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7017 1478289112.Pdf ISTANBUL, NOT CONSTANTINOPLE: THE USE OF DESIGNERLY TOOLS IN THE REPRESENTATION OF ISTANBUL IN AMERICAN CINEMA TUNA YILMAZ JULY 2009 ISTANBUL, NOT CONSTANTINOPLE: THE USE OF DESIGNERLY TOOLS IN THE REPRESENTATION OF ISTANBUL IN AMERICAN CINEMA A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF IZMIR UNIVERSITY OF ECONOMICS BY TUNA YILMAZ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN THE GRADUATE SCHOOL OF SOCIAL SCIENCES JULY 2009 Approval of the Graduate School of Social Sciences ___________________ Asst. Prof. Dr. Alp LİMONCUOĞLU Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Design. ___________________ Prof. Dr. Tevfik BALCIOĞLU Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Design. ____________________ Asst. Prof. Dr. Gül KAÇMAZ ERK Supervisor Examining Committee Members Asst. Prof. Dr. Gül KAÇMAZ ERK _____________________ Prof. Dr. Robert J. CARDULLO _____________________ Assoc. Prof. Dr. C. Abdi GÜZER _____________________ ABSTRACT ISTANBUL, NOT CONSTANTINOPLE: THE USE OF DESIGNERLY TOOLS IN THE REPRESENTATION OF ISTANBUL IN AMERICAN CINEMA Yılmaz, Tuna Master of Design, Department of Design Studies Supervisor: Asst. Prof. Dr. Gül KAÇMAZ ERK July 2009, 121 pages It is possible to say that cinema as the art of the twentieth century, and modern city are born in the same period of time and have developed concurrently. While these two have advanced throughout this historical time period, they have also interacted and transformed each other. In this respect, cinematic representation of cities is significant. Some cities of the world are referred as ‘cinematic cities’ as a consequence of this representational relationship. These cities have achieved a cinematic reality alongside their physical and spatial realities. Cinema utilizes designerly tools for both the representation and the construction of cinematic reality. Representation of the city in cinema is no exception. For the representation of cities like Paris, New York and Berlin, directors make use of designerly tools such as color, lighting and sound to design and construct the visuality of films. In this thesis, Istanbul is studied in terms of the representational relationship between cinema and the city. While the representation of this city in American cinema is taken in hand, the use of designerly tools in this process is explored. The concept of cinematic representation is discussed and cinematic cities are analyzed, also the representation of Istanbul in both Turkish and American cinema is portrayed. Two American films are taken as case study. Designerly tools and their purpose for the representation of Istanbul are discussed through Jules Dassin’s Topkapi (1964) and Alan Parker’s Midnight Express (1978) to put Istanbul on the place it deserves together with the other cinematic cities. Keywords: Cinematic Representation, Designerly Tools, Cities, Istanbul, American Cinema iii ÖZET ISTANBUL, NOT CONSTANTINOPLE : AMERİKAN SİNEMASINDA İSTANBUL KENTİNİN TASARIM ARAÇLARIYLA TEMSİLİ Yılmaz, Tuna Tasarım Çalışmaları Yüksek Lisans Tez Yöneticisi: Yrd. Doç. Dr. Gül KAÇMAZ ERK Temmuz 2009, 121 sayfa Yirminci yüzyılın sanatı sinema ile modern kentin aynı zaman dilimi içerisinde doğdukları ve koşut olarak geliştikleri söylenebilir. Bu tarihsel süreç boyunca bu iki kavram kendilerini devamlı bir şekilde geliştirirken, bir yandan da birbirlerini etkileyerek diğerinin dönüşümüne katkıda bulundular. Sinema ve kent arasındaki temsiliyete dayalı bu ilişki bu açıdan büyük önem kazanmaktadır. Dünya üzerindeki bazı kentler bu temsili ilişkinin bir sonucu olarak ‘sinemasal kent’ olarak adlandırılır olmuştur. Bu kentler fiziki ve mekânsal gerçekliklerinin yanı sıra bir de sinemasal bir gerçeklik kazanmıştır. Sinema hem temsiliyet konusunda hem de sinemasal gerçekliğin tasarımında pek çok açıdan tasarım araçlarından faydalanmaktadır. Sinemada kentin temsili için de aynı durum söz konusudur. Paris, New York ve Berlin gibi sinemasal kentlerin temsili için yönetmenler renk, ışık, ses gibi tasarım araçlarını kullanmakta ve bu şehirleri beyazperdede temsil ederken bu araçlar vasıtasıyla bir görsellik tasarlamaktadırlar. Bu tez çalışmasında sinema ve kent arasındaki temsili ilişki açısından İstanbul örneği üzerinde durulmuş ve bu kentin Amerikan sinemasındaki temsiline bakılırken tasarım araçlarının bu süreçte nasıl işlev gördükleri incelenmiştir. Ardından sinema ve kent arasındaki temsili ilişki irdelenmiş, sinemasal kentler incelenmiştir. İstanbul’un hem Türk hem de Amerikan sinemasında temsiliyeti ele alınmış, ardından örnek olarak seçilen Topkapı (Jules Dassin, 1964) ve Geceyarısı Ekspresi ( Midnight Express , Alan Parker, 1978) filmleri