Öz
The notion of depth of field refers to the way in which spatial depth is represented through depth of focus in cinematic or photographic images. Technically speaking, depth of field is determined by many factors, namely the distance between the lens and the subject, the focal length of the lens, the camera format, the aperture value, etc. Although the technical aspects of depth of field have been subject to pointed empirical exploration, this article will address the debates that focus on the implications of the notion of depth of field vis-a-vis the philosophy and aesthetics of the cinematic and photographic image. The significance of depth of field with respect to the cinematic representation of space has stirred considerable controversy in extant literature. This paper will attempt to connect pertinent theoretical debates in film theory with photography through an examination of the implications of each on the indexical character of the photographic medium
Anahtar Kelimeler
Photography Cinema Space Representation Depth of Field Indexicality Perspective
Kaynakça
- Armstrong, Carol (1998). Scenes in a Library: Reading the Photograph in the Book, 1843-1975, Cambridge, MA: MIT Press.
- Arnheim, Rudolf (1957). Film as Art, Berkeley: University of California Press.
- (1974). “On the Nature of Photography”. Critical Inquiry 1(1): 149-161.
- (2010). Sanat Olarak Sinema, çev. Rabia Ünal Tamdoğan, İstanbul: Hil Yayınları.
- Arslan, Umut T. (2009). “Aynanın Sırları: Psikanalitik Film Kuramı.” Kültür ve İletişim 12(1): 9-38.
- Barthes, Roland (1972). Mythologies, çev. Annette Lavers, New York: Hill and Wang.
- (1977). Image, Music, Text, London: Fontana Press.
- (1982). Camera Lucida: Reflections on Photography, çev. Richard Howard, New York: Hill and Wang.
- (2000). Camera Lucida: Fotoğraf Üzerine Düşünceler, çev. Reha Akçakaya, İstanbul: Altıkırkbeş Yayın.
- (2014). Fotografinin Küçük Tarihi, çev. Barış Tanyeri, İstanbul: Altıkırkbeş Yayın.
- Bazin, André (1967a). “The Evolution of the Language of Cinema”. What is Cinema?, c. 1, ed. Hugh Gray, Berkeley: University of California Press.
- (1967b). “An Aesthetic of Reality”. What is Cinema?, c. 2, ed. Hugh Gray, Berkeley: University of California Press.
- (1967c). “The Ontology of the Photographic Image”. What is Cinema?, c. 1, ed. Hugh Gray, Berkeley: University of California Press.
- Benjamin, Walter (1969). Illuminations, New York: Schocken Books.
- (2014). Fotoğrafinin Küçük Tarihi, çev. Barış Tanyeri, İstanbul: Altıkırkbeş Yayın.
- Bryson, Norman (1983). Vision and Painting: The Logic of the Gaze, New Haven: Yale University Press.
- Buckland, Gail (1980). Fox Talbot and the Invention of Photography, Boston: David R. Godine.
- Comolli, Jean-Louis (1986). “Technique and Ideology: Camera, Perspective, Depth of Field”. Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen, New York: Columbia University Press.
- Crary, Jonathan (1988). “Modernizing Vision”. Vision and Visuality, ed. Hal Foster, Seattle: Bay Press.
- (2010). Gözlemcinin Teknikleri: On Dokuzuncu Yüzyılda Görme ve Modernite Üzerine, çev. Elif Daldeniz, İstanbul: Metis Yayınları.
- Descartes, René (2012). “Optics”. Images: A Reader, ed. Sunil Manghani, Arthur Piper ve Jon Simons, London: Sage.
- Foucault, Michel (1995). Discipline and Punish: The Birth of the Prison, New York: Vintage Books.
- Hannavy, John (ed.) (2008). Encyclopedia of Nineteenth-Century Photography, New York: Routledge.
- Jay, Martin (1988). “Scopic Regimes of Modernity”. Vision and Visuality, ed. Hal Foster, Seattle: Bay Press.
- (1994). Downcast Eyes: The Denigration of Vision in Twentieth- Century French Thought, Berkeley: California University Press.
