JOURNAL OF ARTS

Representation of space in pre-cinema moving image devices

Anday Türkmen — 2024-08-02

The aim of this research is to establish a dialogue between moving image devices, considered as precursors of cinema, and the representation of space in order to evaluate the physical orientations of inventors who transformed their spatial searches into cinematic organisation. This study examines the experimental environment created by cinema art for space through moving image devices. It is focused on two research questions: ‘The integration of space representation in pre-cinema moving image devices’ and ‘The effect of space representation on visual narrative in pre-cinema moving image devices’. The study employed a qualitative research design and the literature review method to answer the research questions. The research data was analysed using descriptive content analysis. Based on the analysis, it can be inferred that pre-cinema moving image devices invented between 1558-1834 utilised figurative representations in visual narratives. The representation of space was first introduced in the visual narratives of the Stereoscope, invented by Wheatstone in 1838. Moving image devices invented between 1880-1895 established a strong relationship with the representation of space. However, the fact that the research was collected from fourteen different moving image devices invented in 1558 and later is considered to be one of the major methodological limitations of this study. The limited sample size weakens the possibility of generalising the findings and negatively affects the external validity of the research. In order to overcome the problem of low external validity and to ensure that the data obtained from the study can represent the study population, it is recommended that new studies be planned that include different pre-cinema moving image devices.

A study on eclecticism in Alexandre Tansman’s guitar music; Example of variations on Scriabin’s theme

Hale Birgül — 2024-08-02

Alexandre Tansman’s guitar music dominated by various musical styles with a multiple angles of the instrument’s
repertoire that has developed over centuries. Examining these features theoretically as well as pratically is an essential tool for creating deep expressions for players. İn this article, the layered language of the guitar music will be
discussed structurally and the composer’s apporoach to guitar music writing will be investigated.

Information design in the developing world

Tuğcan Güler — 2024-08-02

Information, as one of the most important contributions of man to the world, has increased its scope in parallel with the development of civilization. Information, which was previously only available to the elite, has reached a point where everyone can access it at any time, first with the industrial revolution and then with the development of communication and information technologies. However, despite all these positive developments, due to the information bombardment experienced in communication channels, correct and incorrect content are placed side by side, causing confusion. To cope with this problem, information design transforms content that it is sure of its accuracy into designs that the reader can easily understand. It aims for a communication design that does not deviate from objectivity and accuracy while going from data to designed product. To this end, it collects all the data it can find with a scientific perspective and visualizes it for people to understand after reaching the truth. Information design has tried to solve the problems of the developing world even when it was not yet called a design discipline. It will continue to solve them in the future.

The depiction of nature in art from Romanticism to Postmodernism

Elif Karakurt — 2024-08-02

Nature has been one of the main sources of inspiration for artists throughout human history. The change in the world and the change in nature follow a parallel course. How nature is handled in paintings depends on the various dynamics of the periods. All social, intellectual, political and economic events have affected the way people see. Where and how nature is positioned in human life has found its reflection in the works of artists of every period. In this study, the change in the way nature is handled in Western art from Romanticism to Postmodernism in a historical development line is analyzed through certain works of art.

Examining Akira Kurosawa’s use of color as a director and painter: an example of the movie “Ran”

Özlem Uzun Hazneci — 2024-08-02

Cinema is a complex structure formed by the combination of many visual and sonic elements. When considered together with factors such as scenes, plans changing with the movement of the camera, visual compositions and editing, the strategic importance of each unit that creates meaning comes to the fore. Among these elements, color appears as an important element that is effective both in the context of visual aesthetics and composition, as well as in the context of human psychology, emotions and identification.

Color has been the focus of directors and researchers since the early years of cinema, which started with black and white. Unlike the research conducted in this field, this article focuses on Akira Kurosawa, a director whose first relationship with color was established through the art of painting and who gained worldwide recognition with his original films, and his film Ran (1985). The research examines the effect of the director's painter identity on the use of color in the film and the functions and use of colors on visual composition, character representation and dramatic structure in cinematic productions.

In this context, Kurosawa's approach to color in the paintings he made before shooting was determined, and a color-oriented visual and content analysis was carried out by following the plot that forms the narrative in the movie Ran. As a result of this analysis, it was seen that Kurosawa used the color element consciously, versatilely and functionally in his movie "Ran". Color palettes in warm-vibrant or cold-dark tones used throughout the film are used to convey the atmosphere and dramatic structure of the scenes to the audience in a more intense and profound way, to express the main characters, their characteristics and their ongoing journey throughout the film in the most effective way that the audience can identify with. It was concluded that he used it to ensure that the audience could easily follow the movie during crowded battle scenes. The findings provide important inferences about how colors can be an effective tool in film narrative and aim to offer new perspectives for studies in the field of cinema and color.