{"id":7268,"date":"2020-12-02T16:05:00","date_gmt":"2020-12-02T13:05:00","guid":{"rendered":"https:\/\/drycleanonlymagazine.com\/beta\/?p=7268"},"modified":"2020-11-29T19:58:11","modified_gmt":"2020-11-29T16:58:11","slug":"invisible-cinema-bir-film-izleme-makinesi","status":"publish","type":"post","link":"https:\/\/drycleanonlymagazine.com\/beta\/all\/invisible-cinema-bir-film-izleme-makinesi\/","title":{"rendered":"INVISIBLE CINEMA, B\u0130R F\u0130LM \u0130ZLEME MAK\u0130NES\u0130"},"content":{"rendered":"\n
\"Invisible<\/figure>\n\n\n\n

INVISIBLE CINEMA, B\u0130R F\u0130LM \u0130ZLEME MAK\u0130NES\u0130<\/h2>\n\n\n\n

GAMZE YE\u015e\u0130LDA\u011e<\/strong><\/p>\n\n\n\n

Schwechater<\/em> (1958), Arnulf Rainer<\/em> (1958) ve Afrikareise <\/em>(1966) gibi \u00e7\u0131\u011f\u0131r a\u00e7an yap\u0131sal filmleriyle tan\u0131nan Peter Kubelka Avusturyal\u0131 deneysel film yap\u0131mc\u0131s\u0131, m\u00fczisyen, k\u00fcrat\u00f6r, e\u011fitmen ve mimar. 1970\u2019te kurucular\u0131ndan biri oldu\u011fu New York\u2019taki Anthology Film Archives\u2019\u0131n sinema salonunu, b\u00fct\u00fcn\u00fcyle Avangart Film Hareketi\u2019nin o d\u00f6nemdeki esteti\u011fini temel alarak tasarlad\u0131: Invisible Cinema. 90 seyirci kapasiteli bu avangart salon 1974\u2019te Anthology Film Archives mekan de\u011fi\u015fikli\u011fi yapana kadar kullan\u0131ld\u0131. K\u00fc\u00e7\u00fck ve 4 y\u0131l kadar k\u0131sa bir s\u00fcre kullan\u0131lan bir salon olmas\u0131na ra\u011fmen sonras\u0131nda \u00fc\u00e7 farkl\u0131 kurum taraf\u0131ndan farkl\u0131 yerlerde yeniden in\u015fa edilen salonun New York\u2019taki Whitney Museum\u2019da Jonas Mekas ve Kubelka ile g\u00f6r\u00fc\u015f\u00fclerek orijinal hali ile yeniden kurulmas\u0131 planlan\u0131yor.<\/p>\n\n\n\n

Kubelka tasarlad\u0131\u011f\u0131 salon i\u00e7in invisible (g\u00f6r\u00fcnmez) diyor \u00e7\u00fcnk\u00fc oditoryumun mimarisi ve i\u00e7 tasar\u0131m\u0131 seyircinin dikkatini da\u011f\u0131tmamal\u0131, tek odak noktas\u0131 perde olmal\u0131: \u201c\u0130deal sinema salonu hi\u00e7bir \u015fekilde hissedilmemeli, ya\u015famamal\u0131, adeta orada var olmamal\u0131\u201d. Sinema d\u0131\u015f\u0131nda bir \u015fey ile ili\u015fkilendirilmemesi i\u00e7in beyaz perde etraf\u0131nda tiyatrodaki gibi perdeler de yok. Film ba\u015flamadan ayd\u0131nlat\u0131lan beyaz perde ile seyirciler salonda girdikleri andan itibaren dikkatlerini filmin oynayaca\u011f\u0131 noktaya y\u00f6nlendirebiliyor. Film d\u0131\u015f\u0131ndaki t\u00fcm i\u015fitsel ve g\u00f6rsel \u00f6geler ortadan kalk\u0131yor ve izleyicinin t\u00fcm d\u00fcnyas\u0131 ve mekandaki hisleri belirleyen tek \u015fey film oluyor. Kubelka tasarlad\u0131\u011f\u0131 mekan\u0131 \u201cfilm izleme makinesi\u201d olarak adland\u0131rmas\u0131n\u0131n nedenini \u015f\u00f6yle a\u00e7\u0131kl\u0131yor: Devrim niteli\u011finde ve tart\u0131\u015fmal\u0131 bu tasar\u0131m, filmin ba\u011fl\u0131 oldu\u011fu kameralar, film banyo makineleri, film d\u00fczenleme makineleri ve projekt\u00f6rler gibi bir fikir \u00fczerine kurulu. Filmin izlendi\u011fi oda da film izlemek i\u00e7in tasarlanm\u0131\u015f bir makine olmal\u0131.<\/p>\n\n\n\n

