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The Aesthetics of Slowness in Cinema: Contemplating Goodbye, Dragon Inn (2003, Ming-liang) through the Concept of Slow Cinema

Yıl 2023, Cilt: 3 Sayı: 2, 153 - 165, 31.12.2023
https://doi.org/10.59280/film.1389970

Öz

The concept of "slowness" which has gained significance in response to the rapid pace of industrialized and urbanized modern society, can be seen as a reaction to the challenges posed by consumer culture. When examined in conjunction with movements that embrace slowness as a way of life, such as "Slow Food," "Slow City," and "Slow Media," it becomes evident that this concept has developed a rich cultural and social ideological framework. The notion of slowness, which has garnered increasing attention in literature since the late 1980s, particularly through the works of Petrini and Berthelsen, has also found its way into the realm of cinema. This cinematic trend, often referred to as "slow cinema," is characterized by deliberate cinematographic choices. It can be traced back to the cinematic narratives of the 1960s and continues to influence contemporary filmmaking. Since the late 1980s, various filmmakers have converged under the banner of "slow cinema," adopting a new cinematic language that challenges the conventions of mainstream cinema. Slowness, in this context, affords the audience a unique opportunity to perceive time and movement at a more deliberate pace, inviting viewers to engage in deeper contemplation and immerse themselves in the film's universe. Slow cinema, championed by directors such as Tarr, Akerman, Angelopoulos, Tarkovski, and Bresson, has evolved to encompass a diverse array of internationally renowned filmmakers, including Weerasethakul, Zhangke, Hsiao-hsien, Costa, Ming-liang, and Nuri Bilge Ceylan. In this study, the film Goodbye, Dragon Inn (2003) by Tsai Ming-liang, one of the prominent figures in slow cinema, has been analyzed within the framework of the concept of slow cinema by examining its cinematographic qualities. As a result, it has been observed that the formal and narrative features of the examined film share commonalities with the concept of slow cinema, and it has been revealed that the film, by choosing a closing cinema as its setting, articulates a discourse regarding the changes in the viewing experience.

