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VERTICAL CINEMA IN TERMS OF FILM STYLE: ANALYSIS OF THE STUNT DOUBLE AND GLASS HOUSE

Yıl 2023, Cilt: 13 Sayı: 2, 256 - 272, 01.04.2023
https://doi.org/10.7456/tojdac.1246152

Öz

Hangi Alandan Hakem Atanmalı: Sinema

VERTICAL CINEMA IN TERMS OF FILM STYLE: ANALYSIS OF THE STUNT DOUBLE AND GLASS HOUSE

ABSTRACT
Since the beginning of the 21st century, a new mode of production has emerged in which the image format is transformed to suit smartphones and mobile devices. The traditional horizontal frame is transformed into mobile screen sizes and positioned vertically. While the future impact of vertical cinema remains uncertain, questions arise as to how these films can be analyzed and evaluated in cinematic terms.

The aim of the study is to explore the stylistic structures of vertical films from an artistic, physiological and industrial point of view in order to discover different and recurrent stylistic features. Within the scope of the study, firstly, the concept of vertical cinema and its historical use are mentioned. As a sample, two films produced in vertical format (The Stunt Double, directed by Damien Chazelle and Glass House, directed by Zoe Beloff) were selected. The reason for choosing these films is that they are self-reflexive productions on the art and history of cinema.

In the analysis of the films, narrative structure, mise-en-scene and cinematography were prioritized based on the method of style analysis, thus making sense of how audiovisual narrative is constructed in vertical cinema. As a result of the study, it is determined that vertical cinema has a significant potential in terms of narrative structure, and in terms of cinematography and mise-en-scene, it offers a repetition of the historical trajectory of traditional cinema.
Keywords: Vertical Cinema, Aspect Ratio, Style Analysis, The Stunt Double, Glass House.

Kaynakça

  • Akay, B. T. Y. (2020, 12 Nisan). Ingmar Bergman: Melankoli ve bunalımın eşiğinde, https://10layn.com/ingmar-bergman/
  • Aspinwall, C. (Executive Producer) (2019). Content [TV Series]. Ludo Studio.
  • Baker, C., Schleser, M. ve Molga, K. (2009). Aesthetics of mobile media. Journal of Media Practice, 10(2&3), 101-122.
  • Balcı Gülpınar, D. (2022). Dikey sinemaya doğru: analogtan dijitale filmlerde çerçeve oranlarının dönüşümü [Dijital Sinema Özel Sayısı]. sinecine: Sinema Araştırmaları Dergisi, 13(3), 95-122.
  • Beloff, Z. (Director). (2015). Glass House [Film].
  • Blattberg, E. (2015, 6 Nisan). It’s time to take vertical video seriously, https://digiday.com/media/time-take-vertical-video-seriously/
  • Bordwell, D. Thompson, K. ve Smith, J. (2008). Film art: an introduction. McGraw Hill Education.
  • Chazelle, D. (Director). (2020). The Stunt Double [Film]. Superprime.
  • Clayton, R. (2021). The context of vertical filmmaking literature. Quarterly Review of Film And Video, 39(3), 644-655.
  • Evans, M. (2019, 23 Ocak). Vertically unchallenged: the rise of vertical video, https://www.thedrum.com/opinion/2019/01/23/vertically-unchallenged-the-rise-vertical-video
  • Hansen, B. C. ve Essock, E. A. (2009). A horizontal bias in human visual processing of orientation and its correspondence to the structural components of natural scenes. Journal of Vision, (4), 1044-1060.
  • Haridy, R. (2020, 1 Eylül). The ups and downs of vertical cinema, https://newatlas.com/home-entertainment/vertical-cinema-smartphone-history-aspect-ratio-quibi/
  • Keep, D. (2018). Smartphones and evocative documentary practices, ed. Schleser, M., Berry, M., Mobile story making in an age of smartphones, Palgrave Pivot Cham, s: 41-51.
  • Knapp, M. (Director). (2012). V~ [Film]. Sonic Acts.
  • Kroitor, R., Low, C., ve O’Connor, H. (Director). (1967). In The Labyrinth [Film]. National Film Board of Canada.
  • Kuhn, A. ve Westwell, G. (2012). A dictionary in film studies. Oxford University Press.
  • Lurf, J. (Director). (2013). Pyramid Flare [Film]. Sonic Acts.
  • MacPherson, H. (Director). (2016). Sickhouse [Film]. Indigenous Media.
  • Marey, E.J. (Director). (1894). Falling Cat [Film].
  • Mazuryk, T. ve Gervautz, M. (1996). Virtual reality: history, applications, technology and future. Vienna University of Technology.
  • Menotti, G. (2019). Discourses around vertical videos: an archaeology of ‘wrong’ aspect ratios. ARS (São Paulo), 17(35), 147-165.
  • Millman, E. (2017, 26 Haziran). Blasphemy! Millennials prefer vertical viewing when it comes to phone videos, https://www.denverpost.com/2017/06/26/millenials-prefer-vertical-video
  • Roettgers, J. (2018, 7 Mart). Netflix to introduce mobile previews with vertical video in april, https://variety.com/2018/digital/news/netflix-mobile-previews-1202721102/
  • Ross, M. (2020). Reconfigurations of screen borders: The new or not-so-new aspect ratio, ed. Saether, S., Bull, S., Screen Space Reconfigured, Amsterdam University Press, s: 105-126.
  • Ryan, M. ve Lenos, M. (2012). Film çözümlemesine giriş, Çev. E. S. Onat, De Ki.
  • ScientiaMobile, (2021, Haziran). Mobile overview report April – June 2021. https://www.scientiamobile.com/wp-content/uploads/2021/08/MOVR-2021-Q2-v3.pdf
  • Ward, P. (2003). Picture composition for film and television. Focal Press.

