Filminde Mimari Temsillerin Çözümlemesi

8/14/2019 Filminde Mimari Temsillerin zmlemesi

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Giriflalflma Mnih isimli filme ait alt-metinle-ri mimari ve mekansal gstergeleri iledeerlendirmeyi iermektedir. Bu yn-den filmin ierii erevesinde mimaribalamda 3 ana bafllkta gruplanan ko-nular, filmin farkl blmlerinde bulunansahnelerdeki benzer unsurlarn ortayakonulmasyla almaktadr. Her bir sah-ne mekansal ifadenin filmin anlatmnave hikayesine katks ve birliktelii ile elealnmfl, yorumsal olarak ifade edilerekherhangi bir kaynak kullanlmamfltr.

Filme Genel BakflYl 1972 Dnyann en byk spor or-ganizasyonu olimpiyatlar, Mnihte,70lerin ruhuna uygun olarak barfl ha-vas iinde bafllyor. Her lke baflar vemadalyalar beklerken Mnihten gelenbir haber dnyay sarsyor. KendileriniKara Eyll olarak tantan bir grup Filis-

tinli terrist srailli atletlerin kald yatak-haneyi basmfl, 2 sporcuyu katlettiktensonra 9 kifliyi rehin almfltr. Talepleri re-hinelerle beraber Mnih Havaalannagtrlmektir.

Alman hkmeti hayati bir karar alr verehineleri kurtarmak iin dzenlenenoperasyon bir faciaya dnflr ve tm re-hineler ldrlr. Bunun zerine srail

Hkmeti bir karfl terr grubu olufltura-rak Avrupada bulunan rgtle ve olaylabalantl kiflilere suikastlar bafllatr. Busuikastlar, karfl fliddeti retecek ve hemsuikastlarn i dnyalarna hem de ev-relerine yaylan bir ykm meydana geti-recektir.

Filmin anlatm dili veksa felsefi zmlemesiMnih Filmi gncelliini koruyan globaldzeydeki siyasi ve toplumsal bir konuya

tarafsz olmasa da ok ynl bir bakfl-la yaklaflmaya alflmfl bir film. Bu a-dan olaylar dizininin siyasi ynnnzerine ok fazla durmadan, srkleyi-ci bir macera filmi formatn koruyanbir tarihi dram tr ortaya konulmufl.Film fliddet olgusunun kendi kendisinireten ve toplumlarn kan bana ba-l karlarnn ve var olufllarn srdr-

me abalarnn yaratt atflmay, bi-reyler zerindeki etkilerini de vurgula-yarak ele almfl.

Bu adan filmde belli olgular zellik-le vurgulanarak, bunlar ikili karfltlkla-r ile ortaya konulmufl. Bunlardan ze-likle dikkat ekenleri ve mimari ifade-lerle de glendirilmifl olanlar, do-um-lm, dostluk/kardefllik - dflman-lk, medeniyet ilkellik gibi kavram

ikilileridir.

Space: Theory & Criticism

Ders veren: Do.Dr. Aytanga Dener

Hazrlayan: Efe Korkut Kurt

alflma: Mnih isimli sinema filmi

Filmin Tr: Gerilim / Dram / Tarihi

Ynetmen: Steven Spielberg

Senaryo: Tony Kushner, Eric Roth, George Jonas (Kitap)

Grnt Ynetmeni:Janusz Kaminski

Mzik:John Williams

Yapm: 2005, ABD , 164 dk.

Oyuncular: Eric Bana (Avner), Daniel Craig (Steve), Ciarn

Hinds (Carl), Mathieu Kassovitz (Robert), Hanns Zischler

(Hans), Ayelet Zurer (Daphna), Geoffrey Rush (Ephraim),

Mathieu Amalric (Louis), Moritz Bleibtreu (Andreas), Mic-

hael Lonsdale (Papa), Yvan Attal (Tony)

Filminde MimariT e m s i l l e r i n

z m l e m e s i

M N H

Efe Korkut Kurt*


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1. Blm:Iflk, Mekan ve MimariFilmde flk kimi sahnelerde i mekana d-flardan szlerek ve kuvvetli bir flekildegirerek ve gl glgelerin oluflmasnsalayarak kullanlmfl. Bylece kimi sah-nelerin anlamna grsel bir katk ve bilin-alt gndermeler iin kullanlmfl grn-

mektedir.

