Reading the Simultaneous Motion and Reality Bending Concepts through Doctor Strange

Authors

DOI:

https://doi.org/10.5195/cinej.2021.301

Keywords:

Architecture, Film, Simultaneous Motion, Reality Bending, Doctor Strange

Abstract

In order to exemplify the interaction between architecture and science fiction films, Doctor Strange (2016), one of today's cinema examples, was chosen because of that the special effects created in computer environment by transferring the dreams to the film have a surrealist effect on the film; of the fantastic spaces that arise with the deformation of real places become the main character of the film; of foreseeing a different future in terms of architecture. Within the scope of the study, the film was read through the changes of time and space of the concepts of “reality bending” and “simultaneous motion”. As a result of the readings on these concepts, the relationship of cinema with architecture has gained a different dimension, and it has been seen that this film can create a fantastic perspective and inspiration to the designers about the future deconstructivist buildings.  

References

Akay, A. (2004), Tekil Düşünme. İstanbul: Bağlam Yayınevi,

Arnheim, R. (1957). Film as Art. University of California Press.

Atiker, B. (2010). Yerleştirme Sanatında Yansıtım Hizalama İle Artırılmış Gerçeklik Tasarımları. Beykent Üniversitesi Sosyal Bilimler Dergisi, 4(1), 99-121.

Bala, A. H. (2019). Architectural Reading of the Film “Terminal” via Non-Place”, Online Journal of Art Design, 7(1): 53-66.

Bordwell, D., Thompson, K. (2016), Film Art: An Introduction Eleventh Edition, McGraw-Hill.

Çalğıcı, K. P. (2007). Çevre Psikolojisi Kavramlarıyla Bir Filmin Analizi: THX 1138, METU JFA, 30(2): 63-80.

Deleuze, G. (1993). The fold: Leibniz and the Baroque. University of Minnesota Press.

Deleuze, G. (2014), Cinema I: The Movement Image. Bloomsbury.

Edi, N. (2011), Modern Heykelde Hareket. Yüksek Lisans Tezi, Atatürk Üniversitesi, Erzurum.

Erdoğan, E., Yıldız, Z. (2018). Zaman ve Mekân Kavramları Arasındaki Paradoksal İlişkisnin “Bulut Atlası” Filmi Üzerinden Okunması, METU JFA, 35(1):1-26.

Ertem, Ü. (2010), Sinema ve Mimarlık Etkileşiminin Örnek Kara Filmler Üzerinden İncelenmesi. Yüksek Lisans Tezi, İstanbul Teknik Üniversitesi, İstanbul.

Gezen, M. C. (2016), Cumhuriyetten Günümüze Türk Resminde Eşzamanlı Devinim. Yüksek Lisans Tezi, Selçuk Üniversitesi, Konya.

Güneş, S. (2009). Fotoğraftan Sinemaya Hareket İmgesi Stop-Motıon Kukla Sineması: Jırı Trnka’nın “The Hand” Filminde Hareket İmgesini Okumak. Yüksek Lisans Tezi, Kocaeli Üniversitesi, Kocaeli.

Güzel, M. (2015). Halüsinasyon Mekânları: Sanal-Gerçek Arasında Mimarlık. Yüksek Lisans Tezi, İstanbul Teknik Üniversitesi, İstanbul.

Hançerlioğlu, O. (1997). Felsefe Ansiklopedisi Kavramlar ve Akımlar, Remzi Yayınevi, Istanbul, p. 214.

Heinlein, R. A. (1978). Red Planet. 1949. New York: Del Rey.

Kahvecioğlu, H. (2005), Mekanın Üreticisi veya Tüketicisi Olarak Zaman. A. Şentürk, Ş. Ural, Ö. Berber, & F. Uz içinde, Zaman-Mekan, Yem Yayınevi, İstanbul, pp. 9-142.

Özön, N. (2008). Sinema Sanatına Giriş, Agora Yayınevi, Istanbul, pp. 3-4.

Serttek, G. E. (2013), “The Time-Image in Deleuze’s Philosophy of Cinema”, master’s thesis, Ankara University, Ankara.

Şengönül, H. (2012), Modern Heykel Sanatında Devinim. Yüksek Lisans Tezi, Atatürk Üniversitesi, Erzurum.

Temel Britannica (1993), Ana Yayınevi, İstanbul.

Ural, Ş. (2005), İç İçe Geçmiş Zamanlar, Zaman-Mekan, A. Şentürer, Ş. Ural, Ö. Berber, F. U. Sönmez, Yem Yayınevi, İstanbul, pp. 16-33.

Üner, G. (2019). Eş Zamanlı Devinim ve Gerçeklik Bükme Kavramlarının “Doctor Strange” Filmi Üzerinden Okunması. Yüksek Lisans Tezi, Selçuk Üniversitesi, Konya.

Yetişkin, E. B. (2011). Sinematografik Düşünebilmek: Deleuze’ün Sinema Yaklaşımına Giriş. İletişim Fakültesi Dergisi, 123-141.

Yılmaz, H. (2011). Henri Bergson’un Zaman Kavramına Yaklaşımının Çağdaş Anlatı Sinemasına Etkisi. Journal of Social Sciences, 13(2): 61-78.

Yurdigül, Y., Zinderen, Ethem İ. (2013), Special Effect in Cinema and Television, Doğu Yayınevi, İstanbul, p. 11.

Downloads

Published

2021-12-14

How to Cite

Uner, G., & Erdogan, E. (2021). Reading the Simultaneous Motion and Reality Bending Concepts through Doctor Strange. CINEJ Cinema Journal, 9(2), 1–38. https://doi.org/10.5195/cinej.2021.301

Issue

Vol. 9 No. 2 (2021): Fall 2021

Section

Articles

License

Authors who publish with this journal agree to the following terms:

  1. The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
  2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
  3. The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 International License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
    1. Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
    with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  4. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
  5. Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
  6. Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
  7. The Author represents and warrants that:
    1. the Work is the Author’s original work;
    2. the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
    3. the Work is not pending review or under consideration by another publisher;
    4. the Work has not previously been published;
    5. the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
    6. the Work contains no libel, invasion of privacy, or other unlawful matter.
  8. The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.

Revised 7/16/2018. Revision Description: Removed outdated link.