The Construction of Cinematic Space in Leviathan
Hilal SatıcıCinema interacts with previously established branches of art. The connections between architecture and cinema stem from their experiential nature and their inextricable links to space and time. In this context, cinema represents an art form that most intensively utilizes the concept of space. The art of cinema entails stage design, lighting, framing, and editing, which are collaborative products conceived and executed by the director and cinematographer to create and convey specific meaning. Nothing presented to a film’s audience is coincidental. The composition is crafted with meticulous attention to detail. It takes into account all elements within and outside the frame, including the ‘mise en scène’, stage traffic, lighting, décor, and sound design. A careful consideration of these cinematographic elements reveals the director’s point of view. This study explores the cinematography of Leviathan (Andrey Zvyagintsev, 2014), a cult classic of Russian cinema, to examine the relationships between space in cinema and the effects of cinematic spaces on a film’s narrative. Studies investigating the associations between cinema and space from the perspective of cinema art remain scarce. Hence, this study aims to contribute to the existing literature by elucidating the technical elements of Leviathan, such as its composition, lighting, use of colors, and space design.
Leviathan Filminde Sinemasal Mekânın Kurgulanışı
Hilal SatıcıSinema kendinden önce kabul görmüş sanat dallarıyla etkileşim içerisindedir. Mimariyle sinemanın birbiriyle olan bağı ise deneyimsel sanatlar olmalarından ve her ikisinin de mekândan ve zamandan ayrı düşünülememesinden kaynaklanmaktadır. Bu bağlamda sinema, mekân olgusunun en yoğun kullanıldığı sanat dallarından biri olarak karşımıza çıkmaktadır. Sahne tasarımı, ışık, kadraj, kurgu sinema sanatında belirli bir anlam yaratmak için yönetmenin ve görüntü yönetmeninin iş birliği içerisinde çalışmasının bir sonucudur. Sinemada hiçbir şey tesadüf olarak izleyiciye sunulmaz. Kompozisyon oluşturulurken mizansen, sahne trafiği, aydınlatma, dekor, kadraj içi ve kadraj dışı tüm ögeler, ses tasarımı gibi tüm unsurlar mekân kavramı ile ilişkilidir ve içeriğin anlatım dili üzerinde etkilidir. Tüm bu sinematografik öğeler yönetmenin bakış açısını ortaya koymaktadır. Bu çalışmada, Rus sinemasının kült yapımlarından biri olan Leviathan (Andrey Zvyagintsev, 2014) filminin sinemada mekân ilişkisi ve sinemasal mekânın anlatıya olan etkisi çerçevesinde sinematografik incelemesi yapılmıştır. Bu çalışma, sinema ve mekân ilişkisine sinema sanatı perspektifinden bakan çalışmaların yoksunluğundan yola çıkarak Leviathan filminin kompozisyon, aydınlatma, renk kullanımı, mekân tasarımı gibi teknik ögelerini ortaya koyarak literatüre bu anlamda katkı sağlamayı amaçlamaktadır.
Cinema and architecture represent two inseparable disciplines that evolved in tandem with humanity’s relationship with space. The two fields of study have maintained a constant dialogue since their conception. The art of cinema has been inextricably linked to time and space since its inception. Architects frequently employ cinematic terms such as frame, sequence, and framing, and the terminological scaffolds of cinema and architecture often intersect despite certain inherent differences in their use of space. In the cinematic realm, space can encompass an entire city or be constricted to the confines of a meticulously constructed studio set. Production teams on studio sets exert greater control over the environment. Set designers can easily construct digital cities, landscapes, or entire worlds. Modern technological advances allow filmmakers to conjure worlds that defy reality, manipulate crowd sizes, enable characters to defy gravity, and execute wide-ranging imaginative actions such as fantastical battles. These cinematic spaces offer richer and more immersive experiences than their physical counterparts and are often labeled “re-experienced spaces.” Camera placement is pivotal to the formation of audience perception. For instance, a wide-angle view of the crowded İstiklal Street evokes a different emotional response than a close-up frame of the same scene. The wide shot appears to overflow with people; the close-up amplifies the sense of density, creating an illusion of a larger crowd. The interplay of camera positions, angles, lighting, editing, set design, and color manipulation generates a powerful tool to manipulate the use of space in alignment with the director’s vision and the expertise of the technical team. A literature review reveals studies centered on examining the relationship between cinema and space in the contexts of animation and science fiction films. Technological advancements have caused science fiction films to increasingly embrace the power of cinema to materialize the realm of imagination, seamlessly integrating architecture into this process and enabling the actualization of spaces that defy the constraints of reality. The advent of 3D, 4D, and 5D filmmaking, coupled with the use of specialized glasses, further intensifies the spatial experience, immersing viewers in the cinematic world as active participants. Cinematic spaces transcend mere imagery and become tangible experiences; physical spaces are transformed into captivating narratives on the silver screen. In such contexts, cinematic spaces can be broadly categorized as either existing or designed. This study investigates the cinematic use of space in the film Leviathan (Andrey Zvyagintsev, 2014). Intensive scrutiny of Leviathan reveals a consistent reliance on existing spaces as cinematic environments. The film employs three main forms of cinematic space to enhance the narrative across various scenes: contextual, complementary, and dialogical spaces. The entirety of the film unfolds in Russia in a fishing town by the sea. The director utilizes wide shots to introduce the setting, immersing the audience in the world inhabited by the characters. These establishing shots deliver a wealth of information about the surroundings of the characters and convey cultural, social, and economic codes. The film’s Russian location is reflected in the selection of cold colors: blue and green hues dominate the lighting, color palette, and textures. The characters are primarily captured in fixed or wide shots when they are not engaged in dialogue, and focus is maintained on the setting rather than the individual. Close-up shots are reserved for scenes with dialogues, and the director employs depth of field in such scenes to highlight specific aspects. Leviathan is a testament to the masterful use of cinematography in Russian cinema. The film seamlessly integrates the chosen setting as a complementary element to convey the intended message. The director skillfully interweaves philosophical and religious themes throughout the narrative to underscore the significance of the Leviathan story.
