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      • Faculty of Art, Design And Architecture
      • Department of Communication and Design
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      Son adam ve "zincirlerinden boşanmış kamera"

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      Author
      Treske, Andreas
      Date
      2009
      Source Title
      Kebikeç İnsan Bilimleri İçin Kaynak Araştırmaları Dergisi
      Print ISSN
      1300-2864
      Publisher
      Kebikeç Yayınları
      Volume
      28
      Pages
      45 - 52
      Language
      Turkish
      Type
      Article
      Item Usage Stats
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      65
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      Abstract
      Yönetmen Friedrich Wilhelm Murnau ve görüntü yönetmeni Karl Freund Son Adam (Der letzte Mann, 1924) filmi ile yirminci yüzyıl sinemasının tartışmasız en önemli biçimsel yeniliklerinden birini gerçekleştirmişlerdir. Filmde yer alan kırka yakın çekimde kamera sürekli hareket halindedir. Bu, bir anlamda, kameranın ifade olanaklarından yararlanarak sinema dilinin gelişimine katkıda bulunma girişimidir. Bu hareketli kamera tekniğine die entfesselte Kamera ya da “zincirlerinden boşanmış kamera” tekniği adı verilir. Hareketli mizansen ve uzun çekim ilkesine dayanan Murnau’nun görsel üslubu sinemayı gerçekliğe daha da yaklaştırır.
       
      Director Friedrich Wilhelm Murnau and cameraman Karl Freund realized arguably one of the most important stylistic and formal innovations of the 20th century cinema with Last Laugh (Der letzte Mann, 1924). In almost 40 shots camera was moving in the film. This is a major contribution to the development of film language by using the expressive means of the camera. This moving camera techniques is called “unchained camera” (die entfesselte Kamera). Murnau’s visual style, which is based on mobile mise-en-scene and the long take, pushes film closer to reality.
      Keywords
      Son adam (der letzte mann, 1924)
      Friedrich Wilhelm Murnau
      Karl Freund
      Zincirlerinden boşanmış kamera
      Last laugh (der letzte mann, 1924)
      Unchained camera (die entfesselte kamera)
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      http://hdl.handle.net/11693/54646
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