{"id":7025,"date":"2026-07-31T10:34:29","date_gmt":"2026-07-31T10:34:29","guid":{"rendered":"https:\/\/rdgundem.com\/christopher-nolanin-en-guclu-silahi-goruntu-degil-ses\/"},"modified":"2026-07-31T14:05:22","modified_gmt":"2026-07-31T14:05:22","slug":"christopher-nolanin-en-guclu-silahi-goruntu-degil-ses","status":"publish","type":"post","link":"https:\/\/rdgundem.com\/en\/christopher-nolanin-en-guclu-silahi-goruntu-degil-ses\/","title":{"rendered":"Christopher Nolan\u2019\u0131n en g\u00fc\u00e7l\u00fc silah\u0131 g\u00f6r\u00fcnt\u00fc de\u011fil, ses!"},"content":{"rendered":"

\"Christopher<\/p>\n

Christopher Nolan\u2019\u0131n\u202f Odyssey filminin ger\u00e7ek omurgas\u0131n\u0131 asl\u0131nda g\u00f6r\u00fcnt\u00fclerden \u00e7ok,\u202fses tasar\u0131m\u0131 olu\u015fturuyor. Arzu Haksun, NTV.com.tr okurlar\u0131 i\u00e7in yazd\u0131.<\/p>\n

Christopher Nolan\u2019\u0131n\u202f Odyssey\u202ffilmi, ilk bak\u0131\u015fta Homeros\u2019un destan\u0131n\u0131 g\u00f6rkemli g\u00f6r\u00fcnt\u00fclerle yeniden anlat\u0131yor gibi g\u00f6r\u00fcnse de, filmin ger\u00e7ek omurgas\u0131n\u0131 asl\u0131nda g\u00f6r\u00fcnt\u00fclerden \u00e7ok,\u202fses tasar\u0131m\u0131\u202folu\u015fturuyor.<\/p>\n

Filmi izlerken fark edilmeyen ama bedende hissedilen \u015fey, m\u00fczi\u011fin klasik anlamda \u201cduyulan\u201d bir unsur olmaktan \u00e7\u0131k\u0131p\u202fanlat\u0131n\u0131n fizyolojik bir par\u00e7as\u0131na d\u00f6n\u00fc\u015fmesi. N\u00f6robilimde buna bedensel dinleme\u202fdenir. \u0130nsan beyni yaln\u0131zca melodiyi ve duydu\u011fu sesleri i\u015flemez; ritmi, frekans\u0131, kula\u011f\u0131n duymad\u0131\u011f\u0131 d\u00fc\u015f\u00fck frekansl\u0131 titre\u015fimleri ve \u00e7evresel sesleri de otonom sinir sistemi \u00fczerinden do\u011frudan bedenle ili\u015fkilendirir. Bu nedenle seyirci, baz\u0131 film sahnelerinde \u201cgergin hisseder\u201d ama bunun nedenini bilemez.<\/p>\n

Nolan, etki yaratmak i\u00e7in i\u015fte tam olarak bunu hedeflemi\u015f.<\/p>\n

DEN\u0130Z ASLINDA F\u0130LM\u0130N G\u0130ZL\u0130 KARAKTER\u0130\u2026<\/strong><\/p>\n

Filmin en dikkat \u00e7ekici unsurlar\u0131ndan biri dalga sesleri. \u00c7o\u011fu filmde deniz yaln\u0131zca ambiyans olu\u015fturur. Buradaysa deniz adeta izleyici ile konu\u015fuyor.<\/p>\n

Kimi zaman tehdit ediyor. Kimi zaman yaln\u0131zl\u0131\u011f\u0131 ve korkuyu b\u00fcy\u00fct\u00fcyor. Kimi zaman da vicdan\u0131n sesi oluyor.<\/p>\n

Ses ekolojisi dedi\u011fimiz \u015fey, alan\u0131nda R. Murray Schafer\u2019in tan\u0131mlad\u0131\u011f\u0131 gibi do\u011fal \u00e7evre sesleri, yaln\u0131zca fon de\u011fildir; anlat\u0131n\u0131n psikolojik katmanlar\u0131n\u0131 ta\u015f\u0131yan aktif unsurlard\u0131r. Odysseus\u2019un uzun yolculu\u011fu boyunca dalgalar\u0131n ritmi s\u00fcrekli de\u011fi\u015fiyor.<\/p>\n

