Sinema tarihinin sayfalar\u0131nda, Orson Welles’in “Yurtta\u015f Kane” filmi g\u00f6rkemli bir ba\u015fyap\u0131t olarak yer almaktad\u0131r. Ancak Welles, bu \u00e7\u0131\u011f\u0131r a\u00e7an filmle ele\u015ftirmenlerin be\u011fenisini kazanmadan \u00f6nce, sonsuza dek kayboldu\u011fu d\u00fc\u015f\u00fcn\u00fclen iddial\u0131 bir projeye giri\u015fmi\u015fti: “Too Much Johnson”.<\/p>\n\n
“Too Much Johnson”, 1938 y\u0131l\u0131nda ayn\u0131 adl\u0131 oyunun canl\u0131 performans\u0131na e\u015flik etmek \u00fczere tasarlanm\u0131\u015f bir dizi k\u0131sa filmdi. Welles’in profesyonel bir ekip ve oyuncularla ilk film denemesiydi ve kariyerinde \u00f6nemli bir kilometre ta\u015f\u0131 niteli\u011fi ta\u015f\u0131yordu.<\/p>\n\n
Ancak, a\u00e7\u0131l\u0131\u015f gecesi film g\u00f6sterime haz\u0131r de\u011fildi. Oyun, film olmadan devam etti ve yap\u0131m ba\u015far\u0131s\u0131zl\u0131\u011fa u\u011frad\u0131\u011f\u0131nda, film bir kenara at\u0131larak karanl\u0131\u011fa g\u00f6m\u00fcld\u00fc.<\/p>\n\n
Onlarca y\u0131l boyunca, “Too Much Johnson”un 1960’lardaki bir yang\u0131nda yok oldu\u011funa inan\u0131ld\u0131. Ancak, olaylar\u0131n ola\u011fan\u00fcst\u00fc bir d\u00f6n\u00fc\u015f\u00fcyle film yak\u0131n zamanda \u0130talya’n\u0131n Pordenone kentindeki bir depoda ke\u015ffedildi.<\/p>\n\n
“Too Much Johnson”un yeniden ke\u015ffi, sinema tarih\u00e7ileri ve Welles merakl\u0131lar\u0131 i\u00e7in \u00f6nemli bir olayd\u0131r. Film, Welles’in ilk \u00e7al\u0131\u015fmalar\u0131na nadir bir bak\u0131\u015f sunuyor ve yarat\u0131c\u0131 s\u00fcrecine yeni \u0131\u015f\u0131k tutuyor.<\/p>\n\n
Sessiz film zamanla k\u00f6t\u00fc bir \u015fekilde hasar g\u00f6rm\u00fc\u015f, ancak Rochester, New York’taki George Eastman House m\u00fczesi \u015fu anda onu restore etmek i\u00e7in \u00e7al\u0131\u015f\u0131yor. Restorasyon tamamland\u0131\u011f\u0131nda, m\u00fcze filmi ilk kez halka a\u00e7\u0131k bir \u015fekilde g\u00f6sterime sunacak.<\/p>\n\n
“Too Much Johnson”un yeniden ke\u015ffi birka\u00e7 nedenden dolay\u0131 \u00f6nemlidir. \u0130lk olarak, Welles’in filmografisindeki bir bo\u015flu\u011fu dolduruyor ve onun sanatsal geli\u015fimini daha iyi anlamam\u0131z\u0131 sa\u011fl\u0131yor.<\/p>\n\n
\u0130kinci olarak, film sineman\u0131n ilk g\u00fcnlerine ve film yap\u0131mc\u0131lar\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131n\u0131 \u00fcretme ve da\u011f\u0131tmada kar\u015f\u0131la\u015ft\u0131klar\u0131 zorluklara ili\u015fkin benzersiz bir bak\u0131\u015f a\u00e7\u0131s\u0131 sunuyor.<\/p>\n\n
Son olarak, “Too Much Johnson”un restorasyonu ve halka a\u00e7\u0131k g\u00f6sterimi, sinema tarihinin bu \u00f6nemli par\u00e7as\u0131n\u0131 yeni nesil izleyicilere ula\u015ft\u0131racak.<\/p>\n\n
“Yurtta\u015f Kane” ile uluslararas\u0131 \u00fcne kavu\u015fmadan \u00f6nce Welles, tiyatro d\u00fcnyas\u0131nda y\u00fckselen bir y\u0131ld\u0131zd\u0131. Aralar\u0131nda 1936’da Shakespeare’in “Macbeth”inin \u00e7\u0131\u011f\u0131r a\u00e7an bir uyarlamas\u0131n\u0131n da bulundu\u011fu, be\u011feni toplayan bir\u00e7ok tiyatro prod\u00fcksiyonunu y\u00f6netti.<\/p>\n\n
