Reading Interior Architecture in Cinema: Spatial Analysis in the Context of Time-Character-Style

Mine Sungur

Makale detayları

Reading Interior Architecture in Cinema: Spatial Analysis in the Context of Time-Character-Style

Yazarlar:

Mine Sungur

Yayıncı:

Selcuk University

Ana Başlıklar:

Mimarlıkta Estetik | Sinema (Diğer)

Dergi:

Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Issue 55, pp.280-301

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001337078

pISSN:

2667-4750

Anahtar kelimeler:

Özet:

 The relationship between cinema and interior architecture emerged with the invention of cinema, and both disciplines affect each other through space. Space does not only represent a certain time, style or culture, but also plays an important role in conveying the characteristics of a character. In addition, spatial designs in cinema can emerge with the support of infinite imagination in the unity or contrast of past and future. Therefore, interior space, which is used as a narrative and representation tool in cinema, can provide the right atmosphere to the audience with an impressive decorative storytelling style that supports the scenario and reflects the character of the film. In the study, the films 2001: A Space Odyssey Kubrick, 1968, American Psycho Harron, 2000 and Atonement Wright, 2007 were examined within the scope of time-character and style. The exploratory case study method, which is a method in which a limited system is described in depth from qualitative research methods, was used. This method can provide clues and ideas for later studies. As a result, the mutual interaction and continuous follow-up of practitioners of two disciplines that are open to development and innovation, such as interior architecture and cinema, pave the way for the emergence of different perspectives in real andor fictional space design. In addition, the involvement of designers such as interior architects in the process of constructing spaces in cinema is important for the holistic unity of all factors related to the space.

 The relationship between cinema and interior architecture emerged with the invention of cinema, and both disciplines affect each other through space. Space does not only represent a certain time, style or culture, but also plays an important role in conveying the characteristics of a character. In addition, spatial designs in cinema can emerge with the support of infinite imagination in the unity or contrast of past and future. Therefore, interior space, which is used as a narrative and representation tool in cinema, can provide the right atmosphere to the audience with an impressive decorative storytelling style that supports the scenario and reflects the character of the film. In the study, the films 2001: A Space Odyssey Kubrick, 1968, American Psycho Harron, 2000 and Atonement Wright, 2007 were examined within the scope of time-character and style. The exploratory case study method, which is a method in which a limited system is described in depth from qualitative research methods, was used. This method can provide clues and ideas for later studies. As a result, the mutual interaction and continuous follow-up of practitioners of two disciplines that are open to development and innovation, such as interior architecture and cinema, pave the way for the emergence of different perspectives in real andor fictional space design. In addition, the involvement of designers such as interior architects in the process of constructing spaces in cinema is important for the holistic unity of all factors related to the space.

 The relationship between cinema and interior architecture emerged with the invention of cinema, and both disciplines affect each other through space. Space does not only represent a certain time, style or culture, but also plays an important role in conveying the characteristics of a character. In addition, spatial designs in cinema can emerge with the support of infinite imagination in the unity or contrast of past and future. Therefore, interior space, which is used as a narrative and representation tool in cinema, can provide the right atmosphere to the audience with an impressive decorative storytelling style that supports the scenario and reflects the character of the film. In the study, the films 2001: A Space Odyssey Kubrick, 1968, American Psycho Harron, 2000 and Atonement Wright, 2007 were examined within the scope of time-character and style. The exploratory case study method, which is a method in which a limited system is described in depth from qualitative research methods, was used. This method can provide clues and ideas for later studies. As a result, the mutual interaction and continuous follow-up of practitioners of two disciplines that are open to development and innovation, such as interior architecture and cinema, pave the way for the emergence of different perspectives in real andor fictional space design. In addition, the involvement of designers such as interior architects in the process of constructing spaces in cinema is important for the holistic unity of all factors related to the space.

 Sinema-iç mimarlık ilişkisi sinemanın icadıyla ortaya çıkmış ve her iki disiplin mekân üzerinden birbirlerini etkilemektedir. Mekân sadece belirli bir zamanı, tarzı veya kültürü temsil etmez, aynı zamanda bir karakterin özelliklerini aktarmak açısından da önemli rol oynamaktadır. Ayrıca sinemadaki mekânsal tasarımlar geçmiş ile gelecek zamanın birlikteliğindeki bütünselliği ya da tezatlığı sonsuz hayal gücünün desteğiyle ortaya çıkabilmektedir. Dolayısıyla sinemada anlatım ve temsil aracı olarak kullanılan iç mekân, senaryoyu destekleyen ve film karakterini yansıtan etkileyici bir dekoratif hikâye anlatım biçimi ile izleyiciye doğru atmosferi sağlayabilmektedir. Çalışmada 2001: A Space Odyssey Kubrick, 1968, American Psycho Harron, 2000 ve Atonement Wright, 2007 filmleri zaman-karakter ve stil kapsamında ele alınmıştır. Nitel araştırma yöntemlerinden sınırlı bir sistemin derinlemesine betimlendiği yöntem olan keşfedici örnek olay incelemesi yönteminden faydalanılmıştır. Bu yöntem daha sonraki çalışmalar için ipuçları ve fikirler bulunmasına imkân verebilmektedir. Sonuç olarak iç mimari ve sinema gibi gelişime ve yeniliğe açık iki disiplin uygulayıcılarının karşılıklı etkileşimleri ve birbirlerini sürekli takip etmesi, gerçek veveya kurgusal mekân tasarımında farklı bakış açılarının ortaya çıkmasına zemin hazırlamaktadır. Bununla birlikte sinemadaki mekanların kurgulanma sürecinde iç mimar gibi tasarımcıların yer alması mekâna dair tüm etkenlerin bütüncül biraradalığı için önem arz etmektedir.

Makale detayları

Reading Interior Architecture in Cinema: Spatial Analysis in the Context of Time-Character-Style

Yazarlar:

Mine Sungur

Yayıncı:

Selcuk University

Ana Başlıklar:

Mimarlıkta Estetik | Sinema (Diğer)

Dergi:

Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Issue 55, pp.280-301

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001337078

pISSN:

2667-4750

Interior Architecture

Cinema

Time

Character

Styleİç Mimarlık

Sinema

Zaman

Karakter

Stil

Sayı

Makale detayları

Yazarlar: Mine Sungur

Yayıncı: Selcuk University

Ana Başlıklar: Mimarlıkta Estetik | Sinema (Diğer)

Dergi: Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Issue 55, pp.280-301

Belge Tipi: Makale

Yayın Tarihi: 12/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001337078

pISSN: 2667-4750

Sayı

Yazarlar:

Mine Sungur

Yayıncı:

Selcuk University

Ana Başlıklar:

Mimarlıkta Estetik | Sinema (Diğer)

Dergi:

Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Issue 55, pp.280-301

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001337078

pISSN:

2667-4750