F\u0131rt\u0131nada kaotik. Kalypso sahnelerinde geni\u015f. \u0130thaka\u2019ya yakla\u015f\u0131rken daha kontroll\u00fc hissettiriyor. Bu de\u011fi\u015fimi seyrederken karakterin i\u00e7 d\u00fcnyas\u0131yla paralel ilerledi\u011fini g\u00f6r\u00fcyorum.<\/p>\n

PEK\u0130, DAVULLAR NEDEN KALP R\u0130TM\u0130 G\u0130B\u0130 ATIYOR?<\/strong><\/p>\n

Filmin son b\u00f6l\u00fcmlerinde kullan\u0131lan yo\u011fun vurmal\u0131 \u00e7alg\u0131lar yaln\u0131zca sava\u015f atmosferi yaratm\u0131yor. Bilin\u00e7li bir \u015fekilde i\u015flenmi\u015f bu ses tasar\u0131m\u0131nda ritim, giderek kalp at\u0131m\u0131na yakla\u015fan bir biyolojik etki olu\u015fturuyor.<\/p>\n

Bu da izleyicide; kalp at\u0131m\u0131n\u0131 senkronize etmeye, nefes al\u0131\u015fveri\u015fini de\u011fi\u015ftirmeye, kortizol d\u00fczeyini art\u0131rmaya, beklenti ve tehdit alg\u0131s\u0131n\u0131 y\u00fckseltiyor.<\/p>\n

\u0130\u015fte bu nedenle final sahnelerinde hissetti\u011fimiz \u015fey yaln\u0131zca \u201cheyecan\u201d de\u011fil; bedenimizin izlerken biz fark\u0131nda olmadan tehdit moduna ge\u00e7mesi. Film bitti\u011finde ise bir s\u0131k\u0131\u015fm\u0131\u015fl\u0131k hissiyle salondan ayr\u0131lmaya neden oluyor.<\/p>\n

Baz\u0131 ele\u015ftirmenler G\u00f6ransson\u2019un m\u00fczi\u011finin geri planda kald\u0131\u011f\u0131n\u0131 s\u00f6ylese de bunun bilin\u00e7li bir tercih oldu\u011fu g\u00f6r\u00fcyorum. Besteci Ludwig G\u00f6ransson, Christopher Nolan\u2019\u0131n iste\u011fiyle geleneksel senfonik orkestradan uzakla\u015f\u0131p bronz metalleri, ilkel vurmal\u0131 \u00e7alg\u0131lar\u0131, yeniden in\u015fa edilen antik Yunan \u00e7alg\u0131lar\u0131n\u0131 ve do\u011fal sesleri kullanm\u0131\u015f. Ama\u00e7 \u201cm\u00fczik yapmak\u201d de\u011fil, izleyiciyi antik d\u00fcnyan\u0131n akusti\u011finin i\u00e7ine yerle\u015ftirerek oyunun i\u00e7ine davet etmek.<\/p>\n

S\u0130RENLER NEDEN \u015eARKI S\u00d6YLEM\u0130YOR?<\/strong><\/p>\n

Filmin en g\u00fc\u00e7l\u00fc sahnelerinden biri hi\u00e7 ku\u015fkusuz Odysseus\u2019un dire\u011fe ba\u011fland\u0131\u011f\u0131 Siren b\u00f6l\u00fcm\u00fc. Homeros\u2019ta Sirenler yaln\u0131zca g\u00fczel \u015fark\u0131 s\u00f6yleyen yarat\u0131klar de\u011fildir. Onlar bilgiyi vaat eder, hakikati vaat eder, insan\u0131n en derin arzusuna seslenir.<\/p>\n

Nolan bu sahneyi klasik \u201ctehlikeli kad\u0131nlar\u201d kli\u015fesinden \u00e7\u0131kar\u0131p tamamen i\u015fitsel bir psikolojik deneyime d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015f.<\/p>\n

Burada \u00f6nemli olan Sirenlerin kendisi de\u011fil; duyulan sesin Odysseus\u2019un zihninde olu\u015fturdu\u011fu etki. \u0130\u015fte bu da tam ses diyeti perspektifi!<\/p>\n