1. Sahne:Kahramanmza devletin yetkilileri tara-fndan grevinin aktarld sahne. Busahnede tafl bir tarihi yap modern biraydnlatma sistemi ve dflardan gelendoal flk ile aydnlatlmaktadr. Buradabir taraftan Orta Dounun modernizeolmufl bir ortamnda olduumuz ifadeedilirken dier taraftan gen kahraman-

mz ile devleti temsil eden bykleri ara-sndaki sembiyotik iliflki mimarinin iineszlen tanrsal bir flk ile vurgulanyor.Bylece kilise mimarisinde sklkla kulla-nlmfl olan(zellikle Gotik mimaride)flk, burada da devleti tanrsal, yce,kapsayclna gndermede bulunmak-tadr. stlerinin yafl ve tavrlar ile bu et-ki glenmektedir. Bylece kahraman-mz babasnn (devletin) szn dinleyenbir ocuk rolne kaymakta ve bundan

sonraki blmlerde yapacaklar ile ilgili

sorumluluu ortadan kalkarak, seyircininkolayca zdeflim kurabilecei bir niteli-e brnecektir.

2. Sahne:lk suikastn betimlendii bu sahne yu-karda aklanan benzer eleri yine

flk ve mimari dil ile glendirerek or-taya koymaktadr. Asansr boflluun-dan szlerek gelen flk suikast ilahibir havaya sokarak estetize etmektedir.Yine baba figrne gnderme yapanldrlen kifli, dipal anlamda babakatline gnderme yapmaktadr. Bu davicdann temelini oluflturan yasa/babafigrnn katli ile kahramanlarmzn idnyalarnda ilk yara olarak ortayakmaktadr.

3. Sahne:Ayrlk sahnesi Avrupann grkemli de-mir ve camdan yaplmfl tren istasyonla-rndan bir tanesinde betimlenmifl. Busahnede fln gkyznden mekana gi-rifli ayrlk kavramnn lm kavramylaolan benzerlii asnda yine tanrsal birifade asnda kullanlmaktadr. Kahra-manmz bu sahnede flefkatli bir bebeinrolne geerek ocuk rolnden yetiflkin

rolne gemektedir.

2. Blm:Metafor olarak MutfakFilmde mutfak mimari bir unsur olarak te-mel bir felsefi gnderme iin kullanlmak-tadr. Mutfak bir yandan ailenin birlikte-liini yaflam/beslenme balamnda enfazla sembolize eden mekan olduu iinkullanlrken dier taraftan besleyen an-

ne figrnn gnderme yapld bir bi-linaltna iflaret etmektedir. Bu adananayurt kavram ile anne kavram bir trefllefltirmeye maruz kalmaktadr. Filminbir sahnesinde annesiz bymfl kahra-manmz iin sraili bir anne olarak gr-mfl olmas ifade edilmesi benzer bir vur-guya iflaret etmektedir.

1. Sahne:Bu sahne kahramanmzn hamile efli ileMnih olaylarn dehfletle izledikten son-ra mutfan nnde geen bir diyalog-dan oluflmaktadr. Mutfa dier mekan-la ayran kemerimsi geifl dairesel for-muyla diflil bir gndermeyi barndrmak-ta, kadnn hamileliinin alglanfln sine-ma dili ile mimari bir unsur kullanarakglendirmekte ve vurgulamaktadr. Ay-rca evin dekorasyonu ve tafld simge-ler (duvardaki Kuds ifllemesi gibi) bu ke-merle oluflturulmufl blntler ile ortak birOrtadou kltrel arflmlarn glen-

dirmektedir.

