Research Article
BibTex RIS Cite

DOCUMENTARY FILM MUSIC: ROLES, APPROACHES, EFFECTS

Year 2021, Volume: 18 Issue: 48, 43 - 53, 31.12.2021

Abstract

The fact that cinema started as a silent cinema in its first period led to the idea that it needed a vocal accompaniment. For this reason, starting from the first movies, music has been used in movie screenings. The soundtrack is one of the main production elements and means of expression of the film in all genres. Music, with its emotional effect on the one hand, and its complementary and ground-forming feature on the other, is the production material that all filmmakers care about as much as the script and shootings. Music, which has a different meaning in fictional films and takes place in the film with a different function, has a completely different meaning in documentary productions. This study highlights the role of documentary soundtrack in terms of the impact of the film by revealing the characteristics of the documentary soundtrack. Regardless of the subject of the documentary film, music is the element that reflects the director's approach, the logic and messages of the film directly to the audience, as well as reinforcing the subject. In the study, the documentary soundtrack was discussed on the basis of different film examples, the role played by the music for the documentary film was evaluated, the role of the documentary film, which was at least as effective as the script and the shootings, was emphasized. Music is the element that determines the rhythm in the documentary, reveals the director's approach, emphasizes the message of the film, and ensures a pleasant taste from the documentary. Documentary soundtrack, in a sense, is the key element that determines the quality of the film and is one of the principal materials that bring out the documentary.