- Kracauer, Siegfried (1997). Theory of Film: the Redemption of Physical Reality, Princeton, NJ: Princeton University Press.
- Levin, David M. (1993). Modernity and the Hegemony of Vision, Berkeley, University of California Press
- Marien, Mary W. (2006). Photography: A Cultural History, Upper Saddle River, NJ: Prentice Hall.
- Mitry, Jean (2000). The Aesthetics and Psychology of the Cinema, çev. Christopher King, Bloomington: Indiana University Press.
- Nadar, Félix (1978). “My Life as a Photographer”, çev. Thomas Respensek. October 5: 6-28.
- Panofsky, Erwin (2013). Perspektif: Simgesel bir Biçim, çev. Yeşim Tükel, İstanbul: Metis Yayınları.
- Peirce, Charles S. (1998). “What is a Sign? (1894)”. The Essential Peirce: Selected Philosophical Writings, ed. Nathan Houser ve diğerleri, Bloomington and Indianapolis: Indiana University Press.
- Rosalind E. Krauss (1985). The Originality of the Avant-Garde and Other Modernist Myths, Cambridge, MA: MIT Press.
- Rose, Jacqueline (1986). Sexuality in the Field of Vision, London: Verso.
- Sontag, Susan (1990). On Photography, New York: Doubleday.
- Walton, Kendall (1984). “Transparent Pictures: On the Nature of Photographic Realism.” Critical Inquiry, 11(2): 246-277.
Öz
Alan derinliği sinematik veya fotografik imgede mekânsal derinliğin odaksal derinlikle temsil edilmesidir. Teknik olarak
bakıldığında alan derinliğinin objektif ve fotoğrafın nesnesi arasındaki mesafe, objektifin odak uzunluğu, kamera formatı,
diyafram değeri gibi bir takım unsurlara bağlı olduğunu biliyoruz. Her ne kadar literatürde bu teknik unsurlar açısından
alan derinliği ayrı bir tartışma konusu ise de bu çalışmada alan derinliği kavramının sinematik/fotografik imgenin felsefi
ve estetik boyutu bağlamında incelendiği kuramlar tartışılacaktır. Literatürde alan derinliğinin mekânın sinematik temsil
biçimleri açısından önemi üzerine çok farklı kuramsal tartışmalar mevcuttur. Bu makalede film kuramı bağlamındaki ilgili
tartışmalardan bazıları fotografik imge bağlamında yorumlanacak ve fotografik medyumun belirtisellik özelliği açısından
incelenecektir.
- Anahtar Sözcükler: Fotoğraf, Sinema, Mekân, Temsil, Alan Derinliği, Belirtisellik, Perspektif.
Anahtar Kelimeler
Kaynakça
- Armstrong, Carol (1998). Scenes in a Library: Reading the Photograph in the Book, 1843-1975, Cambridge, MA: MIT Press.
- Arnheim, Rudolf (1957). Film as Art, Berkeley: University of California Press.
- (1974). “On the Nature of Photography”. Critical Inquiry 1(1): 149-161.
- (2010). Sanat Olarak Sinema, çev. Rabia Ünal Tamdoğan, İstanbul: Hil Yayınları.
- Arslan, Umut T. (2009). “Aynanın Sırları: Psikanalitik Film Kuramı.” Kültür ve İletişim 12(1): 9-38.
- Barthes, Roland (1972). Mythologies, çev. Annette Lavers, New York: Hill and Wang.
- (1977). Image, Music, Text, London: Fontana Press.
- (1982). Camera Lucida: Reflections on Photography, çev. Richard Howard, New York: Hill and Wang.
- (2000). Camera Lucida: Fotoğraf Üzerine Düşünceler, çev. Reha Akçakaya, İstanbul: Altıkırkbeş Yayın.
- (2014). Fotografinin Küçük Tarihi, çev. Barış Tanyeri, İstanbul: Altıkırkbeş Yayın.
- Bazin, André (1967a). “The Evolution of the Language of Cinema”. What is Cinema?, c. 1, ed. Hugh Gray, Berkeley: University of California Press.