1. Blm - 1. Sahne 1. Blm - 2. Sahne 1. Blm - 3. Sahne



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2. Sahne:Bu sahnede kahramanmz yksek gelirgrubuna hitabeden bir hazr mutfak dk-knnn vitrininden bakmaktadr. Buradageen diyalogda iyi bir mutfan ne ka-dar pahal olduu vurgulanmakta, bu daailesinin iyi bir hayat srmesini isteyen

her kiflinin demesi gereken bir bedelolarak ortaya konulmaktadr. Sahnenindevamnda betimlenen Paris atmosferive ss kpei burjuvazinin sembolik ifa-desi ile mutfaa ait pahallk imajn g-lendirmektedir.

3. Sahne:Mutfakta geen ve birlikte yemek yap-lan bu sahnede ikili arasnda geensahnede aile kavram vurgulanmakta,

yemek yapmann vahfli ve ilkel tarafhissettirilmektedir. Kahramann elinin

yakn plan irdelendii blm ayrcaifadelidir. Alman dflnr Kant elibeynin bir uzants olarak ele almakta-dr. Bu adan el, medeniyeti yapan ve

ykan bir ara olarak ikili anlamylaifade bulmaktadr. Yine ayn sahnedeailenin reisi niteliindeki flahs, filmindier sahnelerinde betimlenen bir ba-ba figrne benzer bir flekilde balan-m a k t a d r .

4. Sahne:Bu sahnede mutfaktaki yemek yapma ey-lemi aka vahflete ve fliddete bir gn-derme niteliinde ortaya konmaktadr.Mutfakta baklar, atefl vs. gibi ldrcve tehlikeli aletlerin bulunmas ve kullanl-mas bu fikre katkda bulunmaktadr. Ay-

n sahnenin devam eden blmnde iseelektriklerin kesilmesi ile mum flklar ileaydnlatlan ortam, bir taraftan medeni-

yetin sembol elektrii kapatarak birgndermede bulunurken, dier taraftanmumlar altnda yenen yemek bir tr ilkelayin atmosferi vermektedir.

3. Blm: Ykm1. Sahne:Cumbal bir kgir yap bombalanmakta-

dr.

2. Sahne:Kbrsta Olimpic Hotel isimli bir otelbombalanr. Otel dokunun byk l-de tarihi ve kk lekli yaplardanoluflan evreye kyasla, hacimli, beto-narme bir yapdr. Blgenin modern mi-mari slubunun dnemsel olarak ta tipikbir rnei bu yapnn bombalanfl birnceki cumbal yapya oranla ok daha

ciddi bir hasar yaratmaktadr. Bunun

adm adm ikiz kulelerin ykmna gidenyolda modernite fikrine bir darbe niteli-inde olduu dflnlebilir. mekanekiminde tmyle harap olan ve du-varlar ken yap bir tr medeniyetinve modernizmin kflne gnderme

yapmaktadr. Burada kahramanmznyanlarna gittii plak gen ift bu y-kntlarn arasnda Adem ile Havvayanmsatmaktadr.

3. Sahne:Filmin son sahnesinde kahramanmz k-t baba figr (devlet) ile bir diyalog ya-flamaktadr. Bu diyalog New York Man-hattan siluet olarak gren yapsallafl-mamfl bir peyzajda gemektedir. Bu d-zensiz doal alan ile gkdelenlerin yk-

seldii yarm ada arasnda ztlk iliflkisifilmin temelini oluflturan ikili karfltlklaramekansal bir gnderme niteliindedir.Sahnenin son resmi olarak kadraja girenkiz Kulelerin silueti amzn en ndegelen simge binalarn filme katarak g-l bir mesaj vermektedir.

(IT Fen Bilimleri Enstits - Mimari Tasa-rm Doktora Program Space: Culture &Identity dersi iin yaplmfl alflmadan

a l n t d r . )




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Entry

The work is containing the ideas of thefilm which are expressed or strenghten bythe use of architecture. These ideas areshown in three groups according to thecontent and different scenes in the diffe-rent part of the film are selected in that

context. All the scenes are taken into con-sideration with their contribution to thesub-text and symbolic meaning and ex-pressed with free comments in a systemicway without using any reference.