\"Invisible<\/figure><\/div>\n\n\n\n

Salonun duvarlar\u0131 ve tavan\u0131, t\u00fcm koltuklarla birlikte siyah kadife kapl\u0131, zemin tamamen siyah hal\u0131 ile kapl\u0131 ve kap\u0131lar da siyaha boyal\u0131. Sinema perdesi ve \u00e7\u0131k\u0131\u015f\u0131 g\u00f6steren \u0131\u015f\u0131kl\u0131 y\u00f6nlendirmelerin d\u0131\u015f\u0131nda hi\u00e7bir \u0131\u015f\u0131k yok. Aralar\u0131nda bariyer olan ve bir kabuk gibi tasarlanan \u00fczeri kapal\u0131 koltuklarda oturan seyirci ne yan\u0131ndakileri g\u00f6rebiliyor ne arkas\u0131n\u0131 ne de \u00f6n\u00fcnde oturan insanlar\u0131. Koltuklar\u0131n bi\u00e7imi seyircinin yaln\u0131z olmas\u0131 hissini vermekle kalmay\u0131p film d\u0131\u015f\u0131ndaki di\u011fer sesleri bloke ederek akustik bir i\u015fleve de sahip. \u00c7\u00fcnk\u00fc Invisible Cinema\u2019da g\u00f6r\u00fcnt\u00fc ve ses ayn\u0131 yerden ve tek bir kaynaktan geliyor, filmden. Salonun kurallar\u0131ndan en \u00f6nemlisi film ba\u015flad\u0131ktan sonra i\u00e7eri kimsenin al\u0131nmamas\u0131. Sessizlik de kurallardan biri, film boyunca konu\u015fmak yasak.<\/p>\n\n\n\n

\"Invisible<\/figure><\/div>\n\n\n\n

Invisible Cinema\u2019da film izleyenlerin deneyimlerini tarif ederken kulland\u0131\u011f\u0131 \u00fc\u00e7 farkl\u0131 his \u00f6ne \u00e7\u0131k\u0131yor. Birincisi \u201cs\u00fcz\u00fclme hissi\u201d, seyirciler film izlerken bir s\u00fcre sonra salonun somut ger\u00e7ekli\u011finden \u00e7\u0131k\u0131p karanl\u0131kta s\u00fcz\u00fcld\u00fcklerini hissetmi\u015f. Film ele\u015ftirmeni Vincent Canby, bu hissi bir gemide ya da uzay bo\u015flu\u011funda s\u00fcz\u00fclmeye benzeterek dikd\u00f6rtgen bir hal\u00fcsinasyona bakmaya benzetiyor. Bahsedilen bir di\u011fer his \u201cuyku hali\u201d, koltuklar\u0131n kapal\u0131 tasar\u0131m\u0131ndan dolay\u0131 izleyiciler otururken oda s\u0131cakl\u0131\u011f\u0131n\u0131 oldu\u011fundan y\u00fcksek hissederken aya\u011fa kalkt\u0131klar\u0131nda \u00fc\u015f\u00fcmeye ba\u015fl\u0131yor ve otururken uyku ilac\u0131 etkisi hissediliyor. Yine Canby, d\u00f6nemin hal\u00fcsinasyon etkisi yaratan avangart filmleriyle birle\u015fen Invisible Cinema deneyimi i\u00e7in \u201cuyu\u015fturucu etkisinde olmak gibi\u201d diyor. Salonun son etkisi ise asl\u0131nda Kubelka\u2019n\u0131n tam da yapmak istedi\u011fi \u015fey olan izleyiciyi saran, tamamen \u00e7evreleyen ki\u015fisel bir deneyim yaratmas\u0131 ve izleyicinin bu deneyimin i\u00e7ine \u00e7ekildi\u011fini hissetmesi.<\/p>\n\n\n\n