References

  • Aitken, I. (2013). John grierson and the documentary film movement. İçinde B. Winston (Ed.), The documentary film book (ss. 129-137), British Film Institute.
  • Allan, D. (2021). Commercial sound: a review the effects of popular music in radio and television advertising. İçinde J. Deaville, S. Tan ve R. Rodman (Edl.), The Oxford handbook of music and advertising (ss. 722-740), Oxford University Press.
  • Badstübner-Kizik, C. (2012). Film + musik = filmmusik? zum potential einer medienkombination im fremdsprachenunterricht. Jahrgang, 17, 44-70.
  • Böder, T., ve Pfaf, N. (2019). Zum zusammenspiel von dokumentarischer text- und bildinterpretation am beispiel der analyse von schriftbildern. İçinde O. Dörner, P. Loos, B. Schäffer ve A. Schondelmayer (Edl.), Dokumentarische methode: triangulation und blinde flecken (ss. 135-152), Verlag Barbara Budrich, 135-152.
  • Coaldrake, K. (2012). New age music and japanese tradition. The Asia Pasific Journal of Research into Contemporary Music and Popular Culture, 13, 49-68.
  • Crylen, J. (2018). Living in a world without sun:jacques cousteau, homoaquaticus, and the dream of dwelling undersea. Journal of Cinema and Media Studies, 58, 1-23.
  • Figl, A. (2019). Dokumentarischer film als interaktive erzählung: die webdoku: ınterdisziplinäre betrachtungen und ansätze. İçinde C. Heinze, A. Schlegelmilch (Edl.), Der dokumentarische film und die wissenschaften (ss. 145-157), Springer Fachmedien Wiesbaden.
  • Golub, P., ve Jarzebowski, K. (2017). Mychael danna: music as metaphor. İçinde L. Coleman ve J. Tillman (Edl.), Contemporary film music: ınvestigating cinema narratives and composition (ss. 195-220), Palgrave McMillan.
  • Hartmann, B. (2015). Griechisch-römische antike archaisches und klassisches griechenland. İçinde U.
  • Rautenberg ve U. Schneider (Edl.), Lesen ein interdisziplinäres handbuch (ss. 707-718), Walter de Gruyter GmbH.
  • Heinze, C. (2019). Siegfried Kracauer und der dokumentarische film: ınterdisziplinäre betrachtungen und ansätze. İçinde A. Schlegelmilch (Edl.), der dokumentarische film und die wissenschaften (ss. 7-57), Springer.
  • Herget, A. K. (2019). On music’s potential to convey meaning in film: a systematic review of empirical evidence. Psychology of Music, 49, 21-49.
  • Hickethier, K. (2012). Zur analyse des narrativen. İçinde K. Hickethier (Ed.), Film und fernsehanalyse (ss. 105-160), J.B. Metzler.
  • Hißnauer, C. (2010). Möglichkeitsspıelräume fiktion als dokumentarische methode anmerkungen zur semio-pragmatik fiktiver dokumentationen. MEDIENwissenschaft, 1, 17-28.
  • Jaksch, D. (2011). 9/11 fiktive realität: authentizität und manipulation im dokumentarischen film. Diplomica Verlag GmbH.
  • Jaszoltowski, S., ve Riethmüller, A. (2018). Musik im film. İçinde H. Schramm Ed.), Handbuch musik und medien (ss. 1-28), Berlin.
  • Kara, S., ve Thain, A. (2015). Sonic ethnographies leviathan and new materialisms in documentary. İçinde H.
  • Rogers (Ed.), Music and sound in documentary film (ss. 166-179), Routledge.
  • Lampe, G. (2005). A new look at rober a new look at robert j. flaherty j. flaherty's documentars documentary art. CLCWeb: Comparative Literature and Culture, 7, 1-14.
  • Marks, G. (2020). Free scripts: oscar-drehbücher 2019/ 2020 zum legalen. https://digitaleleinwand.de/2020/01/05/free-scripts-oscar-drehbuecher-2019-2020-zum-legalen-pdf-download/ (06.05.2021).
  • Meyer, C. (2016). Musik im geographieunterricht - bedeutung für kultur, mensch und raum. diercke geographie und musik. İçinde C. Meyer (Ed.), Zugänge zu mensch, kultur und raum (ss. 5-12), Westermann Verlag. Miller, A. I. (2019). The artist in the machine: the world of aı-powered creativity. The MIT Press.
  • Odin, R. (2002). Kunst und ästhetik bei film und fernsehen elemente zu einem semio-pragmatischen ansatz. Semio-Pragmatik, Kunst, Ästhetik, 11, 42-57.
  • Özgen, K. (2020). Suha Arın filmografyasında aykırı bir belgesel Tahtacı Fatma (1979): sinematografik analiz. Etkileşim, 5, 170-185.
  • Rabenalt, R. (2010). Filmmusik im dokumentarfilm – die gestaltung von wirkmomenten im spannungsfeld dokumentarischer und fiktionaler erzählformen durch musik. Kieler Beiträge zur Filmmusikforschung, 6, 101-123.
  • Remter, M. (2017). Die erfahrung des unsichtbaren evokation im dokumentarfilm. Universitätsbibliothek der Ludwig-Maximilians-Universität.
  • Rodman, R. (2021). The persistence of memory: structural functions of music in commercial jingles. İçinde J. Deaville, S. Tan ve Ron Rodman (Edl.), The Oxford handbook of music and advertising (ss. 414-435), Oxford University Press.
  • Santi, M., ve Berner, E. (2021). Music - media - history: re-thinking musicology in an age of digital media. Transcript Verlag.
  • Sözen, M. F. (2017). Anlatımsal bir öğe olarak belgesel sinemada ses tasarımı: tanımlar, örnekler, çözümlemeler. Journal of Academic Social Sciences, 42, 20-46.
  • Toker, O. (2003). Film müziği hakkında. Sanat Dergisi, 4, 85-100.
  • Way, L. C. S., ve McKerrell, S. (2017). Music as multimodal discourse semiotics, power and protest. Bloomsbury Publication.
  • Zimmermann, L. J. (2015). Citizen journalism footage im dokumentarfilm. demokratiefördernde potenziale documentarfilmischer hybride. Diplomice Verlag GmbH.

BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER

Year 2021, Volume: 18 Issue: 48, 43 - 53, 31.12.2021

Abstract

Sinemanın ilk döneminde sessiz sinema olarak yol alması, onun sesli bir eşliğe gerek olduğu fikrini doğurmuştur. Bu nedenle ilk filmlerden başlayarak film gösterimlerinde müzik kullanılmaya başlanmıştır. Film müziği, tüm türlerde filmin başlıca yapım unsurlarından ve anlatım araçlarından biridir. Müzik, bir yandan duygusal etkisi, bir yandan da tamamlayıcı ve zemin oluşturan özelliğiyle, tüm film yapımcılarının senaryo ve çekimler kadar önemsediği yapım materyalidir. Kurgusal filmlerde daha farklı bir anlam taşıyan ve farklı bir işlevle filmde yer alan müzik, belgesel yapımlarda bambaşka bir anlam taşımaktadır. Bu çalışma, belgesel film müziğinin özelliklerini ortaya koyarak belgesel film müziğinin filmin etkisi açısından rolünü vurgulamaktadır. Belgesel filmin konusu ne olursa olsun, müzik konuyu pekiştirmenin yanı sıra, yönetmenin yaklaşımını, filmin mantığını ve iletilerini doğrudan izleyiciye yansıtan öğedir. Çalışmada, değişik film örneklerinden yola çıkılarak belgesel film müziği tartışılmış, müziğin belgesel film için oynadığı rol değerlendirilmiş, belgesel filmde en az senaryo ve çekimler kadar etkin olan rolü vurgulanmıştır. Müzik, belgeselde ritmi belirleyen, yönetmenin yaklaşımını ortaya koyan, filmin iletisini vurgulayan, belgeselden hoş bir tat alınmasını sağlayan unsurdur. Belgesel film müziği, bir anlamda filmin niteliğini belirleyen anahtar öğedir ve belgeseli ortaya çıkaran başat materyallerinden biridir.

References

  • Aitken, I. (2013). John grierson and the documentary film movement. İçinde B. Winston (Ed.), The documentary film book (ss. 129-137), British Film Institute.
  • Allan, D. (2021). Commercial sound: a review the effects of popular music in radio and television advertising. İçinde J. Deaville, S. Tan ve R. Rodman (Edl.), The Oxford handbook of music and advertising (ss. 722-740), Oxford University Press.
  • Badstübner-Kizik, C. (2012). Film + musik = filmmusik? zum potential einer medienkombination im fremdsprachenunterricht. Jahrgang, 17, 44-70.
  • Böder, T., ve Pfaf, N. (2019). Zum zusammenspiel von dokumentarischer text- und bildinterpretation am beispiel der analyse von schriftbildern. İçinde O. Dörner, P. Loos, B. Schäffer ve A. Schondelmayer (Edl.), Dokumentarische methode: triangulation und blinde flecken (ss. 135-152), Verlag Barbara Budrich, 135-152.
  • Coaldrake, K. (2012). New age music and japanese tradition. The Asia Pasific Journal of Research into Contemporary Music and Popular Culture, 13, 49-68.
  • Crylen, J. (2018). Living in a world without sun:jacques cousteau, homoaquaticus, and the dream of dwelling undersea. Journal of Cinema and Media Studies, 58, 1-23.
  • Figl, A. (2019). Dokumentarischer film als interaktive erzählung: die webdoku: ınterdisziplinäre betrachtungen und ansätze. İçinde C. Heinze, A. Schlegelmilch (Edl.), Der dokumentarische film und die wissenschaften (ss. 145-157), Springer Fachmedien Wiesbaden.
  • Golub, P., ve Jarzebowski, K. (2017). Mychael danna: music as metaphor. İçinde L. Coleman ve J. Tillman (Edl.), Contemporary film music: ınvestigating cinema narratives and composition (ss. 195-220), Palgrave McMillan.
  • Hartmann, B. (2015). Griechisch-römische antike archaisches und klassisches griechenland. İçinde U.
  • Rautenberg ve U. Schneider (Edl.), Lesen ein interdisziplinäres handbuch (ss. 707-718), Walter de Gruyter GmbH.
  • Heinze, C. (2019). Siegfried Kracauer und der dokumentarische film: ınterdisziplinäre betrachtungen und ansätze. İçinde A. Schlegelmilch (Edl.), der dokumentarische film und die wissenschaften (ss. 7-57), Springer.
  • Herget, A. K. (2019). On music’s potential to convey meaning in film: a systematic review of empirical evidence. Psychology of Music, 49, 21-49.
  • Hickethier, K. (2012). Zur analyse des narrativen. İçinde K. Hickethier (Ed.), Film und fernsehanalyse (ss. 105-160), J.B. Metzler.
  • Hißnauer, C. (2010). Möglichkeitsspıelräume fiktion als dokumentarische methode anmerkungen zur semio-pragmatik fiktiver dokumentationen. MEDIENwissenschaft, 1, 17-28.
  • Jaksch, D. (2011). 9/11 fiktive realität: authentizität und manipulation im dokumentarischen film. Diplomica Verlag GmbH.
  • Jaszoltowski, S., ve Riethmüller, A. (2018). Musik im film. İçinde H. Schramm Ed.), Handbuch musik und medien (ss. 1-28), Berlin.
  • Kara, S., ve Thain, A. (2015). Sonic ethnographies leviathan and new materialisms in documentary. İçinde H.
  • Rogers (Ed.), Music and sound in documentary film (ss. 166-179), Routledge.
  • Lampe, G. (2005). A new look at rober a new look at robert j. flaherty j. flaherty's documentars documentary art. CLCWeb: Comparative Literature and Culture, 7, 1-14.
  • Marks, G. (2020). Free scripts: oscar-drehbücher 2019/ 2020 zum legalen. https://digitaleleinwand.de/2020/01/05/free-scripts-oscar-drehbuecher-2019-2020-zum-legalen-pdf-download/ (06.05.2021).
  • Meyer, C. (2016). Musik im geographieunterricht - bedeutung für kultur, mensch und raum. diercke geographie und musik. İçinde C. Meyer (Ed.), Zugänge zu mensch, kultur und raum (ss. 5-12), Westermann Verlag. Miller, A. I. (2019). The artist in the machine: the world of aı-powered creativity. The MIT Press.
  • Odin, R. (2002). Kunst und ästhetik bei film und fernsehen elemente zu einem semio-pragmatischen ansatz. Semio-Pragmatik, Kunst, Ästhetik, 11, 42-57.
  • Özgen, K. (2020). Suha Arın filmografyasında aykırı bir belgesel Tahtacı Fatma (1979): sinematografik analiz. Etkileşim, 5, 170-185.
  • Rabenalt, R. (2010). Filmmusik im dokumentarfilm – die gestaltung von wirkmomenten im spannungsfeld dokumentarischer und fiktionaler erzählformen durch musik. Kieler Beiträge zur Filmmusikforschung, 6, 101-123.
  • Remter, M. (2017). Die erfahrung des unsichtbaren evokation im dokumentarfilm. Universitätsbibliothek der Ludwig-Maximilians-Universität.
  • Rodman, R. (2021). The persistence of memory: structural functions of music in commercial jingles. İçinde J. Deaville, S. Tan ve Ron Rodman (Edl.), The Oxford handbook of music and advertising (ss. 414-435), Oxford University Press.
  • Santi, M., ve Berner, E. (2021). Music - media - history: re-thinking musicology in an age of digital media. Transcript Verlag.
  • Sözen, M. F. (2017). Anlatımsal bir öğe olarak belgesel sinemada ses tasarımı: tanımlar, örnekler, çözümlemeler. Journal of Academic Social Sciences, 42, 20-46.
  • Toker, O. (2003). Film müziği hakkında. Sanat Dergisi, 4, 85-100.
  • Way, L. C. S., ve McKerrell, S. (2017). Music as multimodal discourse semiotics, power and protest. Bloomsbury Publication.
  • Zimmermann, L. J. (2015). Citizen journalism footage im dokumentarfilm. demokratiefördernde potenziale documentarfilmischer hybride. Diplomice Verlag GmbH.
There are 31 citations in total.