Plot

The film begins with a depiction of theevents of the Munich Massacre in 1972,followed by a recreation of the news cove-rage interspersed with snippets of real fo-

otage. The film opens with a recreation ofthe kidnappers' entrance to the OlympicVillage and the initial assault on the apart-ment building.

The operation which was made to survivethe hostages turn into a disaster and allthe hostages were killed. After that, IsraelGovernment organizes a counter-terror te-am and sends the team to Europe to assas-sinate the people related with the organi-

zation and the incident. The assassinationwas going to produce the contrary violen-ce and appear enlarging destruction bothinward the team members and their surro-undings.

The Expression Style and the Short Ide-

ational Analysis

The movie Munich is approaching to aglobal subject which is very actual tryingnot to take side. In this direction the film

tries to be an adventure film as a historicaldrama getting rid of the political pronunci-ation. The film takes the violence fact assomething produces itself and the benefitsof the societies linked with blood connec-tion and their effort to exist as somethingconflictive and its effects on individuals.In this direction some facts are emphasi-zed in particular and expressed as binaryoppositions. Some of these which are con-cept couples strengthen by the architectu-

ral images; birth-death, friendship-hosti-lity, civilization- primitiveness.

Part 1: Light, Space and Architecture

Light is used in some scenes strongly ma-king strong shadows in the interior space.Thus, it seems to be used for addition tothe meaning of some scenes and as refe-rence to the subconscious.

Scene 1The mission is given to our hero from hissuperiors. In that scene, the space whichis an old Stone building is lightened bythe natural light entering from the highwindows and a modern style lighting ele-ment hung to the ceiling. We feel that weare in an eastern country (expressed bythe style of the old building) which is a mo-dern country (expressed by the modernlighting element). The symbiotic relation of

our hero with his superior (the govern-ment) is expressed by the light comes fromthe windows as a sign of divine cover ofthe father. In that sense, the light which isused for divine meanings especially ingothic architecture is used in the sameway here. As our hero gets in to the roleof the child, his responsibility on theevents will decrease so that the spectatoris able to identify himself with him withoutfeeling guilty.

Scene 2

In that scene which the first assassinationputs the same kind of elements mentionedabove by the help of light and architectu-re. The light comes from the upper floorsthrough the apartment hole makes the as-sassination in a hymn atmosphere. The co-ming of the elevator shows the comingend of the old man. Again, the figure ofthe father is expressed by the help of the

divine sign of the light coming into thespace from outside (from the top). The firstcut of our heros conscience is done whichis created by the law/father in Freudiantheory.

Scene 3

The separation scene is described in abig, historic train station in Europe. Thelight comes from the glass ceiling as thedivine meaning of the light as death,

which is a concept resembles the separa-tion. Our hero becomes an adult from a

Analysis Of

A r c h i t e c t u r a l

Representations

In The Movie

M U N I C H

Program: Architectural Design/ PhDLesson: Space: Theory & CriticismLecturer: Ass. Prof. Dr. Aytanga DenerPrepared by: Efe Korkut KurtTitle: Munich the movieSort of the Film: Phys / Drama / HistoricDirector: Steven SpielbergScenario: Tony Kushner, Eric Roth, Ge-

orge Jonas (Novel)Image Director:Janusz KaminskiMusic:John WilliamsProduction: 2005, ABD , 164 min.

Actor/Actresses: Eric Bana (Avner),Daniel Craig (Steve), Ciarn Hinds(Carl), Mathieu Kassovitz (Robert),Hanns Zischler (Hans), Ayelet Zurer(Daphna), Geoffrey Rush (Ephraim),Mathieu Amalric (Louis), Moritz Bleib-treu (Andreas), Michael Lonsdale (Pa-

pa), Yvan Attal (Tony)


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child and now the power of light and arc-hitecture is behind him.

