Araştırma Makalesi
BibTex RIS Kaynak Göster

Navigating the Sands of Emotion: A Sentiment and Subjectivity Analysis of Dune (2021) Characters

Yıl 2024, Sayı: 18
https://doi.org/10.31122/sinefilozofi.1455784

Öz

This study presents an in-depth examination of the emotional landscape and subjective depth within the screenplay of the 2021 film adaptation of "Dune." Utilizing TextBlob for sentiment analysis, including word clouds, we quantitatively assess the polarity and subjectivity scores associated with key characters in the narrative. Our findings reveal significant insights into character development, narrative engagement, and the emotional dynamics that underpin the film's storytelling. The analysis highlights the varied emotional experiences of characters such as Stilgar, who exhibits high positive sentiment and subjectivity, contrasting with antagonists like the Baron, who is characterized by negative sentiment. This paper underscores the utility of sentiment analysis in understanding and critiquing cinematic narratives, offering a novel perspective on film appreciation that focuses on emotional and subjective experiences.

Kaynakça

  • Ahmed, K., Nadeem, M. I., Zheng, Z., Li, D., Ullah, I., Assam, M., ... & Mohamed, H. G. (2023). Breaking down linguistic complexities: A structured approach to aspect-based sentiment analysis. Journal of King Saud University-Computer and Information Sciences, 35(8), 101651.
  • Batrinca, B., & Treleaven, P. C. (2015). Social media analytics: a survey of techniques, tools and platforms. Ai & Society, 30, 89-116.
  • Bennett, M. R., & Hacker, P. M. S. (2022). Philosophical foundations of neuroscience. John Wiley & Sons.
  • Biro, Y. (2008). Turbulence and flow in film: The rhythmic design. Indiana University Press.
  • Boukes, M., Van de Velde, B., Araujo, T., & Vliegenthart, R. (2020). What’s the tone? Easy doesn’t do it: Analyzing performance and agreement between off-the-shelf sentiment analysis tools. Communication Methods and Measures, 14(2), 83-104.
  • Carroll, N. (2001). Beyond aesthetics: Philosophical essays. Cambridge University Press.
  • Gross, J. J. (1998). The emerging field of emotion regulation: An integrative review. Review of general psychology, 2(3), 271-299.
  • Hanich, J., Wagner, V., Shah, M., Jacobsen, T., & Menninghaus, W. (2014). Why we like to watch sad films. The pleasure of being moved in aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 8(2), 130.
  • Hansen, M. (2000). Embodying technesis: Technology beyond writing. University of Michigan Press.
  • Heidegger, M. (1962). Being and time (J. Macquarrie & E. Robinson, trans.).
  • Hobbs, R. (2020). Mind over media: Propaganda education for a digital age. WW Norton & Company.
  • Iyyer, M., Manjunatha, V., Guha, A., Vyas, Y., Boyd-Graber, J., Daume, H., & Davis, L. S. (2017). The amazing mysteries of the gutter: Drawing inferences between panels in comic book narratives. In Proceedings of the IEEE Conference on Computer Vision and Pattern recognition (pp. 7186-7195).
  • Malatesta, C. Z., & Wilson, A. (1988). Emotion cognition interaction in personality development: A discrete emotions, functionalist analysis. British Journal of Social Psychology, 27(1), 91-112.
  • Mancuso, V., Bruni, F., Stramba-Badiale, C., Riva, G., Cipresso, P., & Pedroli, E. (2023). How do emotions elicited in virtual reality affect our memory? A systematic review. Computers in Human Behavior, 107812.
  • Mariani, I., & Ciancia, M. (2019). Character-driven Narrative Engine. Storytelling System for building interactive narrative experiences. In DIGRA'19-PROCEEDINGS OF THE 2019 DIGRA INTERNATIONAL CONFERENCE: GAME, PLAY AND THE EMERGING LUDO-MIX (pp. 1-19). Digital Games Research Association.
  • Merleau-Ponty, M., Landes, D., Carman, T., & Lefort, C. (2013). Phenomenology of perception. Routledge.
  • Nussbaum, M. C. (2003). Upheavals of thought: The intelligence of emotions. Cambridge University Press.
  • Plantinga, C. (1999). The scene of empathy and the human face on film. Passionate views: Film, cognition, and emotion, 239-255.
  • Plantinga, C. (2009). Moving viewers: American film and the spectator's experience. University of California Press.
  • Ricoeur, P. (1976). Interpretation theory: Discourse and the surplus of meaning. TCU press.
  • Ricoeur, P. (1992). Oneself as another. University of Chicago press.
  • Rong, A., & Li, G. (2023, December). Integrating Artificial Intelligence in Design: An Exploration of ChatGPT’s Role in Inclusive Design Research. In 2023 5th International Conference on Literature, Art and Human Development (ICLAHD 2023) (pp. 910-924). Atlantis Press.
  • Smith, M. (2022). Engaging characters: Fiction, emotion, and the cinema. Oxford University Press.
  • Sobchack, V. (1992). The address of the eye: A phenomenology of film experience. Princeton University Press.
  • Solomon, R. C. (2007). True to our feelings: What our emotions are really telling us. Oxford University Press.
  • Tan, E. S. (2013). Emotion and the structure of narrative film: Film as an emotion machine. Routledge.
  • Tan, E. S. (2018). A psychology of the film. Palgrave Communications, 4(1).
  • Yang, Y., & Qin, K. (2024). Script Analysis and Directorial Concept in the Realm of Drama and Film. In SHS Web of Conferences (Vol. 183, p. 03017). EDP Sciences.