FİLM BİÇEMİ AÇISINDAN DİKEY SİNEMA: THE STUNT DOUBLE VE GLASS HOUSE FİLMLERİNİN ANALİZİ

Yıl 2023, Cilt: 13 Sayı: 2, 256 - 272, 01.04.2023
https://doi.org/10.7456/tojdac.1246152

Öz

Hangi Alandan Hakem Atanmalı: Sinema

FİLM BİÇEMİ AÇISINDAN DİKEY SİNEMA: THE STUNT DOUBLE VE GLASS HOUSE FİLMLERİNİN ANALİZİ

Batu ANADOLU
Çukurova Üniversitesi, Türkiye
banadolu@cu.edu.tr
https://orcid.org/0000-0002-7420-3818

Emre KOPARAN
İstanbul Üniversitesi, Türkiye
emre.koparan@istanbul.edu.tr
https://orcid.org/0000-0002-5292-6732

ÖZ
21. yüzyılın başından itibaren görüntü formatının akıllı telefonlara ve mobil cihazlara uygun biçimde dönüştürüldüğü yeni bir üretim biçimi göze çarpmaktadır. Geleneksel yatay çerçeve, mobil ekran ölçülerine dönüşmekte ve dikey konumlanmaktadır. Bu gelişme, sinemada temelleri çok daha eskiye dayanan dikey çerçeve tartışmalarını yeniden ortaya çıkarmıştır. Dikey sinemanın gelecekte yaratacağı etki henüz belirsizliğini korurken, bu filmlerin sinema terimleri ile nasıl çözümlenebileceği ve değerlendirileceği soruları da ortaya çıkmaktadır.
Çalışmanın amacı; sanatsal, fizyolojik ve endüstriyel bakış açısından dikey sinema filmlerinin biçemsel yapılarını inceleyerek farklı ve tekrarlayan üslup özelliklerini keşfetmektir. Çalışma kapsamında öncelikle dikey sinema kavramına ve tarihsel kullanımına değinilmiştir. Örneklem olarak ise dikey formatta üretilmiş iki film (The Stunt Double, Yön. Damien Chazelle ve Glass House, Yön. Zoe Beloff) belirlenmiştir. Bu filmlerin tercih edilmesindeki neden, sinema sanatı ve tarihi üzerine özdüşünümsel yapımlar olmalarıdır.
Filmlerin incelenmesinde biçem analizi yönteminden yola çıkılarak anlatı yapısı, mizansen ve sinematografi öncelenmiş, bu yolla dikey sinemada görsel-işitsel anlatının nasıl inşa edildiği anlamlandırılmıştır. Çalışmanın sonucunda; dikey sinemanın anlatı yapısı açısından önemli bir potansiyele sahip olduğu, sinematografi ve mizansen açısından ise geleneksel sinemanın tarihi izleğinin bir tekrarını sunduğu tespit edilmiştir.
Anahtar Kelimeler: Dikey Sinema, Çerçeve Oranı, Biçem Analizi, The Stunt Double, Glass House.

