Loving vincent within the context of intermediality
| dc.authorid | 0000-0002-9407-9308 | en_US |
| dc.authorid | 0000-0003-0935-9047 | en_US |
| dc.contributor.author | Sivri, Medine | |
| dc.contributor.author | Halil Özdemir | |
| dc.date.accessioned | 2022-12-16T12:32:07Z | |
| dc.date.available | 2022-12-16T12:32:07Z | |
| dc.date.issued | 2022 | en_US |
| dc.department | İstanbul Ticaret Üniversitesi | en_US |
| dc.description.abstract | As a result of rapid technological development, the use of products that emerged with the interaction of media, literature, and art in the last three decades, with new methods and approaches that are far from traditional, have brought new dimensions to today’s intermediality. These rapid changes have paved the way for the spread of the intermedia approach and the emergence of new studies. Overall aim of this study is to shed light on the movie, Loving Vincent 2017, an adaptation of oil paintings created in Vincent Van Gogh’s style with the rotoscope and chroma key method, in terms of intermediality along with evaluations and interpretations on the research findings on how intermediality affects the art of cinema. In terms of methodology taking into consideration the discussions on the concepts of cinema and intermediality, the reflection of the rotoscope and animation method on the cinema technique has been addressed. In addition, the relationship and joint approach of painting and cinema as different art genres and media as part of the strategy to adapt animation into the cinema by rendering oil paintings. The theoretical framework regarding the processes of cinema and intermediality includes definitions and explanations by researchers such as Irina O. Rajewsky, Jürgen E. Muller, Wolf, Gabriele Rippl, and Ersel Kayaoğlu. As a result of the analysis, it was found that the media combination, transformation, and hybridization of Vincent Van Gogh, which tells the last period of his life story based on works of art (oil paintings and letters) created by Vincent Van Gogh’s own brush, with cinema-specific techniques was ensured, in other words, it was transferred to the screen as an image. | en_US |
| dc.identifier.doi | 10.56133/intermedia.1091014 | en_US |
| dc.identifier.endpage | 136 | en_US |
| dc.identifier.issue | 16 | en_US |
| dc.identifier.startpage | 120 | en_US |
| dc.identifier.uri | https://hdl.handle.net/11467/5924 | |
| dc.identifier.uri | https://doi.org/10.56133/intermedia.1091014 | |
| dc.identifier.volume | 9 | en_US |
| dc.language.iso | en | en_US |
| dc.publisher | İstanbul Ticaret Üniversitesi | en_US |
| dc.relation.ispartof | Intermedia International e-Journal | en_US |
| dc.relation.publicationcategory | Makale - Ulusal Hakemli Dergi - Başka Kurum Yazarı | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.subject | Intermediality, Media, Animation, Rotoscoping, Cinema | en_US |
| dc.title | Loving vincent within the context of intermediality | en_US |
| dc.title.alternative | Medyalararasılık Bağlamında Vincent’ten Sevgilerle | en_US |
| dc.type | Article | en_US |
