editörler Margarida Medeiros, Teresa Mendes Flores ve Joana Cunha Leal, 103-121. Newcastle: Cambridge Scholars Publishing.
- Yıldırım, Ali ve Hasan Şimşek. 2008. Sosyal Bilimlerde Nitel Araştırma Yöntemleri. Ankara: Seçkin Yayıncılık.
- Downey, Robert Sr. 1966. Chafed Elbows. ABD: Goosedown Production.
- Kiyarüstemi, Abbas. 1990. Yakın Plan. İran: Celluloid Dreams.
- Kiyarüstemi, Abbas. 1997. Kirazın Tadı. İran: Artificial Eye.
- Kiyarüstemi, Abbas. 2008. Shirin. İran: MK2.
- Kiyarüstemi, Abbas. 2010. Aslı Gibidir. Fransa: MK2.
- Kiyarüstemi, Abbas. 2017. 24 Kare. İran, Fransa: CG Cinéma.
- Kiyarüstemi, Abbas. Arkadaşımın Evi Nerede?. 1987. İran: Janus Films.
- Kiyarüstemi, Abbas. Zeytin Ağaçlarının Altında. 1994. İran: Miramax.
- Marker, Chris. La Jetee. 1962. Fransa: Argos Films.
- Varda, Agnes. 1963. Salut Les Cubains. Fransa: MK2.
- Warhol, Andy. Sleep. 1964. ABD: Andy Warhol.
- Wyler, William. 1946. Hayatımızın En Güzel Yılları. ABD: The Samuel Goldwyn Company.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Cinema and Aesthetics |
| Journal Section | Articles |
| Authors | |
| Publication Date | December 3, 2024 |
| Submission Date | May 19, 2024 |
| Acceptance Date | November 21, 2024 |
| Published in Issue | Year 2024Volume: 11 Issue: 2 |
