Привет )
Начало на анализ на ОК от
Navid Shahzad
до
Engin Akyurek Universal Fans Club
https://www.facebook.com/EnginAkyurekUniversal/posts/1482110091809513
Начало на анализ на ОК от
Navid Shahzad
до
Engin Akyurek Universal Fans Club
Скрит текст:
I am a university researcher (English Literature/Media Studies) as well as an actor, director and writer for TV .I have used FGSN for a series of seminars illustrating women's issues but more importantly for developing acting skills. In particular,my focus has been on Engin Akyurek and his growth as an actor. I wanted very much to share my views with EUFC to add to my own findings about this extraordinary actor/writer.
Engin's stories are delightful, delicate vignettes which clearly show how sensitive he is and how vulnerable his boyhood has been.
He brings the same skills to work for his performances. From Mustafa to Daghan; the journey has been fascinating to watch.
With your permission,I would like to start contributing a regular column on Engin's latest series 'Olene Kadar".
1. Any analysis of the series must differentiate between the first two episodes directed by Umar Turagay and the remaining 11 which were directed by Feride Kaytan. The two units form blocks with their distinct colour palettes and camera work. Though the transition between the two directors was a seamless one; yet, each reflects a personalised approach to the project.
a) Mr. Turagay's opening sequence set the tone for the episode with a cold blue wash. The severity and precision of Selvi's hair, the airless, iron barred interior which she enters; her ashen complexion - all visuals are used to echo the barren hopelessness that pervades the prison. The only concession to Selvi's femininity that the director makes is to allow her a pair of high heels, From the moment she confronts the obvious disdain of the guard to the time she first sees Daghan, Selvi's face reflects the fear, anxiety, anticipation that a rookie lawyer would have.
b) the first meeting is masterful. Daghan enters the room with his back to the camera in a moss green sweater which blends in subtly with the whole monochrome of dead windows, gray walls, iron bars, guards and a lifeless space. He does not speak for some time. The silence is so weighted, it could almost be 'heard.' He ignores the first human contact by dismissing the attempt at a handshake. The body language, the empty hands, the eyes which see but reflect nothing but despair, the lifelessness that permeates his face and body and the complete indifference that Engin displays in this first appearance allow the viewer a glimpse into the horrific eleven year, unjust incarceration that Daghan has lived through. It is as though he lives through a waking nightmare with no possibility of relief.
Daghan's dismissive attitude towards Selvi is the reaction of man who has resigned himself to his fate. And yet! The sudden darting action, the wrist holding, the comment about the rapid heartbeat show that there is a spark of life somewhere! In the entire scene, it is Engin's expressionless, despair that wrenches the viewer's heart.
Engin's stories are delightful, delicate vignettes which clearly show how sensitive he is and how vulnerable his boyhood has been.
He brings the same skills to work for his performances. From Mustafa to Daghan; the journey has been fascinating to watch.
With your permission,I would like to start contributing a regular column on Engin's latest series 'Olene Kadar".
1. Any analysis of the series must differentiate between the first two episodes directed by Umar Turagay and the remaining 11 which were directed by Feride Kaytan. The two units form blocks with their distinct colour palettes and camera work. Though the transition between the two directors was a seamless one; yet, each reflects a personalised approach to the project.
a) Mr. Turagay's opening sequence set the tone for the episode with a cold blue wash. The severity and precision of Selvi's hair, the airless, iron barred interior which she enters; her ashen complexion - all visuals are used to echo the barren hopelessness that pervades the prison. The only concession to Selvi's femininity that the director makes is to allow her a pair of high heels, From the moment she confronts the obvious disdain of the guard to the time she first sees Daghan, Selvi's face reflects the fear, anxiety, anticipation that a rookie lawyer would have.
b) the first meeting is masterful. Daghan enters the room with his back to the camera in a moss green sweater which blends in subtly with the whole monochrome of dead windows, gray walls, iron bars, guards and a lifeless space. He does not speak for some time. The silence is so weighted, it could almost be 'heard.' He ignores the first human contact by dismissing the attempt at a handshake. The body language, the empty hands, the eyes which see but reflect nothing but despair, the lifelessness that permeates his face and body and the complete indifference that Engin displays in this first appearance allow the viewer a glimpse into the horrific eleven year, unjust incarceration that Daghan has lived through. It is as though he lives through a waking nightmare with no possibility of relief.
Daghan's dismissive attitude towards Selvi is the reaction of man who has resigned himself to his fate. And yet! The sudden darting action, the wrist holding, the comment about the rapid heartbeat show that there is a spark of life somewhere! In the entire scene, it is Engin's expressionless, despair that wrenches the viewer's heart.
https://www.facebook.com/EnginAkyurekUniversal/posts/1482110091809513