Some of the agents come to question them-selves - bombmaker Robert declares that"we're losing it [our Jewish righteousness];I'm losing my soul" as the group goes overa laundry list of violence that has spun off

from their own mission of retribution.(Murphy, M, C, Electronic Intifada)

Part 2: The Kitchen as a Metaphor

The kitchen is used in the film as an archi-tectural element for a main philosophicalsign. The kitchen is used as the savagespace of the human being in the whole li-ving place and showing the wholeness ofthe family in the meaning of feeding neces-sity. In the other way the kitchen has the

sign of the feeding mother figure in the sub-conscious. In that direction the concept ofmotherland matched with sign of the mot-her. In one of the scenes, our hero is des-cribed as someone who was grown witho-ut a mother and always saw Israel as hismother.

The film has deep love for Israel, and con-tains a heartfelt moment when a mother re-minds her son why the state had to be fo-unded: "We had to take it because no onewould ever give it to us. Whatever it took,whatever it takes, we have a place onearth at last." (Ebert, R, 2005)

Scene1

In that scene, the picture of our hero iswith his pregnant wife in front of the kitc-hen after watching the Munich killings.The oval arch shape of the separation of

the kitchen from the living room gives a re-ference to the female and the shape of the

pregnant woman so that she is pointedwith the use of cinematic language. Besi-des, the arch shape of the separation is ina harmony with the Middle Eastern cultu-ral signs of the couples house decoration(like the carpet on the wall with the pictu-re of Jerusalem) which is showing that weare in Israel.

Scene 2

In that scene our hero is looking at a ready

made kitchen shop which addresses the

high income groups. In the dialogue, the

cost of a good kitchen is expressed as the

cost of a familys survival. The Paris pictu-

re in the coming after this scene and the

dog in the mans hand as the sign of the

rich and the bourgeois strengthen the refe-

rence of the expensive kitchen.

The same debate is going on right now in

America. If it is true that civilizations must

sometimes compromise their values, the qu-

estions remain: What is the cost, and what

is the benefit? Spielberg clearly asks if Isra-

el has risked more than it has gained.

(Ebert, R, 2005)

Scene 3

In that scene which is happening in thekitchen, the meaning of the family is ex-

pressed and the wildness and primitive-ness in cooking is perceived. The part

which the hand of our hero is focused on

is also meaningful. Kant discusses the hand

as the organ of the brain. In that Picture the

hand is shown as the implement that buildsand demolishes the civilization as a binary

opposition. The figure of the father is lin-

ked with the other figures of father mentio-

ned in the pervious scenes.

Scene 4

In that scene, the action of cooking is ma-king a reference to the violence and wild-ness in the kitchen. The use of the deadlyand dangerous tools like knives and fireetc. contribute to this idea. The cut of theelectricity as the sign of civilization and thehuge dinner made with the light of the

candles is expressed as a ceremonial at-mosphere after the killings.

"All this blood, all of it comes back to us,"says Robert, the first to bail from the missi-on. And the most seasoned agent amongthem soberly states, "Each time we kill wecreate six more," noting that the new lea-ders replacing the assassinated Black Sep-tember leadership are that more extreme -and for some of them, "Black September is

not violent enough." ( Murphy, M, C,2006)

Part 3: Destruction

Scene 1

An old building with a bay window madeof stone is bombed. Only the windows arebroken into pieces.

Scene 2

A Hotel called the Olympic Hotel (the na-

me refers to the Olympic games in ancienthistory) in Cyprus is bombed. The hotel bu-ilding is a massive structure with a typicalmodern style compare with the surroun-ding buildings which are mostly in smallersize and more classical style. The effect ofthe bomb is making a very serious dama-ge to the building when we compare withthe old building in the pervious bombing.In that way, the idea of modernity is strokewith the use of modern style architecture.

The Picture interior part of the building af-ter the bombing shows all the demolished


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walls (on which some cultural signs are putto show the location) as the sign of the des-truction of civilization and modernity. Thenude boy and girl in these ruins are recal-ling Adam & Eve taking us back to the star-ting point of the civilization.

