Abstract:

Although technically a descendant of photography, cinema has achieved a strong narrativity thanks to its realistic perception of movement and temporal structuring. The recording of moving images, which used to be possible only for a small minority of people, can now be realised by almost everyone thanks to technological developments. Nevertheless, photography, which can produce a freeze-frame copy of time, cannot be abandoned. Not only amateurs but also professionals who had the chance to shoot film continued to take photographs. Russian director Andrey Tarkovsky, who continued to take photographs while working on his films, is one of these professionals. The director, who used the audiovisual possibilities offered by the art of cinema at an advanced level in his films, took his photographs with Polaroid cameras, one of the first examples of the instant style. This makes the director an ideal example for this study, which researches the inability to give up photography despite the accessibility of the moving image. His Polaroid shots are evaluated on the basis of context, content, form and material, with occasional references to his films. Through these evaluations, the advantages of instant photography as a medium over cinema in terms of the relationship with time, punctum, poetry, spontaneity and reality are revealed.

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