N\u00f6robilim a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda bu sahne d\u00fcrt\u00fc kontrol\u00fcn\u00fcn g\u00f6rsel de\u011fil i\u015fitsel bir s\u0131nav\u0131na d\u00f6n\u00fc\u015f\u00fcyor. Dire\u011fe ba\u011flanmak fiziksel bir \u00f6nlem. As\u0131l m\u00fccadele ise i\u015fitsel. \u00c7\u00fcnk\u00fc insan beyni \u00f6d\u00fcl beklentisi olu\u015fturan seslere kar\u015f\u0131 son derece duyarl\u0131. Filmin bu sahnesinde ses, karakteri fiziksel olarak de\u011fil zihinsel olarak ele ge\u00e7iriyor!<\/p>\n

\u0130lgin\u00e7 olan, bir\u00e7ok ele\u015ftirmenin de filmin en unutulmaz anlar\u0131ndan biri olarak tam bu b\u00f6l\u00fcm\u00fc g\u00f6stermesi. \u00d6zellikle Siren sahnesindeki vokal kullan\u0131m\u0131n\u0131n ve ses tasar\u0131m\u0131 filmin zirvesi!<\/p>\n

SONU\u00c7: BU M\u00dcZ\u0130K DE\u011e\u0130L, SES DRAMATURJ\u0130S\u0130<\/strong><\/p>\n

Odyssey\u2019nin en b\u00fcy\u00fck ba\u015far\u0131s\u0131 belki de m\u00fczik yazmamas\u0131. Onun yerine bir\u202fses dramaturjisi\u202fkurmas\u0131. Bronzun sesi\u2026 R\u00fczg\u00e2r\u2026 Kaya\u2026Dalgalar\u2026 Nefes\u2026 Davullar\u2026 Ve sessizlik\u2026<\/p>\n

Bunlar\u0131n tamam\u0131 tek bir orkestran\u0131n \u00fcyeleri gibi \u00e7al\u0131\u015f\u0131yor. Bu y\u00fczden film bitti\u011finde akl\u0131m\u0131zda bir melodi kalm\u0131yor. Ama bedenimiz filmi ve \u00f6zellikle de \u00f6ne \u00e7\u0131kar\u0131lmas\u0131 gereken sahneleri uzun s\u00fcre hat\u0131rl\u0131yor. \u00c7\u00fcnk\u00fc baz\u0131 filmler g\u00f6z\u00fcm\u00fcze hitap eder, baz\u0131lar\u0131 ise kula\u011f\u0131m\u0131za. Nolan\u2019\u0131n Odyssey\u2019si ise do\u011frudan sinir sistemimize dokunuyor!<\/p>","protected":false},"excerpt":{"rendered":"

Christopher Nolan\u2019\u0131n\u202f Odyssey filminin ger\u00e7ek omurgas\u0131n\u0131 asl\u0131nda g\u00f6r\u00fcnt\u00fclerden \u00e7ok,\u202fses tasar\u0131m\u0131 olu\u015fturuyor. Arzu Haksun, NTV.com.tr okurlar\u0131 i\u00e7in yazd\u0131. Christopher Nolan\u2019\u0131n\u202f Odyssey\u202ffilmi, ilk bak\u0131\u015fta Homeros\u2019un destan\u0131n\u0131 g\u00f6rkemli g\u00f6r\u00fcnt\u00fclerle yeniden anlat\u0131yor gibi g\u00f6r\u00fcnse de, filmin ger\u00e7ek omurgas\u0131n\u0131 asl\u0131nda g\u00f6r\u00fcnt\u00fclerden \u00e7ok,\u202fses tasar\u0131m\u0131\u202folu\u015fturuyor. Filmi izlerken fark edilmeyen ama bedende hissedilen \u015fey, m\u00fczi\u011fin klasik anlamda \u201cduyulan\u201d bir unsur olmaktan \u00e7\u0131k\u0131p\u202fanlat\u0131n\u0131n fizyolojik …<\/p>","protected":false},"author":1,"featured_media":7026,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":"","footnotes":""},"categories":[38],"tags":[],"class_list":["post-7025","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-magazin"],"_links":{"self":[{"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/posts\/7025","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/comments?post=7025"}],"version-history":[{"count":1,"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/posts\/7025\/revisions"}],"predecessor-version":[{"id":7084,"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/posts\/7025\/revisions\/7084"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/media\/7026"}],"wp:attachment":[{"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/media?parent=7025"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/categories?post=7025"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rdgundem.com\/en\/wp-json\/wp\/v2\/tags?post=7025"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}