Duygu Kumlarında Gezinmek: Dune (2021) Karakterlerinin Duygu ve Öznellik Analizi

Yıl 2024, Sayı: 18
https://doi.org/10.31122/sinefilozofi.1455784

Öz

Bu çalışma, "Dune"un 2021 yapımı film uyarlamasının senaryosundaki duygusal manzaranın ve öznel derinliğin derinlemesine incelenmesini sunmaktadır. Kelime bulutları da dahil olmak üzere duygu analizi için TextBlob'u kullanarak anlatıdaki anahtar karakterlerle ilişkili kutupluluk ve öznellik puanları niceliksel olarak değerlendirilmiştir. Bulgularımız karakter gelişimi, anlatı katılımı ve filmin hikâye anlatımının temelini oluşturan duygusal dinamikler hakkında önemli bilgiler ortaya koymaktadır. Analiz, Stilgar gibi yüksek düzeyde olumlu duygu ve öznellik sergileyen karakterlerin çeşitli duygusal deneyimlerini vurgularken, Baron gibi olumsuz duygularla karakterize edilen düşmanlarla tezat oluşturmaktadır. Bu makale, duygusal ve öznel deneyimlere odaklanan film incelemesine yeni bir bakış açısı sunarak, sinematik anlatıların anlaşılmasında ve eleştirilmesinde duygu analizinin faydasını vurgulamaktadır.

