[vc_row][vc_column][vc_column_text]Sinemadaki ak\u0131mlara ge\u00e7meden \u00f6nce \u201cak\u0131m\u201d kelimesinin s\u00f6zl\u00fckteki kar\u015f\u0131l\u0131\u011f\u0131na yer verelim: Sanatta, siyasette, d\u00fc\u015f\u00fcnce hayat\u0131nda ortaya \u00e7\u0131kan yeni bir g\u00f6r\u00fc\u015f, y\u00f6ntem, hareket, cereyan, tarz. Sinemada ak\u0131mlar\u0131n nas\u0131l ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 merak edenler i\u00e7in de, \u201cBir film nas\u0131l olmal\u0131?\u201d sorusu \u00e7er\u00e7evesinde y\u00f6netmenlerin, yap\u0131mc\u0131lar\u0131n, ele\u015ftirmenlerin, film kuramc\u0131lar\u0131n\u0131n d\u00f6nem d\u00f6nem \u00fcretti\u011fi teoriler neticesinde olu\u015ftu\u011funu s\u00f6yleyebiliriz. Belli ba\u015fl\u0131 sinema ak\u0131mlar\u0131na ve \u00f6rneklerine g\u00f6z atmaya ne dersiniz?[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”D\u0131\u015favurumculuk” title_font_size=”13″][vc_single_image image=”16731″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]D\u0131\u015favurumculuk ak\u0131m\u0131n\u0131n beyaz perdedeki \u00e7\u0131k\u0131\u015f noktas\u0131 Almanya\u2019d\u0131r ve 1910\u2019lu y\u0131llardan 30\u2019lu y\u0131llar\u0131n sonuna kadar \u00fcr\u00fcn verilmi\u015ftir. Bu ak\u0131m kapsam\u0131nda, somut ger\u00e7ek\u00e7ilikten soyuta ge\u00e7ilmi\u015f, insan\u0131n bilin\u00e7alt\u0131 ve i\u00e7 d\u00fcnyas\u0131na odaklan\u0131lm\u0131\u015ft\u0131r. Y\u00f6netmenli\u011fini Robert Wiene\u2019nin yapt\u0131\u011f\u0131 sinema filmi \u201cDr. Caligari\u2019nin Muayenehanesi\u201d d\u0131\u015favurumculu\u011fun, di\u011fer bir ad\u0131yla ekspresyonizmin ba\u015flang\u0131c\u0131 olarak kabul edilir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”\u015eiirsel Ger\u00e7ek\u00e7ilik” title_font_size=”13″][vc_single_image image=”16732″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]Fransa\u2019da ortaya \u00e7\u0131kan \u015fiirsel ger\u00e7ek\u00e7ilik ak\u0131m\u0131nda, olay ve karakterlerdeki \u201cger\u00e7ek\u00e7ilik\u201d ile \u00f6zellikle mek\u00e2nlardaki \u201c\u015fiirsellik\u201d bulu\u015fturulmu\u015ftur. 1929 Buhran\u0131 sonras\u0131nda ortaya \u00e7\u0131karak II. D\u00fcnya Sava\u015f\u0131\u2019na kadar uzanan s\u00fcre\u00e7te bu ak\u0131m, toplumsal sorunlar\u0131n bireyin d\u00fcnyas\u0131na yans\u0131mas\u0131n\u0131 ele alm\u0131\u015ft\u0131r. \u015eiirsel ger\u00e7ek\u00e7ilik ak\u0131m\u0131n\u0131n en bilinen temsilcisi Marcel Carn\u00e9 ve hareketin en \u00f6nemli filmlerinden biri dilimize G\u00fcn A\u011far\u0131yor ismiyle \u00e7evrilen \u201cLe jour se l\u00e8ve\u201d dir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Yeni Ger\u00e7ek\u00e7ilik” title_font_size=”13″][vc_single_image image=”16733″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]Yeni ger\u00e7ek\u00e7ilik, kameran\u0131n melodramlara de\u011fil soka\u011fa ve ger\u00e7ek hik\u00e2yelere \u00e7evrildi\u011fi, st\u00fcdyo \u0131\u015f\u0131klar\u0131n\u0131n yerine do\u011fal \u0131\u015f\u0131\u011f\u0131n kullan\u0131ld\u0131\u011f\u0131 belgesel t\u00fcrevi filmlere kar\u015f\u0131l\u0131k gelir. II. D\u00fcnya Sava\u015f\u0131\u2019n\u0131n ard\u0131ndan \u0130talya\u2019da ortaya \u00e7\u0131kan bu ak\u0131mla ilgili iki \u00f6nemli \u00f6rnek verebiliriz: Luchino Visconti\u2019den Postac\u0131 Kap\u0131y\u0131 \u0130ki Kere \u00c7alar ve Vittoria de Sica\u2019n\u0131n y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131 Bisiklet H\u0131rs\u0131zlar\u0131.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Yeni Dalga” title_font_size=”13″][vc_single_image image=”16734″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]1. D\u00fcnya Sava\u015f\u0131\u2019ndan k\u0131sa s\u00fcre sonra, o g\u00fcne kadarki sinema kal\u0131plar\u0131na tepki olarak Fransa\u2019da ortaya \u00e7\u0131km\u0131\u015f, 1960\u2019lara kadar devam etmi\u015ftir. Toplumsal ve siyasal de\u011fi\u015fimlere yer verilen filmlerde tabular\u0131 y\u0131kacak sinematografik anlat\u0131mlar, farkl\u0131 g\u00f6r\u00fcnt\u00fcler e\u015fli\u011finde farkl\u0131 kurgular kullan\u0131lm\u0131\u015ft\u0131r. Yeni dalga sinema ak\u0131m\u0131na \u00f6rnek olarak Frans\u0131z y\u00f6netmen Alain Resnais ve Ge\u00e7en Y\u0131l Marienbad’da filmini g\u00f6sterebiliriz.