Why Are Conversations in Old Movies So Weird?

When you go back to the late 1800s and early 1900s of the cinema You can see the first traces of it. Lumière Brothers The cinema experience, which was first realized in Paris in 1895 with the instruments known as cinematographs, came to our country in the following years.

After that, it was seen that many films were released in a short time both in our country and in other countries and people flocked to the cinema. But when you look back at the movies of those times, speech in their shape a strangeness you can sense.

This situation, which is known to us as specific to Yeşilçam films, actually existed in films of all languages:

Even before the cinema and television culture, the most widely used on the radio Even this way of speaking was remarkable.

We can show these as examples of the ways of speaking we are talking about:

In our country, the speeches of the rich in movies usually sound different:

https://www.youtube.com/watch?v=Tk-P3DaatM

This way of speaking, seen in the announcers of old matches, in old commercials and movies, is known as the ‘Transatlantic accent’.

His Girl Friday

This method of speaking, which is in the middle of the American and British accents, is contrary to these two accents. learn later and naturally it is used abroad.

This way of speaking is attributed to several different reasons:

The first is that it creates an impression on the person speaking that he or she is from the upper class:

More Yeşilçam movies from the upper class When you look at the scenes where he includes people, you can see a way of speaking like this.

But we don’t often see this way of speaking in lower class people. So to create the impression of ‘one of the upper class’ and the difference between the two classes. to deepen It is believed that this method was used.

Another reason is the inadequacy of the recording devices used at that time:

Esen Gunay

Microphone Recording devices such as these were not very good at capturing the sounds as cleanly as they were at that time, and to prevent this, they did a lot of work. emphasis had to do. In other words, according to the language, it had to be spoken in a way that could best be transferred to the microphone.

For this reason, it is necessary for the players to make those emphases according to the spoken language. their training needed. 1900s towards the middle Although we got rid of this scourge of microphones, this way of speaking had already taken its place in people.

We had a lot of talented actors in our country, but most of them were voiced:

for example by Abdurrahman Palay Yilmaz Guney, Cüneyt ArkinWe know that he sang names such as Ediz Hun, Orhan Gencebay, Kadir İnanır.

Lots of movies of someone who’s been used to talking like that for a long time. voiceoveralthough the microphone issue has been largely overtaken, the way of speaking to stay the same may be cited as the reason.

Some interesting information on the subject:

• We identify with Yeşilçam.No, it can’t beThere are a few thoughts put forward about the source of the words ”
• In the first, due to the fact that Abdurrahman Palay, who has voiced for many important names, put his elbow to the side and kept his hand on his chin while performing the voiceover.no wayIt is argued that the word “no, no, no, no” is used instead of “. It is also said that this is due to the artist’s constant use of his nose.
• In the other, it is said to the person who is making the voice. milliseconds It is claimed that it provides the prevention of sound shifting by
• Finally, the playersnoEven if he says ”, because of the inadequacy of the equipment, the words break down There are also those who argue that it has turned into a “no”
• Transatlantic accent, which is dominant in other countries, from WWII then it lost its effect and gradually ceased to be used

When we hear these forms of speech in contemporary times, they instantly take us back to the past.

resources: Private Club Marketing, Backstage, ALTA, The Intrepid Guide, The Atlantic, ESH-Vakanuvis, -Yusuf YURDIGUL, Türker ELİTAŞ (EFFECT OF DIAL AT THE CHARACTER CONSTRUCTION IN TURKISH CINEMA)-