Kaynakça

  • Ahmed, K., Nadeem, M. I., Zheng, Z., Li, D., Ullah, I., Assam, M., ... & Mohamed, H. G. (2023). Breaking down linguistic complexities: A structured approach to aspect-based sentiment analysis. Journal of King Saud University-Computer and Information Sciences, 35(8), 101651.
  • Batrinca, B., & Treleaven, P. C. (2015). Social media analytics: a survey of techniques, tools and platforms. Ai & Society, 30, 89-116.
  • Bennett, M. R., & Hacker, P. M. S. (2022). Philosophical foundations of neuroscience. John Wiley & Sons.
  • Biro, Y. (2008). Turbulence and flow in film: The rhythmic design. Indiana University Press.
  • Boukes, M., Van de Velde, B., Araujo, T., & Vliegenthart, R. (2020). What’s the tone? Easy doesn’t do it: Analyzing performance and agreement between off-the-shelf sentiment analysis tools. Communication Methods and Measures, 14(2), 83-104.
  • Carroll, N. (2001). Beyond aesthetics: Philosophical essays. Cambridge University Press.
  • Gross, J. J. (1998). The emerging field of emotion regulation: An integrative review. Review of general psychology, 2(3), 271-299.
  • Hanich, J., Wagner, V., Shah, M., Jacobsen, T., & Menninghaus, W. (2014). Why we like to watch sad films. The pleasure of being moved in aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 8(2), 130.
  • Hansen, M. (2000). Embodying technesis: Technology beyond writing. University of Michigan Press.
  • Heidegger, M. (1962). Being and time (J. Macquarrie & E. Robinson, trans.).
  • Hobbs, R. (2020). Mind over media: Propaganda education for a digital age. WW Norton & Company.
  • Iyyer, M., Manjunatha, V., Guha, A., Vyas, Y., Boyd-Graber, J., Daume, H., & Davis, L. S. (2017). The amazing mysteries of the gutter: Drawing inferences between panels in comic book narratives. In Proceedings of the IEEE Conference on Computer Vision and Pattern recognition (pp. 7186-7195).
  • Malatesta, C. Z., & Wilson, A. (1988). Emotion cognition interaction in personality development: A discrete emotions, functionalist analysis. British Journal of Social Psychology, 27(1), 91-112.
  • Mancuso, V., Bruni, F., Stramba-Badiale, C., Riva, G., Cipresso, P., & Pedroli, E. (2023). How do emotions elicited in virtual reality affect our memory? A systematic review. Computers in Human Behavior, 107812.
  • Mariani, I., & Ciancia, M. (2019). Character-driven Narrative Engine. Storytelling System for building interactive narrative experiences. In DIGRA'19-PROCEEDINGS OF THE 2019 DIGRA INTERNATIONAL CONFERENCE: GAME, PLAY AND THE EMERGING LUDO-MIX (pp. 1-19). Digital Games Research Association.
  • Merleau-Ponty, M., Landes, D., Carman, T., & Lefort, C. (2013). Phenomenology of perception. Routledge.
  • Nussbaum, M. C. (2003). Upheavals of thought: The intelligence of emotions. Cambridge University Press.
  • Plantinga, C. (1999). The scene of empathy and the human face on film. Passionate views: Film, cognition, and emotion, 239-255.
  • Plantinga, C. (2009). Moving viewers: American film and the spectator's experience. University of California Press.
  • Ricoeur, P. (1976). Interpretation theory: Discourse and the surplus of meaning. TCU press.
  • Ricoeur, P. (1992). Oneself as another. University of Chicago press.
  • Rong, A., & Li, G. (2023, December). Integrating Artificial Intelligence in Design: An Exploration of ChatGPT’s Role in Inclusive Design Research. In 2023 5th International Conference on Literature, Art and Human Development (ICLAHD 2023) (pp. 910-924). Atlantis Press.
  • Smith, M. (2022). Engaging characters: Fiction, emotion, and the cinema. Oxford University Press.
  • Sobchack, V. (1992). The address of the eye: A phenomenology of film experience. Princeton University Press.
  • Solomon, R. C. (2007). True to our feelings: What our emotions are really telling us. Oxford University Press.
  • Tan, E. S. (2013). Emotion and the structure of narrative film: Film as an emotion machine. Routledge.
  • Tan, E. S. (2018). A psychology of the film. Palgrave Communications, 4(1).
  • Yang, Y., & Qin, K. (2024). Script Analysis and Directorial Concept in the Realm of Drama and Film. In SHS Web of Conferences (Vol. 183, p. 03017). EDP Sciences.
Toplam 28 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Sinema (Diğer)
Bölüm Araştırma Makalesi
Yazarlar

Yavuz Selim Balcıoğlu 0000-0001-7138-2972

Erken Görünüm Tarihi 18 Ağustos 2024
Yayımlanma Tarihi
Gönderilme Tarihi 20 Mart 2024
Kabul Tarihi 3 Haziran 2024
Yayımlandığı Sayı Yıl 2024 Sayı: 18

Kaynak Göster

APA Balcıoğlu, Y. S. (2024). Navigating the Sands of Emotion: A Sentiment and Subjectivity Analysis of Dune (2021) Characters. SineFilozofi(18). https://doi.org/10.31122/sinefilozofi.1455784