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”\u00d6zg\u00fcr Sinema” title_font_size=”13″][vc_single_image image=”16735″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]\u00d6zg\u00fcr Sinema Ak\u0131m\u0131 1956 y\u0131l\u0131nda Sequence dergisi yazarlar\u0131 taraf\u0131ndan yay\u0131nlanan manifesto ile \u0130ngiltere\u2019de ba\u015flat\u0131l\u0131r. \u0130nsanlar\u0131n sosyal ve ekonomik sorunlar\u0131na belgesel niteli\u011findeki filmlerle de\u011finilen ak\u0131mda sonralar\u0131 kurgusal filmlere ge\u00e7ilmi\u015ftir. \u00d6zg\u00fcr Sinema\u2019n\u0131n \u00f6nc\u00fcs\u00fc olarak Lindsay Anderson kabul edilir ve y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131 Sporcunun Hayat\u0131 filmi bu ak\u0131m\u0131n \u00f6rneklerindendir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Yeni Sinema” title_font_size=”13″][vc_single_image image=”16736″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]Amerikan \u015firketlerinin sinema sekt\u00f6r\u00fcndeki egemenli\u011fine kar\u015f\u0131 1960\u2019lar Brezilya\u2019s\u0131nda ortaya \u00e7\u0131kan yeni sinema ak\u0131m\u0131nda, ba\u011f\u0131ms\u0131z ve ger\u00e7ek\u00e7i bir anlay\u0131\u015fla toplumsal adaletsizlik konular\u0131 ele al\u0131nm\u0131\u015ft\u0131r.\u00a0 70\u2019li y\u0131llara kadar devam eden ak\u0131ma verece\u011fimiz \u00f6rnek ise y\u00f6netmen Glauber Rocha ve 1969 tarihli Barravento isimli filmidir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Deneysel Sinema” title_font_size=”13″][vc_single_image image=”16737″ img_size=”full” el_class=”innerImageContainer”][vc_column_text el_class=”innerText”]Ba\u015flang\u0131\u00e7 izleri I. D\u00fcnya Sava\u015f\u0131\u2019na kadar s\u00fcr\u00fclebilen deneysel sinema ak\u0131m\u0131nda teknik ve d\u00fc\u015f\u00fcnsel konularda daha \u00f6nce denenmemi\u015fleri denemek esast\u0131r. Deneysel sinema ak\u0131m\u0131 kapsam\u0131ndaki filmler, \u201cavant-garde\u201d yani \u201c\u00f6nc\u00fc\u201d, \u201cunderground\u201d yani \u201cyeralt\u0131 sinemas\u0131” isimleriyle de tan\u0131mlanabilir. Resim sanat\u0131nda Pop Art ak\u0131m\u0131n\u0131n \u00f6nc\u00fclerinden olan Andy Warhol deneysel sinema ak\u0131m\u0131na da eser \u00fcretmi\u015f, Uyku filminin y\u00f6netmen ve yap\u0131mc\u0131l\u0131\u011f\u0131n\u0131 \u00fcstlenmi\u015ftir.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
Sinemadaki ak\u0131mlara ge\u00e7meden \u00f6nce \u201cak\u0131m\u201d kelimesinin s\u00f6zl\u00fckteki kar\u015f\u0131l\u0131\u011f\u0131na yer verelim: Sanatta, siyasette, d\u00fc\u015f\u00fcnce hayat\u0131nda ortaya \u00e7\u0131kan yeni bir g\u00f6r\u00fc\u015f, y\u00f6ntem, hareket, cereyan, tarz. Sinemada ak\u0131mlar\u0131n nas\u0131l ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 merak edenler i\u00e7in de, \u201cBir film nas\u0131l olmal\u0131?\u201d sorusu \u00e7er\u00e7evesinde y\u00f6netmenlerin, yap\u0131mc\u0131lar\u0131n, ele\u015ftirmenlerin, film kuramc\u0131lar\u0131n\u0131n d\u00f6nem d\u00f6nem \u00fcretti\u011fi teoriler neticesinde olu\u015ftu\u011funu s\u00f6yleyebiliriz. Belli ba\u015fl\u0131 sinema ak\u0131mlar\u0131na ve \u00f6rneklerine g\u00f6z atmaya ne dersiniz?<\/p>\n","protected":false},"author":1,"featured_media":16730,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[4341,4342,4343],"class_list":["post-16729","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-sinema-akimlari","tag-yeni-dalga","tag-yeni-gercekcilik"],"_links":{"self":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/16729","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16729"}],"version-history":[{"count":0,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/16729\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/media\/16730"}],"wp:attachment":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16729"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16729"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16729"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}