The Amateur Actors of Cannes 1999: A Shock to the (Star) System

Austin, Guy

doi:10.1177/009715580401500304

Cited by 7 publications

(3 citation statements)

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“…"Nuri Bilge Ceylan figüran denilebilecek yan rollerin doğallığını önemsediği için çekim yaptığı bölgedeki yerel insanlar arasından amatör oyuncular seçmektedir.'' (Aksu, 2021, röp) yılında, profesyonel yıldız oyuncu sistemine karşı bir duruş sergilendiği görülmektedir (Austin, 2004). Amatör oyuncuların ödül almasıyla birlikte, ödül töreninde jürinin yuhalanması konu ile ilgili tartışma yaratmıştır (Ruquier, 1999).…”

Section: Introductionunclassified

“…Amatörler ise tek tonda performans sergilemişlerdir (Ciment, 1999) (Gouslan, 2000, s. 32). Guy Austin de amatör oyuncuların yıldız oyunculara meydan okuduklarını ve aynı zamanda auteur yönetmenlerin hiyerarşik olarak tek yaratıcı veya patron olmalarını sağlamış olduklarını ifade etmiştir (Austin, 2004). Bruno Dummont'un amatör oyuncu seçimi aynı zamanda kendi vizyonunu gerçekleştirmesi açısından fazlasıyla işe yaramıştır.…”

Section: Introductionunclassified

“…Dummont'un bu stratejisi, Robert Bresson'un model anlayışıyla örtüşmektedir. Ayrıca Humanity (1999) filmi dışında, bu amatör oyuncuların bir daha Dummont tarafından seçilmediklerini ve başka filmde de oynamadıklarını belirtmek gerekir (Austin, 2004).…”

Section: Introductionunclassified

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Oyuncu Seçiminin Film Yapısına Etkisi: Nuri Bilge Ceylan Sineması Örneği

CAUSHAJ

Erus

2022

ARTS: Artuklu Sanat Ve Beşeri Bilimler Dergisi

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This research aims to analyze the relation between the director's casting in cinema and the language and narrative of a film with a focus on Nuri Bilge Ceylan's cinema. The alterations in the language and narrative of his films are examined by focusing on the changes in the selection of actors throughout his filmography. This article discusses the relation between his casting choices and the gradual increase of dialogues in his films, his cinema (consisting to some extent of photographic images being dramatized) becoming more talkative, the prolongation of the film durations, the director's centering the humans and their nature with a searcher soul. This research has a qualitative structure, and the case study method was used by examining the behind-the-scenes footage and interviews with the actors. After the first four movies in which he worked with amateur actors -including the short film Cocoon (1994), The Town (1997), Clouds of May (1999), and Distant (2002)- the film he took part as an actor himself, the Climates (2006), is considered as a transition point for his gravitation towards working with professional actors. He then worked with professional actors in his last four movies, Three Monkeys (2008), then Once Upon a Time in Anatolia (2011), Winter Sleep (2014), and The Wild Pear Tree (2018), which are differentiated from the first period films with amateurs actors. The reason for the change in the criteria of the casting process, the difference between amateur or professional casting, and his approach and the changes were analyzed in the light of the theories of Model Acting and System Acting. The effect of these changes was examined through Ceylan's cinematic language and the study aims to discuss how actor choices could affect the narrative assets of the film.

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Section: Introductionunclassified