Kaynakça

  • Bazin, A. (2011). Sinema Nedir (çev. İbrahim Şener). Doruk.
  • Birtwisle, A. (2015). Heavy Weather: Michelangelo Antonioni, Tsai Ming-liang, and The Poetics of Environmental Sound. Quarterly Review of Film and Video, 32(1), 72-90.
  • Boer, J. (2016). Watching Paint Dry. An Investigation Into Film Style and Time Experience in Viewing Slow Cinema. Elephant & Castle, 14. 5-41.
  • Bordwell, D. & Thompson, K. (2011). Good and Good for You http://www.davidbordwell.net/blog/2011/07/10/good-and-good-for-you/ Erişim Tarihi: 22.07.2023.
  • Çağlayan, E. (2018). Poetics of Slow Cinema: Nostalgia, Absurdism, Boredom. Palgrave Macmillan.
  • Chan, K. (2007). Goodbye, Dragon Inn: Tsai Ming-liang's Political Aesthetics of Nostalgia, Place, and Lingering. Journal of Chinese Cinemas, 1(2), 89-103.
  • Ciment, M. (2003) The State of Cinema. https://web.archive.org/web/20040325130014/http://www.sfiff.org/fest03/special/state.html Erişim Tarihi: 22.07.2023.
  • Dargis, M. & Scott, A.O. (2011). In Defense of Slow and Boring https://www.nytimes.com/2011/06/05/movies/films-in-defense-of-slow-and-boring.html Erişim Tarihi: 22.07.2023.
  • De Luca, T. (2016). Slow Time, Visible Cinema: Duration, Experience, and Spectatorship. Cinema Journal, 56(1), 23-42
  • De Luca, T. (2017). Watching Cinema Disappear: Intermediality and Aesthetic Experience in Tsai Ming-liang’s
  • Goodbye Dragon Inn (2003) and Stray Dogs (2013). J. Gibbs, D. Pye (Ed.) The Long Take. (ss. 163-176). Palgrave Macmillan.
  • De Luca, T., & Jorge, N. B. (2016). Slow Cinema. Edinburgh University Press.
  • Dwyer, T., & Perkins, C. (2018). Passing Time: Eye Tracking Slow Cinema. T. Dwyer, C. Perkins, S. Redmond, J. Sita. (Ed.) Seeing into Screens: Eye Tracking and the Moving Image, (ss. 103-125). Bloomsbury Publishing.
  • Flannagan, M. (2008). Towards an Aesthetic of Slow in Contemporary Cinema. http://www.16-9.dk/2008-11/side11_inenglish.html Erişim Tarihi: 22.07.2023.
  • Ivy, I. (2019). Taiwan Cinema, Memory, and Modernity. Springer.
  • Jaffe, I. (2014). Slow Movies. Columbia University Press.
  • James, N. (2010) Passive Aggressive. Sight and Sound. 20(4). 5.
  • Kovacs, A. (2010). Modernizmi Seyretmek: Avrupa Sanat Sineması 1950-1980 (çev. Ertan Yılmaz). De Ki Yayınları.
  • Kraicer, S, Mingliang C. (2000) Interview with Tsai Ming-liang. positions: east asia cultures critique. 8(2). 579-588.
  • Lim, S. H. (2014). Tsai Ming-liang and a Cinema of Slowness. University of Hawaii Press.
  • Lim, S. H. (2015). Temporal Aesthetics of Drifting: Tsai Ming-Liang and A Cinema of Slowness. T. De Luca & T, N.B. Jorge (Ed.), Slow Cinema (ss. 87-98). Edinburgh University Press.
  • Marchetti, G. (2005) On Tsai Mingliang’s The River. C, Berry & F, Lu. (Ed.) Island on the Edge: Taiwan New Cinema and After. (ss. 113-126). Hong Kong University Press.
  • Nagib, L. (2016). The Politics of Slowness and The Traps of Modernity. T. De Luca & T, N.B. Jorge (Ed.), Slow Cinema (ss. 25-46). Edinburgh University Press.
  • Neri, C. (2008). Tsai Ming-liang and the Lost Emotions of the Flesh. positions: east asia cultures critique, 16(2), 389-407.
  • Orban, C. (2021). Slow Places in Béla Tarr's Films: The Intersection of Geography, Ecology and Slow Cinema. Rowman & Littlefield.
  • Orr, J. (1997). Sinema ve Modernlik (çev. Ayşegül Bahçıvan), Bilim ve Sanat Yayınları.
  • Özyazıcı, K. (2020). Nuri Bilge Ceylan ve Yavaş Sinema. sinecine: Sinema Araştırmaları Dergisi, 11(2). 193-225.
  • Wijaya, E. (2021). Screening Today: The Visible and Invisible Worlds of Tsai Ming-liang's Goodbye, Dragon Inn. Discourse, 43(1), 65-97.
  • Wood, C. (2007). Realism, Intertextuality and Humour in Tsai Ming-liang's Goodbye, Dragon Inn. Journal of Chinese Cinemas, 1(2), 105-116.
  • Yeh, E. Y., Davis, D. W. (2005). Taiwan Film Directors: A Treasure Island. Columbia University Press.

Sinemada Yavaşlığın Estetiği: Yavaş Sinema Kavramıyla Goodbye, Dragon Inn (2003, Ming-liang) Filmini Düşünmek

Yıl 2023, Cilt: 3 Sayı: 2, 153 - 165, 31.12.2023
https://doi.org/10.59280/film.1389970