Kubelka\u2019n\u0131n 1974\u2019te salon kapand\u0131ktan sonraki yorumlar\u0131n\u0131n izleyicilerin deneyimlerinden biraz farkl\u0131 oldu\u011funu s\u00f6yleyebiliriz. Koltuklar\u0131n birbirine olduk\u00e7a yak\u0131n oldu\u011funu, g\u00f6z hizas\u0131ndaki engellerin yan\u0131nda ayra\u00e7lar\u0131n o kadar y\u00fcksek olmad\u0131\u011f\u0131n\u0131 hatta kas\u0131tl\u0131 olarak izleyicilerin birbirine dokunabilece\u011fi \u00f6l\u00e7\u00fcde a\u00e7\u0131kl\u0131k b\u0131rak\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor. Salonda tekil olarak filmi izlerken ayn\u0131 anda bir topluluk olarak bir arada olma hissini vermeyi ama\u00e7lad\u0131\u011f\u0131n\u0131 s\u00f6yleyen Kubelka dikkat da\u011f\u0131tan \u015feyleri uzakla\u015ft\u0131r\u0131rken kolektif <\/em>hissin varl\u0131\u011f\u0131n\u0131 korumak istedi\u011fini belirtiyor. D\u00f6nemin avangart sinemas\u0131n\u0131n mekan versiyonu diyebilece\u011fimiz Invisible Cinema\u2019n\u0131n a\u00e7\u0131ld\u0131\u011f\u0131 d\u00f6nem yaratt\u0131\u011f\u0131 sansasyon ve g\u00fcn\u00fcm\u00fcze kadar gelen etkisi ile g\u00f6r\u00fcnmez olmaktan hayli uzak oldu\u011funu s\u00f6yleyebiliriz.<\/p>\n\n\n\n

Kaynak\u00e7a:<\/strong>
Bridgett, Rob, ve \u015eenol Erdo\u011fan. Avangart Sinema ve Beat Film. <\/em>\u0130stanbul: SUB Yay\u0131mlar\u0131, 2017.
Hanich, Julian. \u201cThe Invisible Cinema.\u201d Exposing the Film Apparatus, The Film Archive as a Research Laboratory<\/em>. ed. Giovanna Fossati ve Annie van den Oeve. Amsterdam University Press, 2016.<\/p>\n\n\n\n


<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

1970\u2019te kurucular\u0131ndan biri oldu\u011fu New York\u2019taki Anthology Film Archives\u2019\u0131n sinema salonunu, b\u00fct\u00fcn\u00fcyle Avangart Film Hareketi\u2019nin o d\u00f6nemdeki esteti\u011fini temel alarak tasarlad\u0131: Invisible Cinema.<\/p>\n","protected":false},"author":1,"featured_media":7272,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1,346],"tags":[657,655,656,658],"_links":{"self":[{"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/posts\/7268"}],"collection":[{"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/comments?post=7268"}],"version-history":[{"count":2,"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/posts\/7268\/revisions"}],"predecessor-version":[{"id":7430,"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/posts\/7268\/revisions\/7430"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/media\/7272"}],"wp:attachment":[{"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/media?parent=7268"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/categories?post=7268"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drycleanonlymagazine.com\/beta\/wp-json\/wp\/v2\/tags?post=7268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}