Film Jeneriklerinde İllüstratif Yaklaşımlar: Jean Luc Godard’ın “Çılgın Pierrot” Filmi Üzerine Bir Analiz ve Uygulama

Abstract

Humans, who have been writing for 5,000 years since their ancestors and drawing things for 32,000 years, are always sensitive and tend to react to visual stimuli around them. The history of combinations of visuals and written text finds a wide place in art history. In this past, which can be traced back to the medieval manuscripts, the rhetorical relationship of pictures and texts, and the construction of feelings and thoughts that the text cannot produce alone. Although this relationship has become a common art practice over time, it is difficult to present images and texts in the same perceptual area and to transform them into a form of communication in which the content is stratified. At this point, we come across movie credits that aim to present the text and the image at the same time, and bring new discourses to films with broad expressions of graphic design. Early generic design examples can be interpreted as practices applied to develop kinetic experiments and film techniques, rather than bringing the audience to a level of conceptual thinking. However, when viewed in the light of today's developing art and design forms, a conceptual communication style and a rich cinematic form are encountered. Undoubtedly, this situation offers a wide range of solutions to establish a dramatic and effective communication while generating generic designs. For this purpose, illustrations and illustrative approach styles added to generic designs contribute to the filmic text. The expansions of the illustrations to the filmic text, which offer the viewer opportunities such as conceptual thinking and maximum visual experience for the film, are a subject of curiosity. “Illustrative Approaches in Film Credits: An Analysis and Application on the Crazy Pierrot Movie by Jean Luc Godard”, as a result of the association and association of illustrative approaches used in movie credits with text and graphic language, It deals with how non diagetic elements are articulated with each other. In the first part of the study, definitions, classifications and historical background of movie credits design are mentioned. Along with the analysis, how visual design and technique is used in movie credits designs, which elements are included in the structure of the generics has been revealed in depth. In the third part of the thesis, how and in what forms the illustrations are included in the structure of the generics, and the way to follow when an illustrative approach is preferred in film credits, is detailed, while in the last part of the study, a generic design on the movie Crazy Pierrot by Jean Luc Godard, the important name of the New Wave Cinema. has been made. During the application, an illustrative style was developed in parallel with the film by taking references from the graphic language of the period and the New Wave current.