- (1967b). “An Aesthetic of Reality”. What is Cinema?, c. 2, ed. Hugh Gray, Berkeley: University of California Press.
- (1967c). “The Ontology of the Photographic Image”. What is Cinema?, c. 1, ed. Hugh Gray, Berkeley: University of California Press.
- Benjamin, Walter (1969). Illuminations, New York: Schocken Books.
- (2014). Fotoğrafinin Küçük Tarihi, çev. Barış Tanyeri, İstanbul: Altıkırkbeş Yayın.
- Bryson, Norman (1983). Vision and Painting: The Logic of the Gaze, New Haven: Yale University Press.
- Buckland, Gail (1980). Fox Talbot and the Invention of Photography, Boston: David R. Godine.
- Comolli, Jean-Louis (1986). “Technique and Ideology: Camera, Perspective, Depth of Field”. Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen, New York: Columbia University Press.
- Crary, Jonathan (1988). “Modernizing Vision”. Vision and Visuality, ed. Hal Foster, Seattle: Bay Press.
- (2010). Gözlemcinin Teknikleri: On Dokuzuncu Yüzyılda Görme ve Modernite Üzerine, çev. Elif Daldeniz, İstanbul: Metis Yayınları.
- Descartes, René (2012). “Optics”. Images: A Reader, ed. Sunil Manghani, Arthur Piper ve Jon Simons, London: Sage.
- Foucault, Michel (1995). Discipline and Punish: The Birth of the Prison, New York: Vintage Books.
- Hannavy, John (ed.) (2008). Encyclopedia of Nineteenth-Century Photography, New York: Routledge.
- Jay, Martin (1988). “Scopic Regimes of Modernity”. Vision and Visuality, ed. Hal Foster, Seattle: Bay Press.
- (1994). Downcast Eyes: The Denigration of Vision in Twentieth- Century French Thought, Berkeley: California University Press.
- Kracauer, Siegfried (1997). Theory of Film: the Redemption of Physical Reality, Princeton, NJ: Princeton University Press.
- Levin, David M. (1993). Modernity and the Hegemony of Vision, Berkeley, University of California Press
- Marien, Mary W. (2006). Photography: A Cultural History, Upper Saddle River, NJ: Prentice Hall.
- Mitry, Jean (2000). The Aesthetics and Psychology of the Cinema, çev. Christopher King, Bloomington: Indiana University Press.
- Nadar, Félix (1978). “My Life as a Photographer”, çev. Thomas Respensek. October 5: 6-28.
- Panofsky, Erwin (2013). Perspektif: Simgesel bir Biçim, çev. Yeşim Tükel, İstanbul: Metis Yayınları.
- Peirce, Charles S. (1998). “What is a Sign? (1894)”. The Essential Peirce: Selected Philosophical Writings, ed. Nathan Houser ve diğerleri, Bloomington and Indianapolis: Indiana University Press.
- Rosalind E. Krauss (1985). The Originality of the Avant-Garde and Other Modernist Myths, Cambridge, MA: MIT Press.
- Rose, Jacqueline (1986). Sexuality in the Field of Vision, London: Verso.
- Sontag, Susan (1990). On Photography, New York: Doubleday.
- Walton, Kendall (1984). “Transparent Pictures: On the Nature of Photographic Realism.” Critical Inquiry, 11(2): 246-277.
Ayrıntılar
| Birincil Dil | Türkçe |
|---|---|
| Bölüm | Araştırma Makaleler |
| Yazarlar | |
| Yayımlanma Tarihi | 1 Ocak 2015 |
| Gönderilme Tarihi | 30 Ocak 2015 |
| Yayımlandığı Sayı | Yıl 2015 Sayı: 13 |
Cited By
FOTOGRAFİK ŞİDDET İMGELERİNİN İNSAN-OLMAYAN FAİLLERE AÇILMASI: GÖRME REJİMLERİ VE TÜRCÜLÜĞÜN FOTOĞRAF ÜZERİNDEN TARTIŞILMASI
İnönü Üniversitesi Kültür ve Sanat Dergisi
https://doi.org/10.22252/ijca.1435045
- Makale Dosyaları
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