Öz

Modern toplumda yaşamın endüstriyelleşen ve kentlileşen yapısının hızlı akışına karşı önem kazanan “yavaşlık” olgusu, tüketim kültürünün beraberinde getirdiği sorunlara bir tepki niteliği taşımaktadır. “Slow Food”, “Slow City” ve “Slow Media” gibi yavaşlığı bir yaşam biçimi olarak sahiplenen hareketlerle birlikte düşünüldüğünde kavramın kültürel ve toplumsal olarak gelişkin bir ideolojik altyapıya sahip olduğu söylenebilir. 1980’lerin sonundan itibaren Petrini ve Berthelsen’in çalışmalarıyla literatürde daha da görünür hale gelen yavaşlık olgusu özellikle 60’lı yıllar modern sinema anlatılarıyla başlayan ve günümüze uzanan tarihsel bir aralıkta sinematografik tercihler aracılığıyla sinemada da görülmeye başlamıştır. 1980’li yılların sonundan itibaren çeşitli yönetmenler, ana akım sinemaya meydan okuyan yeni bir sinema dilini benimseyerek “yavaş sinema” adı verilen benzerlikler alanı etrafında bir araya gelmeye başlamışlardır. Yavaşlığın seyircinin zaman ile hareketi daha yavaş bir hızda algılamasına olanak tanıyarak, seyircileri düşünmeye ve film evrenine katılmaya davet ettiği ifade edilebilir. Tarr, Akerman, Angelopoulos, Tarkovski ve Bresson gibi yönetmenlerin öncülüğünü yaptığı yavaş sinema, günümüzde Weerasethakul, Zhangke, Hsiao-hsien, Costa, Ming-liang ve Nuri Bilge Ceylan gibi hem ulusal hem de uluslararası kapsamda öne çıkan birçok isimle birlikte tartışılmaktadır. Bu çalışmada yavaş sinemanın öne çıkan isimlerinden biri olan Tsai Ming-liang’ın Goodbye, Dragon Inn (2003) filmi, sinematografik nitelikleri incelenerek yavaş sinema kavramı bağlamında analiz edilmiştir. Sonuç olarak incelenen filmin biçimsel ve anlatısal özelliklerinin yavaş sinema kavramıyla ortaklıklar taşıdığı görülmüş, kapanmakta olan bir sinema salonunu mekân olarak seçmesiyle ise seyir deneyiminde yaşanan değişimlere ilişkin bir söylemde bulunduğu ortaya koyulmuştur.

Teşekkür

Sevgili Gözde Gül Konya'ya, değerli çalışma arkadaşlarım Fatih Saraç ve Baran Cem Yiğit'e ve Sakarya Üniversitesi İletişim Fakültesi akademik personeline teşekkür ve şükran borçluyum.

