Breaking the Waves with a Deleuzian Perspective

Mustafa Uğural

Article Details

Breaking the Waves with a Deleuzian Perspective

Authors:

Mustafa Uğural

Publisher:

Ondokuz Mayıs University

Main Topics:

İletişim ve Medya Çalışmaları

Journal:

Middle Black Sea Journal of Communication Studies Vol.8 Issue 1, pp.67-80

Document Type:

Article

Publication Date:

5/2023

Document Language:

Turkish

Document ID (Org No.):

2001290382

pISSN:

2587-1544

Keywords:

Abstract:

 There are gaps and breaks in Gilles Deleuzes concept of time-image. There is no cause-effect element in time-image. Deleuze mentioned that the relationship between images and cinematography creates different kinds of thoughts and feelings in the audiences mind. In this study, Lars Von Triers movie Breaking the Waves 1996- included in Gilles Deleuzes time-image cinema- was analysed with relation to affection-image, but also Surrealism and Dogma 95 currents. Time warps, which are the common features of Dogma 95 and Surrealism movements, and the situation of leaving a gap in the narration are discussed in Gilles Deleuzes concept of time-image. The camera movements and framing of the movie Breaking the Waves are discussed in the context of Deleuzes affectionimage concept. The affect plan in Deleuzes affection-image concept has been determined as a point to be discussed in the film. On the other hand, the fact that unnecessary action scenes, which are an element of the Dogma 95 movement, are not used in the movie, copies the slots in Gilles Deleuzes time-image. The scope of the work consists of time-image, movement-image elements in the movie Crossing the Waves. It will be tried to be explained because the affection-image from the journey of the movement-image contains quite a lot.

 There are gaps and breaks in Gilles Deleuzes concept of time-image. There is no cause-effect element in time-image. Deleuze mentioned that the relationship between images and cinematography creates different kinds of thoughts and feelings in the audiences mind. In this study, Lars Von Triers movie Breaking the Waves 1996- included in Gilles Deleuzes time-image cinema- was analysed with relation to affection-image, but also Surrealism and Dogma 95 currents. Time warps, which are the common features of Dogma 95 and Surrealism movements, and the situation of leaving a gap in the narration are discussed in Gilles Deleuzes concept of time-image. The camera movements and framing of the movie Breaking the Waves are discussed in the context of Deleuzes affectionimage concept. The affect plan in Deleuzes affection-image concept has been determined as a point to be discussed in the film. On the other hand, the fact that unnecessary action scenes, which are an element of the Dogma 95 movement, are not used in the movie, copies the slots in Gilles Deleuzes time-image. The scope of the work consists of time-image, movement-image elements in the movie Crossing the Waves. It will be tried to be explained because the affection-image from the journey of the movement-image contains quite a lot.

 There are gaps and breaks in Gilles Deleuzes concept of time-image. There is no cause-effect element in time-image. Deleuze mentioned that the relationship between images and cinematography creates different kinds of thoughts and feelings in the audiences mind. In this study, Lars Von Triers movie Breaking the Waves 1996- included in Gilles Deleuzes time-image cinema- was analysed with relation to affection-image, but also Surrealism and Dogma 95 currents. Time warps, which are the common features of Dogma 95 and Surrealism movements, and the situation of leaving a gap in the narration are discussed in Gilles Deleuzes concept of time-image. The camera movements and framing of the movie Breaking the Waves are discussed in the context of Deleuzes affectionimage concept. The affect plan in Deleuzes affection-image concept has been determined as a point to be discussed in the film. On the other hand, the fact that unnecessary action scenes, which are an element of the Dogma 95 movement, are not used in the movie, copies the slots in Gilles Deleuzes time-image. The scope of the work consists of time-image, movement-image elements in the movie Crossing the Waves. It will be tried to be explained because the affection-image from the journey of the movement-image contains quite a lot.

 Gilles Deleuzeun, zaman-imge kavramında boşluklar, kopmalar vardır. Zaman-imge içerisinde sebep-sonuç unsuru yoktur. Deleuze, imgelerin, sinematografiyle olan ilişkisinin, izleyicide farklı turde duşunce ve duygulanımlar yarattığına değinmiştir. Bu çalışmada, Lars Von Trierin Dalgaları Aşmak 1996 filmi, Gilles, Deleuzeun zaman-imge sineması dahilinde, duygulanım-imge, aynı zamanda Gerçekustuculuk ve Dogma 95 akımlarıyla ilişkili şekilde incelenmiştir. Dogma 95 ve Gerçekustuculuk akımlarının ortak özellikleri olan zaman sıçramaları, anlatıda boşluk bırakma durumu, Gilles Deleuzeun zaman-imge kavramı içerisinde tartışılmıştır. Dalgaları Aşmak filminin, kamera hareketleri, çerçevelemeleri, Deleuzeun duygulanım-imge kavramı içerisinde tartışılmaktadır. Deleuzeun duygulanım- imge kavramında bulunan, duygulanım plan, film içerisinde tartışılması gereken bir nokta olarak belirlenmiştir. Öte yandan film içerisinde Dogma 95 akımının bir unsuru olan gereksiz aksiyon sahnelerinin kullanılmaması, Gilles Deleuzeun zaman-imgesindeki, boşlukları karşımıza çıkartmaktadır. Çalışma kapsamında Çalışma kapsamında Dalgaları Aşmak filminde yer yer zaman-imge, yer yer hareket-imge unsurları bulunmaktadır. Hareket-imgenin bileşenlerinden olan duygulanım-imge oldukça fazla bulunmakta olduğu açıklanmaya çalışılacaktır.

Article Details

Breaking the Waves with a Deleuzian Perspective

Authors:

Mustafa Uğural

Publisher:

Ondokuz Mayıs University

Main Topics:

İletişim ve Medya Çalışmaları

Journal:

Middle Black Sea Journal of Communication Studies Vol.8 Issue 1, pp.67-80

Document Type:

Article

Publication Date:

5/2023

Document Language:

Turkish

Document ID (Org No.):

2001290382

pISSN:

2587-1544

Surrealism

Dogma 95

Gilles Deleuze

Affection imageGerçeküstücülük

Dogma 95

Gilles Deleuze

Duygulanım İmge

Issues

Article Details

Authors: Mustafa Uğural

Publisher: Ondokuz Mayıs University

Main Topics: İletişim ve Medya Çalışmaları

Journal: Middle Black Sea Journal of Communication Studies Vol.8 Issue 1, pp.67-80

Document Type: Article

Publication Date: 5/2023

Document Language: Turkish

Document ID (Org No.): 2001290382

pISSN: 2587-1544

Issues

Authors:

Mustafa Uğural

Publisher:

Ondokuz Mayıs University

Main Topics:

İletişim ve Medya Çalışmaları

Journal:

Middle Black Sea Journal of Communication Studies Vol.8 Issue 1, pp.67-80

Document Type:

Article

Publication Date:

5/2023

Document Language:

Turkish

Document ID (Org No.):

2001290382

pISSN:

2587-1544