Etkileşim

Öz

This study focuses on the fact that has not been studied sufficiently on the aesthetic of documentary films. Creating a sound track for all genres of cinematic narratives is, in a sense, an "interactive design". As the significative component of sound track design in fictional films constitutes the “aesthetic dimention”, in documentary films, this component is created by the combination of 'data-sense-aesthetics'.
How the Sound landscapes of the environmentor the site in which the documentary films are made, are, in the formulation of film’s soundtrack, reflected and/or intended to be reflected, forms the basic problematic/issue of the study. The main suggestion of thestudy -excluding a fewmods - is the necessity that the "founding role" in the soundtrack design of documentary films should be addressed from the perspective of cultural geography and / or sound landscape.
The soundtrack (music, environmental sounds and ambient sound) design in documentary films should be created with sound components specific to that locality reflecting the geographic / spatial inspirations. Although they are of secondary importance in fictional films, the design of the secomponents is of primary importance in documentary films. The reason is that these sounds have cultural and social connotations.
In this study, the role of sound landscape was examined; The relationships between spatial environments, background sound sandplace/space (cartographic) sensation have been studied through the sampling of different films. In order to reach the more concrete data, two films were considered as analysis objects, and these films were examined through sound-space-geography relations