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Kurgu Tasarımı

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Kurgu Tasarımı KURGU TASARIMI RADYO TELEVİZYON SİNEMA DR. ÖĞR. ÜYESİ İLKAY NİŞANCI İSTANBUL ÜNİVERSİTESİ AÇIK VE UZAKTAN EĞİTİM FAKÜLTESİ İSTANBUL ÜNİVERSİTESİ AÇIK VE UZAKTAN EĞİTİM FAKÜLTESİ RADYO TELEVİZYON SİNEMA LİSANS PROGRAMI RADYO TELEVİZYON SİNEMA DR. ÖĞR. ÜYESİ İLKAY NİŞANCI Yazar Notu Elinizdeki bu eser, İstanbul Üniversitesi Açık ve Uzaktan Eğitim Fakültesi’nde okutulmak için hazırlanmış bir ders notu niteliğindedir. ÖNSÖZ Kurgu film biçiminden film kuramlarına kadar sinemanın tüm evreninde belirleyici bir rol oynar. Hem teorik hem de teknik olarak sinema alanında çalışan herkesin bilmesi gereken zorunlu bir ortak alandır. Ancak kurguyu bilmek bir yazılımı ya da bir kurgu masasını kullanmayı bilmek demek değildir. Kurgu, kurgu makinesini öğrenmekten çok daha fazlasıdır. Çekimlerin ritmini algılayıp hareketi sınırlandırmayı kavramaktır. İki çekimin birbiriyle olan ilişkisinin anlam ve duygu yaratma olasılıklarına hakim olmaktır. Çekimden sahneye, sahneden sekansa, sekanstan filme bir bütünü görebilmektir. I İÇİNDEKİLER ÖNSÖZ ............................................................................................................................ I İÇİNDEKİLER .............................................................................................................. II KISALTMALAR .......................................................................................................... V YAZAR NOTU ............................................................................................................ VI 1. KURGU VE SİNEMA İLİŞKİSİ I ............................................................................. 7 1.1. Bir tanım karmaşası: Kurgu mu? Montaj mı? .............................................................. 13 1.2. Kavramsal olarak kurgu................................................................................................ 15 1.3. Kurguyu Kim Yapar? ................................................................................................... 17 1.4. Bir Filmde Kurgucunun Rolü ....................................................................................... 19 1.5. Ticari Filmlerde Kurgu ve “Director’s Cut” Kavramı.................................................. 21 1.6. Auteur Yönetmenler ve Kurgu ..................................................................................... 24 2. KURGU VE SİNEMA İLİŞKİSİ II ......................................................................... 30 2.1. Kurgunun Tarihsel Gelişimi ......................................................................................... 36 2.1.1. Sinema Teknolojisindeki Gelişmelerin Kurguya Etkisi ....................................... 36 3. KURGU VE SİNEMA İLİŞKİSİ III ........................................................................ 54 3.1. Rengin Kurguya Etkisi ................................................................................................. 60 3.2. Çerçeve Oranı’nın Kurguya Etkisi ............................................................................... 73 4. KURGU VE SİNEMA İLİŞKİSİ IV ........................................................................ 88 4.1. Kurgu Masalarının Kurguya Etkisi............................................................................... 94 5. KURGU VE SİNEMA İLİŞKİSİ V ....................................................................... 114 5.1. Kurgunun Bir Anlatım Aracı Olarak Gelişimi ve Kurguya Kuramsal Yaklaşımlar .. 120 5.1.1. İlk Filmler ........................................................................................................... 121 5.1.2. Öykülü filme giriş: George Méliès ..................................................................... 122 5.1.3. Filmsel zaman ve mekan kullanımının gelişmesi: Edwin Stanton Porter .......... 123 II 5.1.4. Griffith ve Dramatik Vurgu ................................................................................ 126 6. KURGU VE SİNEMA İLİŞKİSİ VI ...................................................................... 134 6.1. Bir kurgu okulu: Kuleshov ......................................................................................... 140 6.2. Pudovkin ve Bağlantısal Kurgu .................................................................................. 142 6.2.1. Karşıtlık .............................................................................................................. 143 6.2.2. Koşutluk .............................................................................................................. 144 6.2.3. Sembolizm .......................................................................................................... 148 6.2.4. Birlikte oluş ......................................................................................................... 149 6.2.5. Kılavuz Kavram .................................................................................................. 149 7. KURGU VE SİNEMA İLİŞKİSİ VII..................................................................... 158 7.1. Eisenstein ve Çatışma Kuramı .................................................................................... 164 7.1.1.Metrik kurgu ........................................................................................................ 168 7.1.2. Ritmik Kurgu ...................................................................................................... 172 7.1.3. Tonal Kurgu ........................................................................................................ 185 7.1.4. Overtonal Kurgu ................................................................................................. 187 7.1.5. Entelektüel Kurgu ............................................................................................... 188 8. KURGU VE SİNEMA İLİŞKİSİ VIII ................................................................... 197 8.1. Kurguya Gerçekçi Kuramın Bakışı: André Bazin ...................................................... 203 8.2. Sentezci Bir Yaklaşım: Jean Mitry ............................................................................. 206 9. PRATİKTE KURGU I ........................................................................................... 215 9.1. Senaryoda Kurgu ........................................................................................................ 221 9.2. Çekim Senaryosu ........................................................................................................ 229 10. PRATİKTE KURGU II ........................................................................................ 237 10.1. Çekim Sonrası Kurgu ............................................................................................... 243 10.1.1. Organizasyon .................................................................................................... 244 III 10.1.2. İzleme ................................................................................................................ 244 10.1.3. Kaba Kurgu ....................................................................................................... 247 11. PRATİKTE KURGU III....................................................................................... 260 11.1. Çekimlerin Tercihinde Dramatik Etki ...................................................................... 266 11.2. Kesmenin Zamanı Ve Nedeni................................................................................... 268 11.2.1. Bilgi .................................................................................................................. 269 11.2.2. Motivasyon ....................................................................................................... 271 11.2.3. Pay bırakmak ........................................................................................................ 3 12. PRATİKTE KURGU IV .......................................................................................... 9 12.1. İnce (Final) Kurgu ...................................................................................................... 15 12.1.1. Kurguda Ritim .................................................................................................... 15 13. PRATİKTE KURGU V .......................................................................................... 32 13.1. Kurgunun / Kesmenin Gizlenmesi ............................................................................. 38 13.1.1. Hareket Anında Kesme ....................................................................................... 39 13.1.2. Bayat yerine taze ................................................................................................. 43 14. PRATİKTE KURGU VI ........................................................................................ 50 14.1. Ses Kurgusu ................................................................................................................ 56 14.1.1. Dragnet kurgudan kaçınmak ............................................................................... 58 14.1.2. J ve L kesmesi (J-cut, L-cut) ............................................................................... 58 14.1.3. Kompozisyon olarak eşleşen çekimler ............................................................... 59 14.2. Prensiplerin dışına çıkmak.......................................................................................... 65 14.3. Görüntünün kitlenmesi ............................................................................................... 68 KAYNAKLAR ............................................................................................................
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