Kaynakça

  • Akay, B. T. Y. (2020, 12 Nisan). Ingmar Bergman: Melankoli ve bunalımın eşiğinde, https://10layn.com/ingmar-bergman/
  • Aspinwall, C. (Executive Producer) (2019). Content [TV Series]. Ludo Studio.
  • Baker, C., Schleser, M. ve Molga, K. (2009). Aesthetics of mobile media. Journal of Media Practice, 10(2&3), 101-122.
  • Balcı Gülpınar, D. (2022). Dikey sinemaya doğru: analogtan dijitale filmlerde çerçeve oranlarının dönüşümü [Dijital Sinema Özel Sayısı]. sinecine: Sinema Araştırmaları Dergisi, 13(3), 95-122.
  • Beloff, Z. (Director). (2015). Glass House [Film].
  • Blattberg, E. (2015, 6 Nisan). It’s time to take vertical video seriously, https://digiday.com/media/time-take-vertical-video-seriously/
  • Bordwell, D. Thompson, K. ve Smith, J. (2008). Film art: an introduction. McGraw Hill Education.
  • Chazelle, D. (Director). (2020). The Stunt Double [Film]. Superprime.
  • Clayton, R. (2021). The context of vertical filmmaking literature. Quarterly Review of Film And Video, 39(3), 644-655.
  • Evans, M. (2019, 23 Ocak). Vertically unchallenged: the rise of vertical video, https://www.thedrum.com/opinion/2019/01/23/vertically-unchallenged-the-rise-vertical-video
  • Hansen, B. C. ve Essock, E. A. (2009). A horizontal bias in human visual processing of orientation and its correspondence to the structural components of natural scenes. Journal of Vision, (4), 1044-1060.
  • Haridy, R. (2020, 1 Eylül). The ups and downs of vertical cinema, https://newatlas.com/home-entertainment/vertical-cinema-smartphone-history-aspect-ratio-quibi/
  • Keep, D. (2018). Smartphones and evocative documentary practices, ed. Schleser, M., Berry, M., Mobile story making in an age of smartphones, Palgrave Pivot Cham, s: 41-51.
  • Knapp, M. (Director). (2012). V~ [Film]. Sonic Acts.
  • Kroitor, R., Low, C., ve O’Connor, H. (Director). (1967). In The Labyrinth [Film]. National Film Board of Canada.
  • Kuhn, A. ve Westwell, G. (2012). A dictionary in film studies. Oxford University Press.
  • Lurf, J. (Director). (2013). Pyramid Flare [Film]. Sonic Acts.
  • MacPherson, H. (Director). (2016). Sickhouse [Film]. Indigenous Media.
  • Marey, E.J. (Director). (1894). Falling Cat [Film].
  • Mazuryk, T. ve Gervautz, M. (1996). Virtual reality: history, applications, technology and future. Vienna University of Technology.
  • Menotti, G. (2019). Discourses around vertical videos: an archaeology of ‘wrong’ aspect ratios. ARS (São Paulo), 17(35), 147-165.
  • Millman, E. (2017, 26 Haziran). Blasphemy! Millennials prefer vertical viewing when it comes to phone videos, https://www.denverpost.com/2017/06/26/millenials-prefer-vertical-video
  • Roettgers, J. (2018, 7 Mart). Netflix to introduce mobile previews with vertical video in april, https://variety.com/2018/digital/news/netflix-mobile-previews-1202721102/
  • Ross, M. (2020). Reconfigurations of screen borders: The new or not-so-new aspect ratio, ed. Saether, S., Bull, S., Screen Space Reconfigured, Amsterdam University Press, s: 105-126.
  • Ryan, M. ve Lenos, M. (2012). Film çözümlemesine giriş, Çev. E. S. Onat, De Ki.
  • ScientiaMobile, (2021, Haziran). Mobile overview report April – June 2021. https://www.scientiamobile.com/wp-content/uploads/2021/08/MOVR-2021-Q2-v3.pdf
  • Ward, P. (2003). Picture composition for film and television. Focal Press.
Toplam 27 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Batu Anadolu 0000-0002-7420-3818

Emre Koparan 0000-0002-5292-6732

Yayımlanma Tarihi 1 Nisan 2023
Gönderilme Tarihi 1 Şubat 2023
Kabul Tarihi 18 Şubat 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 13 Sayı: 2

Kaynak Göster

APA Anadolu, B., & Koparan, E. (2023). FİLM BİÇEMİ AÇISINDAN DİKEY SİNEMA: THE STUNT DOUBLE VE GLASS HOUSE FİLMLERİNİN ANALİZİ. Turkish Online Journal of Design Art and Communication, 13(2), 256-272. https://doi.org/10.7456/tojdac.1246152


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