Director and screenwriter Derviş Zaim was the visitor speaker for the “Rethinking the Production of Space” lecture sequence at YUNT’s heart in Istanbul’s Sultanbeyli, an area for artwork and interplay.
In his lecture titled “Cinema and Space,” Zaim defined that cinema’s basic relationship with area is one among “shaving off,” much like the work of a sculptor. He emphasised that in basic cinema, sure guidelines have been developed to keep up the continuity of area, making certain the viewer’s sense of course was preserved. He cited David Griffith for example, noting that Griffith launched the close-up to cinema, permitting the viewers to “enter the space,” making certain a steady relationship with the atmosphere.
Zaim argued that in contrast to cinema, structure doesn’t depend on particular guidelines. “Architecture doesn’t impose the same rules on us because it doesn’t make us experience space from a fixed point or perspective,” he stated. “In architecture, the subject of the experience is the person. This is a fundamental difference between cinema and space.”
Zaim mentioned how he has approached area in his movies from totally different views, citing his movie “Waiting for Heaven” as his first to discover the idea of area. He recalled asking whether or not conventional Ottoman arts may supply new views and prospects for cinema. He noticed that basic Ottoman miniatures depicted time and area in a fluid means, breaking and altering them to signify components of the story that weren’t bodily current.
He used this fluid building of area in his personal work, making an attempt to take action with out disturbing the viewer’s notion, and defined how mirrors have been utilized in “Waiting for Heaven” to discover time in a variable, altering type. He added that the rationale the mirrors within the movie usually didn’t present the area they have been in was due to this strategy.
Zaim additionally shared that he continued his exploration of area in his movie “Shadows and Faces,” the place he was impressed by the shadow play custom of “Karagöz-Hacivat.” In the movie, Zaim used the idea of the “empty space” to discover how a small gesture or object, like an image positioned on a desk, may rework that area into one thing significant. “‘In Shadows and Faces,’ the kitchen desk is just like the display of a shadow play,” he defined.
In his movie “Dream,” Zaim continued to mirror on area by way of the story of a feminine architect, Sine, who aspires to construct a mosque. Zaim elaborated on how the movie’s themes have been impressed by the legend of the Seven Sleepers, with Sine’s want to “freeze” time and retreat from her struggles symbolizing the connection between desires and utopia. The movie’s core message, Zaim stated, is “Hold on to your utopias.”
He additionally spoke about his analysis into Ottoman structure for the movie. “The traditional Ottoman mosque architecture is built on repetition and variation,” he stated, noting that architect Mimar Sinan used rhythm and tempo to create these variations. In “Dream,” the movie’s narrative construction is predicated on comparable patterns of repetition present in Sinan’s work, the place the identical components tackle totally different meanings in numerous contexts.
YUNT, based by Muratcan Sabuncu with artwork consultancy by Sergen Şehitoğlu, is designed to extend public entry to inventive actions and foster interplay. Alongside exhibitions and occasions, YUNT affords instructional packages and goals to reinforce the potential for social change by way of its area and experiences.
The “Rethinking the Production of Space” occasion sequence beforehand featured talks by architect Han Tümertekin on “This is Not a Line,” professor Uğur Tanyeli on “Can Political Domination Be Established in Architecture?” and affiliate professor Bülent Batuman on “(Social) Product as (Social) Space.”
Source: www.dailysabah.com