Details

Primary Language Turkish
Journal Section Araştırma Makaleleri
Authors

Mahmut Yavuz Türkmen 0000-0001-7828-6553

Sedat Cereci

Publication Date December 31, 2021
Published in Issue Year 2021 Volume: 18 Issue: 48

Cite

APA Türkmen, M. Y., & Cereci, S. (2021). BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 18(48), 43-53.
AMA Türkmen MY, Cereci S. BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. December 2021;18(48):43-53.
Chicago Türkmen, Mahmut Yavuz, and Sedat Cereci. “BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER”. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 18, no. 48 (December 2021): 43-53.
EndNote Türkmen MY, Cereci S (December 1, 2021) BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 18 48 43–53.
IEEE M. Y. Türkmen and S. Cereci, “BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER”, Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, vol. 18, no. 48, pp. 43–53, 2021.
ISNAD Türkmen, Mahmut Yavuz - Cereci, Sedat. “BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER”. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 18/48 (December 2021), 43-53.
JAMA Türkmen MY, Cereci S. BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. 2021;18:43–53.
MLA Türkmen, Mahmut Yavuz and Sedat Cereci. “BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER”. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, vol. 18, no. 48, 2021, pp. 43-53.
Vancouver Türkmen MY, Cereci S. BELGESEL FİLM MÜZİĞİ: ROLLER, YAKLAŞIMLAR, ETKİLER. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. 2021;18(48):43-5.

.