Kaynakça

  • Bazin, A. (2011). Sinema Nedir (çev. İbrahim Şener). Doruk.
  • Birtwisle, A. (2015). Heavy Weather: Michelangelo Antonioni, Tsai Ming-liang, and The Poetics of Environmental Sound. Quarterly Review of Film and Video, 32(1), 72-90.
  • Boer, J. (2016). Watching Paint Dry. An Investigation Into Film Style and Time Experience in Viewing Slow Cinema. Elephant & Castle, 14. 5-41.
  • Bordwell, D. & Thompson, K. (2011). Good and Good for You http://www.davidbordwell.net/blog/2011/07/10/good-and-good-for-you/ Erişim Tarihi: 22.07.2023.
  • Çağlayan, E. (2018). Poetics of Slow Cinema: Nostalgia, Absurdism, Boredom. Palgrave Macmillan.
  • Chan, K. (2007). Goodbye, Dragon Inn: Tsai Ming-liang's Political Aesthetics of Nostalgia, Place, and Lingering. Journal of Chinese Cinemas, 1(2), 89-103.
  • Ciment, M. (2003) The State of Cinema. https://web.archive.org/web/20040325130014/http://www.sfiff.org/fest03/special/state.html Erişim Tarihi: 22.07.2023.
  • Dargis, M. & Scott, A.O. (2011). In Defense of Slow and Boring https://www.nytimes.com/2011/06/05/movies/films-in-defense-of-slow-and-boring.html Erişim Tarihi: 22.07.2023.
  • De Luca, T. (2016). Slow Time, Visible Cinema: Duration, Experience, and Spectatorship. Cinema Journal, 56(1), 23-42
  • De Luca, T. (2017). Watching Cinema Disappear: Intermediality and Aesthetic Experience in Tsai Ming-liang’s
  • Goodbye Dragon Inn (2003) and Stray Dogs (2013). J. Gibbs, D. Pye (Ed.) The Long Take. (ss. 163-176). Palgrave Macmillan.
  • De Luca, T., & Jorge, N. B. (2016). Slow Cinema. Edinburgh University Press.
  • Dwyer, T., & Perkins, C. (2018). Passing Time: Eye Tracking Slow Cinema. T. Dwyer, C. Perkins, S. Redmond, J. Sita. (Ed.) Seeing into Screens: Eye Tracking and the Moving Image, (ss. 103-125). Bloomsbury Publishing.
  • Flannagan, M. (2008). Towards an Aesthetic of Slow in Contemporary Cinema. http://www.16-9.dk/2008-11/side11_inenglish.html Erişim Tarihi: 22.07.2023.
  • Ivy, I. (2019). Taiwan Cinema, Memory, and Modernity. Springer.
  • Jaffe, I. (2014). Slow Movies. Columbia University Press.
  • James, N. (2010) Passive Aggressive. Sight and Sound. 20(4). 5.
  • Kovacs, A. (2010). Modernizmi Seyretmek: Avrupa Sanat Sineması 1950-1980 (çev. Ertan Yılmaz). De Ki Yayınları.
  • Kraicer, S, Mingliang C. (2000) Interview with Tsai Ming-liang. positions: east asia cultures critique. 8(2). 579-588.
  • Lim, S. H. (2014). Tsai Ming-liang and a Cinema of Slowness. University of Hawaii Press.
  • Lim, S. H. (2015). Temporal Aesthetics of Drifting: Tsai Ming-Liang and A Cinema of Slowness. T. De Luca & T, N.B. Jorge (Ed.), Slow Cinema (ss. 87-98). Edinburgh University Press.
  • Marchetti, G. (2005) On Tsai Mingliang’s The River. C, Berry & F, Lu. (Ed.) Island on the Edge: Taiwan New Cinema and After. (ss. 113-126). Hong Kong University Press.
  • Nagib, L. (2016). The Politics of Slowness and The Traps of Modernity. T. De Luca & T, N.B. Jorge (Ed.), Slow Cinema (ss. 25-46). Edinburgh University Press.
  • Neri, C. (2008). Tsai Ming-liang and the Lost Emotions of the Flesh. positions: east asia cultures critique, 16(2), 389-407.
  • Orban, C. (2021). Slow Places in Béla Tarr's Films: The Intersection of Geography, Ecology and Slow Cinema. Rowman & Littlefield.
  • Orr, J. (1997). Sinema ve Modernlik (çev. Ayşegül Bahçıvan), Bilim ve Sanat Yayınları.
  • Özyazıcı, K. (2020). Nuri Bilge Ceylan ve Yavaş Sinema. sinecine: Sinema Araştırmaları Dergisi, 11(2). 193-225.
  • Wijaya, E. (2021). Screening Today: The Visible and Invisible Worlds of Tsai Ming-liang's Goodbye, Dragon Inn. Discourse, 43(1), 65-97.
  • Wood, C. (2007). Realism, Intertextuality and Humour in Tsai Ming-liang's Goodbye, Dragon Inn. Journal of Chinese Cinemas, 1(2), 105-116.
  • Yeh, E. Y., Davis, D. W. (2005). Taiwan Film Directors: A Treasure Island. Columbia University Press.
Toplam 30 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Film Eleştirisi, Sinema Kuramları, Sinema ve Estetik
Bölüm Araştırma Makaleleri
Yazarlar

Aziz Barkın Kadıoğlu 0000-0003-3640-3146

Erken Görünüm Tarihi 29 Aralık 2023
Yayımlanma Tarihi 31 Aralık 2023
Gönderilme Tarihi 13 Kasım 2023
Kabul Tarihi 6 Aralık 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 3 Sayı: 2

Kaynak Göster

APA Kadıoğlu, A. B. (2023). Sinemada Yavaşlığın Estetiği: Yavaş Sinema Kavramıyla Goodbye, Dragon Inn (2003, Ming-liang) Filmini Düşünmek. Türkiye Film Araştırmaları Dergisi, 3(2), 153-165. https://doi.org/10.59280/film.1389970

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