Sarıkartal, Çetin KemalGunes, Muaz2019-07-122019-07-122017https://hdl.handle.net/20.500.12469/2153Bu tez Tarkovski sinemasi icinde ustunde cok durulmamis olan yonetmenin kendi mucizesi olarak yarattigi sanatsal gerceklik kavraminin onemini aciga cikarmayi amaclamaktadir. Bu dogrultuda ilkin sanatsal gerceklik olarak isimlendirdigimiz fenomeni anlamak adina yonetmenin sanat anlayisi uzerinde duruldu. Daha sonra onunla ozdeslesmis olan Muhurlenmis Zaman mefhumunu aciklamaya calisirken ayni zamanda sinematografisinin de konumuzla olan baglantisi aciklandi. Yonetmenin film yapma tarzinin zaman icinde degismis oldugunu saptadiktan sonra sinemasi iki bolume ayrilarak ele alindi. Sonuc olarak yonetmenin ilk filmlerinde sembollerle calistigi ve bu yontemin onu son filmlerinde zahiri gerceklik yerine kendi sanatsal gercekligi ile sinema yapmaya goturdugu tespitinde bulunuldu. Anahtar Sozcukler: Tarkovski sanatsal gerceklik muhurlenmis zaman yonetmenin mucizesi sembol.This dissertation aims to reveal importance of the term of artistic reality created as director's own miracle which is not considered too much in Cinema of Tarkovsky. In this scope, at the beginning it was dwelled upon director's sense of art to understand the phenomenon that we called as artistic reality. Afterwards, the connection of his cinematography with our subject was explained at the same time, when the concept of Sculpting In Time which is being identified with him, was being tried to explained. After director's style of producing had been determined in time, his cinema was handled in two parts. Consequently, it was determined that the director worked with symbols in his initial films and this method took him to use his own artistic reality than using virtual reality in his last films.trinfo:eu-repo/semantics/openAccessSanatsal gerceklikMühürlenmiş zamanYönetmenin mucizesiSembolTarkovskyArtistic realitySculpting in timeThe miracle of directorSymbolMaster Thesis469428