THE ALLURE OF THE SINGLE FRAME: RETHINKING THE RELATIONSHIP BETWEEN CINEMA AND PHOTOGRAPHY THROUGH TARKOVSKY'S POLAROIDS

Mehmet Köprü

Makale detayları

THE ALLURE OF THE SINGLE FRAME: RETHINKING THE RELATIONSHIP BETWEEN CINEMA AND PHOTOGRAPHY THROUGH TARKOVSKY'S POLAROIDS

Yazarlar:

Mehmet Köprü

Yayıncı:

Süleyman Demirel University

Dergi:

Art-e Sanat Dergisi Vol.16 Issue 31, pp.313-339

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001294919

pISSN:

1308-2698

Anahtar kelimeler:

Özet:

 Although technically a descendant of photography, cinema has achieved a strong narrativity thanks to its realistic perception of movement and temporal structuring. The recording of moving images, which used to be possible only for a small minority of people, can now be realised by almost everyone thanks to technological developments. Nevertheless, photography, which can produce a freeze-frame copy of time, cannot be abandoned. Not only amateurs but also professionals who had the chance to shoot film continued to take photographs. Russian director Andrey Tarkovsky, who continued to take photographs while working on his films, is one of these professionals. The director, who used the audiovisual possibilities offered by the art of cinema at an advanced level in his films, took his photographs with Polaroid cameras, one of the first examples of the instant style. This makes the director an ideal example for this study, which researches the inability to give up photography despite the accessibility of the moving image. His Polaroid shots are evaluated on the basis of context, content, form and material, with occasional references to his films. Through these evaluations, the advantages of instant photography as a medium over cinema in terms of the relationship with time, punctum, poetry, spontaneity and reality are revealed.

 Although technically a descendant of photography, cinema has achieved a strong narrativity thanks to its realistic perception of movement and temporal structuring. The recording of moving images, which used to be possible only for a small minority of people, can now be realised by almost everyone thanks to technological developments. Nevertheless, photography, which can produce a freeze-frame copy of time, cannot be abandoned. Not only amateurs but also professionals who had the chance to shoot film continued to take photographs. Russian director Andrey Tarkovsky, who continued to take photographs while working on his films, is one of these professionals. The director, who used the audiovisual possibilities offered by the art of cinema at an advanced level in his films, took his photographs with Polaroid cameras, one of the first examples of the instant style. This makes the director an ideal example for this study, which researches the inability to give up photography despite the accessibility of the moving image. His Polaroid shots are evaluated on the basis of context, content, form and material, with occasional references to his films. Through these evaluations, the advantages of instant photography as a medium over cinema in terms of the relationship with time, punctum, poetry, spontaneity and reality are revealed.

 Although technically a descendant of photography, cinema has achieved a strong narrativity thanks to its realistic perception of movement and temporal structuring. The recording of moving images, which used to be possible only for a small minority of people, can now be realised by almost everyone thanks to technological developments. Nevertheless, photography, which can produce a freeze-frame copy of time, cannot be abandoned. Not only amateurs but also professionals who had the chance to shoot film continued to take photographs. Russian director Andrey Tarkovsky, who continued to take photographs while working on his films, is one of these professionals. The director, who used the audiovisual possibilities offered by the art of cinema at an advanced level in his films, took his photographs with Polaroid cameras, one of the first examples of the instant style. This makes the director an ideal example for this study, which researches the inability to give up photography despite the accessibility of the moving image. His Polaroid shots are evaluated on the basis of context, content, form and material, with occasional references to his films. Through these evaluations, the advantages of instant photography as a medium over cinema in terms of the relationship with time, punctum, poetry, spontaneity and reality are revealed.

 Teknik olarak fotoğrafla aynı köklere sahip olsa da gerçekçi hareket algısı ve zamansal düzenleniş sayesinde sinema güçlü bir anlatısallık kazanmıştır. Eskiden sadece küçük bir azınlık tarafından yapılabilen hareketli görüntü kaydı, teknolojik gelişmeler sayesinde günümüzde nerdeyse herkes tarafından gerçekleştirilebilmektedir. Ancak yine de zamanın dondurulmuş bir kopyasını üretebilen fotoğraftan vazgeçilememektedir. Sadece amatörler değil, film çekme şansı olan profesyoneller de fotoğraf çekmeye devam etmişlerdir. Bir taraftan filmleri üzerine çalışırken diğer taraftan fotoğraf çekmeye de devam eden Rus yönetmen Andrey Tarkovski de bu profesyonellerden biridir. Filmlerinde sinema sanatının sunduğu görsel-işitsel olanakları ileri düzeyde kullanan yönetmen, fotoğraflarını şipşak tarzının ilk örneklerinden olan Polaroid makineler işe çekmiştir. Bu durum yönetmeni, hareketli görüntünün ulaşılabilirliğine rağmen fotoğraftan vazgeçilememesinin araştırıldığı bu çalışma için ideal bir örnek haline getirmiştir. Onun Polaroid çekimlerinin, nadiren filmlerine de referanslar verilerek, bağlam, içerik, biçim ve materyal bazlı değerlendirmeleri yapılmıştır. Bu değerlendirmeler üzerinden, bir medyum olarak şipşak fotoğrafın; zamanla kurulan ilişki, punctum, şiirsellik, spontanlık ve gerçeklik gibi konularda sinemaya göre gösterdiği üstünlükler ortaya konulmuştur.

Makale detayları

THE ALLURE OF THE SINGLE FRAME: RETHINKING THE RELATIONSHIP BETWEEN CINEMA AND PHOTOGRAPHY THROUGH TARKOVSKY'S POLAROIDS

Yazarlar:

Mehmet Köprü

Yayıncı:

Süleyman Demirel University

Dergi:

Art-e Sanat Dergisi Vol.16 Issue 31, pp.313-339

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001294919

pISSN:

1308-2698

Polaroid Photography

Tarkovsky

Punctum

Reality

PoetryPolaroid Fotoğraf

Tarkovski

Punctum

Gerçeklik

Şiirsellik

Sayı

Makale detayları

Yazarlar: Mehmet Köprü

Yayıncı: Süleyman Demirel University

Dergi: Art-e Sanat Dergisi Vol.16 Issue 31, pp.313-339

Belge Tipi: Makale

Yayın Tarihi: 6/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001294919

pISSN: 1308-2698

Sayı

Yazarlar:

Mehmet Köprü

Yayıncı:

Süleyman Demirel University

Dergi:

Art-e Sanat Dergisi Vol.16 Issue 31, pp.313-339

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001294919

pISSN:

1308-2698