üzerinden kullanılan tasarım araçları ve bunların işlevleri üzerinde durulmuştur. Anahtar Sözcükler: Sinemasal Temsiliyet, Tasarımcı Araçları, Kentler, İstanbul, Amerikan Sineması iv ACKNOWLEDGEMENTS I would like to thank Prof. Dr. Tevfik Balcıoğlu, Prof. Dr. Gülsüm Baydar and Prof. Dr. Zuhal Ulusoy for giving me the opportunity to fight on this new battlefield called design, Asst. Prof. Dr. Gül Kaçmaz Erk for being the most supportive thesis supervisor in the world, Prof. Dr. Robert J. Cardullo for sharing his wisdom with me, Assoc. Prof. Dr. C. Abdi Güzer for his kind visit and his insights, and all those film directors who kindled the flame of cinema in the very bottom of my heart for making this life more bearable… Without them, I could not have written this thesis. v TABLE OF CONTENTS ABSTRACT ……………………………………………………………………...... iii ÖZET ………………………………………………………………………... iv ACKNOWLEDGEMENTS ……………………………………………………….. v TABLE OF CONTENTS ………………………………………………………. vi LIST OF FIGURES ….……………………………………………………. viii CHAPTERS 1. INTRODUCTION …………………………………………………... 1 2. CINEMA AND THE CITY …………………………………………... 11 2.1 Representation in Cinema …………………………………….. 14 2.2 Representation of the City in Cinema ………………………... 17 2.3 Cities Represented in Cinema ………………………………… 22 3. CINEMA AND ISTANBUL …………………………………………… 29 3.1 Istanbul in the History of Turkish Cinema ………………….. 30 3.2 Representation of Istanbul in American Cinema …………... 36 3.3 Designerly Tools and Their Use in Cinema for Representation ………………………………... 53 3.3.1 Use of Color in the Representation of Istanbul ……... 61 3.3.1.1 Use of Color in Topkapi …………………… 64 vi 3.3.1.2 Use of Color in Midnight Express …………... 70 3.3.2 Use of Lighting in the Representation of Istanbul …... 76 3.3.2.1 Use of Lighting in Topkapi …………….…… 79 3.3.2.2 Use of Lighting in Midnight Express ……… 81 3.3.3 Use of Sound in the Representation of Istanbul …..... 84 3.3.3.1 Use of Sound in Topkapi ……………........... 86 3.3.3.2 Use of Sound in Midnight Express ………… 88 4. CONCLUSIONS ………………………………………………………... 92 BIBLIOGRAPHY ………………………………………………………………….... 107 APPENDICES A. Film Credits for Topkapi and Midnight Express………........................... ... 114 B. Filmographies of Jules Dassin and Alan Parker………………………..... 119 vii LIST OF FIGURES FIGURE 1. Turkish man with fez in Stamboul Quest……………………………………….. 38 2. An Indian woman dancing in a night club in Istanbul in Stambul Quest………………………………………………........... 38 3. Hotel room in Ninothcka …………………………………………………………39 4. The dark Istanbul of Journey into Fear………………….……………………..…41 5. Colonel Haki with his ‘timeless’ uniform in Journey into Fear……………..…41 6. An interior scene from The Mask of Dimitrios ………………………………..…43 7. Nat King Cole as a guest star in a scene in Istanbul... ……………………….…44 8. Istanbul landscape in From Russia with Love ……………………………………45 9. Istanbul in the video game From Russia with Love ………………..…………...45 10. Cover of the soundtrack album of From Russia with Love…... ……………….. 46 11. The first frame where Istanbul is seen in The World is not Enough …………...48 12. The Maiden Tower in The World is not Enough ………………...……………….48 13. Inside the Maiden Tower in The World is not Enough …………….……………49 14. DVD cover of The Net 2.0 ………………………………………………………...50 15. Eminönü crowds in Hitman …………………………..………………………… 51 16. Clive Owen on top of the Topkapı Palace in The International ……………….53 17. Original poster of Alan Parker’s Midnight Express , 1978 ……………………...59 18. Original Poster of Jules Dassin’s Topkapi , 1964………………………………...61 viii 19. Kaleidoscopic images in the opening scene of Topkapi ……………………..…65 20. The color wheel in the fairground in Topkapi …………………………………..65 21. Kaleidoscopic filter used at the opening scenes in Topkapi …………………...66 22. Misty Paris in Topkapi …………………………………………………………….67 23. Galata Bridge in Topkapi ………………………………………………………….68 24. Postcards in Topkapi ………………………………………………………………68 25. Yellow, pink and blue colors of Istanbul in Topkapi …………………………...69 26. In the interior scenes of Topkapi , color is emphasized with the costumes …..……………………………………………………..…… 69 27. Opening scene of Midnight Express …………………………...…………………72 28. Galata Bridge in Midnight Express different from Topkapi .……………………73 29. Final scene of Midnight Express …………………………………..………………74 30. Black and white images in Midnight Express ……………...……………………75 31. Heist in daylights in Topkapi ………………………………..……………………79 32. Interiors with no artificial light sources in Topkapi ………….…………………80 33. Beautiful weather of Istanbul in Topkapi …………………………..……………81 34. Hotel room and its prisonlike lighting in Midnight Express ………..…………82 35. Police station in Midnight Express ……………………………………..…………82 36. Turkish
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