Welles’in sinemaya olan ilgisi 1930’lar\u0131n ortalar\u0131nda ba\u015flad\u0131 ve ses ve montaj kullan\u0131m\u0131 gibi \u00e7e\u015fitli film yap\u0131m teknikleriyle deneyler yapt\u0131. “Too Much Johnson”, profesyonel bir film \u00e7ekme konusundaki ilk giri\u015fimiydi ve hikaye anlat\u0131m\u0131na y\u00f6nelik yenilik\u00e7i yakla\u015f\u0131m\u0131n\u0131 sergiliyordu.<\/p>\n\n
“Too Much Johnson” halka a\u00e7\u0131k bir \u015fekilde g\u00f6sterilmemi\u015f olsa da, Welles’in sonraki \u00e7al\u0131\u015fmalar\u0131n\u0131, \u00f6zellikle de “Yurtta\u015f Kane”i etkiledi\u011fine inan\u0131l\u0131yor. Filmin geri d\u00f6n\u00fc\u015fler, al\u0131\u015f\u0131lmad\u0131k kamera a\u00e7\u0131lar\u0131 ve katmanl\u0131 anlat\u0131 yap\u0131s\u0131 kullan\u0131m\u0131, Welles’in ba\u015fyap\u0131t\u0131nda ustala\u015faca\u011f\u0131 tekniklerin habercisiydi.<\/p>\n\n
“Too Much Johnson”un yeniden ke\u015ffi, Welles’in kariyerinin ba\u015flang\u0131c\u0131n\u0131 yeniden de\u011ferlendirmek ve film yap\u0131m tarz\u0131n\u0131n evrimini anlamak i\u00e7in de\u011ferli bir f\u0131rsat sunuyor.<\/p>\n\n
George Eastman House m\u00fczesi, “Too Much Johnson”\u0131n restore edilmi\u015f versiyonunu \u00f6nce \u0130talya’n\u0131n Pordenone kentinde, ard\u0131ndan Ekim ay\u0131nda Rochester’daki m\u00fczede halka a\u00e7\u0131k bir \u015fekilde g\u00f6sterime sunacak. Bu, Welles’in geni\u015f kitlelere y\u00f6nelik ilk filminin ilk kez halka a\u00e7\u0131k g\u00f6sterimi olacak.<\/p>\n\n
“Too Much Johnson”un g\u00f6sterimi, Welles hayranlar\u0131 ve sinema merakl\u0131lar\u0131 i\u00e7in b\u00fcy\u00fck bir olayd\u0131r. Sinematografik tarihin kay\u0131p bir par\u00e7as\u0131n\u0131 deneyimlemek ve t\u00fcm zamanlar\u0131n en etkili film yap\u0131mc\u0131lar\u0131ndan birini daha derinlemesine anlamak i\u00e7in nadir bir f\u0131rsat sunuyor.<\/p>","protected":false},"excerpt":{"rendered":"
Orson Welles’in Kay\u0131p Filmi Bulundu: ‘Too Much Johnson’ Yeniden Ke\u015ffedildi Kay\u0131p Film Sinema tarihinin sayfalar\u0131nda, Orson Welles’in “Yurtta\u015f Kane” filmi g\u00f6rkemli bir ba\u015fyap\u0131t olarak yer almaktad\u0131r. Ancak Welles, bu \u00e7\u0131\u011f\u0131r…<\/p>\n","protected":false},"author":4,"featured_media":23513,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1458],"tags":[3733,18167,3731,1656,18168,18169],"class_list":["post-13478","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-lost-films","tag-orson-welles","tag-silent-film","tag-film-history","tag-too-much-johnson","tag-rediscovered"],"_links":{"self":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts\/13478","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/comments?post=13478"}],"version-history":[{"count":1,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts\/13478\/revisions"}],"predecessor-version":[{"id":13479,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts\/13478\/revisions\/13479"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/media\/23513"}],"wp:attachment":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/media?parent=13478"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/categories?post=13478"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/tags?post=13478"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}