It's a one-eyed giant of a movie. It has fe-

arful power. Its enormous noise and unsur-passable effects made a hard-boiled previ-ew audience cower the night I saw it. Spi-elberg seems to rage, as he tries to makeyou know what a bomb really does whenit explodes in a busy hotel or what bulletsdo to a body. There was some of that ragein Saving Private Ryan, but Munich is mo-re deadly, more selective, in what it deci-des you have to see. (Ascherson, N,2006)

Scene 3

In that last scene of the film, our hero hasa dialogue with his superior who was fi-gure of bad father/ deep government.The dialogue is happening on a soft land-scape which is not structural with themagnificent silhouette of Manhattan,NYC. There is an opposition between theidentity of the spaces, on which one ofthem is an irregular ground and the other

is an urban area with huge skyscrapersgiving the symbol of the civilization. Thisopposition of the identity of the spaces isgiving reference to the conceptual opposi-tions that are read as the philosophicaltext pieces of the film. The last Picture ofthe film is the Twin Towers which are de-molished as the continual of the violencebetween two sides expressed during thewhole film.

In the last shot of Munich, Avner and hisMossad controller part in enmity. They

are in New York, standing against aManhattan skyline where the Twin Towersstill soar. Steven Spielberg seems to ask ifwhat Avner did contributed to what wasto happen in New York almost 30 yearslater. And Spielberg, without mentioningthe word 'Iraq', clearly w ants audiencesto make that connection, too. The 'war on

terror', he implies, is one more event inthe escalating 'eye for an eye' tragedythat can be traced back to Munich andbeyond.In reality, Saddam's crimes had little todo with Palestine and nothing to do withthe Twin Towers. But, as Macdonaldsays: 'Eighty-five per cent of the Americanpopulation still thinks that Saddam wasdirectly involved in 9/11.' And that helpsto explain why Spielberg wanted so

badly to make this film at this particularmoment. My guess is that he is aiming notjust at United States policy but at the mil-lions in his country who applaud it. Mac-donald again: ' Many Americans willwatch this and think that this is really abo-ut America in 2006.' (Ascherson, N,2 0 0 6 )

Conculution:

Spielberg told a Los Angeles Times intervie-

wer that answering aggression with ag-gression "creates a vicious cycle of violen-ce with no real end in sight." He said muchthe same thing to Time magazine; "a res-ponse to a response doesn't really solveanything. It just creates a perpetual-motionmachine." And his film frames for the vie-wer exactly this bleak vision of unendingand unendable violence. Palestinian terro-rists murder Israeli athletes to put their cau-se before the world. Israeli counterterroristsassassinate Palestinian terrorists involvedwith those murders. Palestinian terrorists

carry out more murders of innocents, presu-mably because of the assassinations. Atthe end of the film, the camera lingers onthe before 9/11 Manhattan skyline, domi-nated by the twin towers of the World Tra-de Center. The film is crafted to demonstra-te that violence breeds violence in the longrun as well as in the short run.

Spielberg aims swinging blows at somevery big moral and political targets, whichother American film-makers - and not onlythose with a Jewish background like hisown - prefer to avoid. Often he connects.His characters and, indeed, the film itself,say things about the Middle East, the Israel-Palestine conflict and Israeli attitudes whichgo right off the Hollywood reservation.Kevin Macdonald praises Spielberg's co-

urage. 'He's the most important Hollywooddirector of his era. And yet he's makingpolitical points, really remarkable state-ments about a serious issue. He's sayingthat revenge helps nobody, that violencecan only lead to violence, that an eye foran eye is not the way forward. That's a lotto say in conservative America, conside-ring it's a film made by Universal Picturesand trying for a wide audience.' (Ascher-son, N, 2006)

Bibliography

Ascherson, N, (2006), "A master and themyths of Munich", The ObserverLane, A, (2005), The Other, The New YorkerMurphy, M, C, (2006), "Munich": Spielberg'sthrilling crisis of conscience, The Electronic In-tifadaEber, R, (2005), Munich, Chicago Sun-Times

*Efe Korkut Kurt

U&L Architect

(ITU Architectural Design/PhD)

Documents

Filminde Mimari Temsillerin Çözümlemesi