35 MM SESLİ FİLMDEN KALAN FOTOGRAMLARIN SESSİZ FOTO-FİLME DÖNÜŞÜMÜ: SERGEY EISENSTEIN’İN İHTİLAFLI BEJİN ÇAYIRI (SSCB, 1935-1937) HAKKINDA
Küçük Resim Yok
Tarih
2022
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Denta Florya ADSM Limited Company
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Ekim Devrimi’nin yirminci yıldönümüne yaklaşan Rusya’da, Sovyet sessiz sinemasının biricik dehası Eisenstein’e sesli bir film çekme ve profesyonel oyuncularla çalışma imkânı 1935’te sunuldu. Stalin rejiminin kırsal kesimdeki kolektivizasyon politikasını ve kulaklarla (yani toprak mülkiyeti olan zengin köylülerle) mücadelesini şehit-kahraman bir Sovyet öncüsü/çocuğu (Pavlik Morozov) üzerinden konu alması gereken bu propaganda filminin çevrimi önce durduruldu, sonra yeniden başlatıldı ama neticesinde tamamen engellendi. Batı’da sinema âleminin “Majesteleri Eisenstein” diye hitap ettiği yaratıcı yönetmeni ise hem biçimcilikle hem mistisizmle resmî olarak suçlandı. Bu makalede, 20 Ekim 2022’de Paris’te fotoğraf-sinema ilişkilerini konu alan “Le cinéma par ses photographies” kolokyumuna katılan araştırmacılara gösterilen kırk dakikalık sessiz foto-film Bejin Çayırı’nın eleştirel ve tarihsel bir okuması yapılacaktır.
In Russia, approaching the twentieth anniversary of the October Revolution, in 1935, the unique genius of Soviet silent cinema, Eisenstein, was offered the opportunity to shoot a sound film and work with professional actors. The shooting of this propaganda film, which was supposed to be about a martyr-hero Soviet pioneer (Pavlik Morozov), about the collectivization policy of the Stalin regime in the countryside and its struggle with the kulaks (rich peasants with land ownership), was first stopped, then restarted, but as a result it was completely blocked. His creative director, whom the world of cinema in the West addressed as “His Majesty Eisenstein”, was officially accused of both formalism and mysticism. In this article, a critical and historical reading of the forty-minute silent photo-film Bezhin Meadow, which was shown to the researchers attending the colloquium (“Le cinéma par ses photographies”) on photography-cinema relations on October 20, 2022 in Paris, will be made.
In Russia, approaching the twentieth anniversary of the October Revolution, in 1935, the unique genius of Soviet silent cinema, Eisenstein, was offered the opportunity to shoot a sound film and work with professional actors. The shooting of this propaganda film, which was supposed to be about a martyr-hero Soviet pioneer (Pavlik Morozov), about the collectivization policy of the Stalin regime in the countryside and its struggle with the kulaks (rich peasants with land ownership), was first stopped, then restarted, but as a result it was completely blocked. His creative director, whom the world of cinema in the West addressed as “His Majesty Eisenstein”, was officially accused of both formalism and mysticism. In this article, a critical and historical reading of the forty-minute silent photo-film Bezhin Meadow, which was shown to the researchers attending the colloquium (“Le cinéma par ses photographies”) on photography-cinema relations on October 20, 2022 in Paris, will be made.
Açıklama
Anahtar Kelimeler
Sergey Eisenstein|Sergey Yutkeviç|Naum Kleiman|Bejin Çayırı|SSCB|Sergey Eisenstein|Sergey Yutkeviç|Naum Kleiman|Bejin Çayırı|SSCB|Toulouse Sinemateği|Kolokyum: Le cinéma par ses photographies. Figurer|publier et écrire le cinéma avec des photographies (des origines aux années 1960).
Kaynak
Social Sciences Research Journal
WoS Q Değeri
Scopus Q Değeri
Cilt
11
Sayı
4
