Belgesel Sinemanin 3 Boyutlu Olarak Dansla Karşilaşmasi: Wim Wenders’in Pina Belgeselinde Mecralararasilik
An Encounter of Documentary With Dance in 3D: Intermediality in Wim Wenders’ Pina Documentary

Summary/Abstract: 3D cinema technology has mostly been utilised by popular cinema in its production and screening. On the other side, today, the creative use of 3D cinematography that is called “stereography” becomes widespread in arthouse filmmaking by directors such as Wim Wenders, Werner Herzog, Jean-Luc Godard, Peter Greenaway, etc. When we look at these 3D arthouse films, there are basically two common characteristics. First, it is interesting that most of these arthouse 3D films are in the genre of non-fiction, i.e. documentary. And secondly, it is also interesting that the intermedial nature of cinema becomes more obvious in these 3D arthouse documentaries. In this article, two basic common characteristics of 3D arthouse documentary cinema, which are mentioned above, will be discussed through Wim Wenders’ film Pina (2011). On one side, as one of the leading examples of 3D arthouse documentary cinema, Pina movie will be discussed with its different position in (documentary) cinema. On the other side, intermedial characteristics of the “Pina” movie will be explained. The interaction and interrelationships between and among space, time, movement, performance, dance, and cinema will be elaborated in its stereographic design. In this context, the expansion of space in 3D cinema, which occupies the movie theatre, will be discussed with its meaning and consequences. With this expansion of space, an intermedial narrative becomes possible, which is non-literary. In conclusion, Pina movie with its seeking for non-literary narrative; its open collaboration with other art disciplines; and distinctive intermedial qualities will be exposed.

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