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Streaming Platformlarının, Animasyon Sinemasının ve Sinematik Evrenlerin Covid-19 sonrası Transmedya Hikâye Anlatımına Etkileri

Yıl 2025, Cilt: 31 Sayı: 54, 48 - 58, 27.03.2025
https://doi.org/10.32547/artvision.1539776

Öz

Covid 19 salgını ile beraber büyük bir paradigma değişiminin ortaya çıktığı düşünülebilecektir. Bu durumdan etkilenen, eğitim, sağlık, ulaşım ve kültürel aktivitelerin dışında medya alanında da köklü değişiklikler ortaya çıkmıştır. Dijital medya alanı söz konusu olduğunda bu değişikliklerin en büyüğü, insanların sinema ile olan ilişkisinde gözlemlenmiştir. Çünkü uzun süre kapalı olan sinema salonlarında tüketilen bir çok film ve animasyon eserinin artık izleyiciye başka bir deneyim üzerinden ulaştırılması gerksinimi başgöstermiştir. Bu durum, hali hazırda mevcutt olan bir teknoloji olarak “Streaming platformları”nın kullanımında ciddi bir artışa sebep olmuştur. Bu durumu kendi lehine çevirmek isteyen prodüksiyon şirketleri ise, uzun zamandır sinema salonlarındaki seyircilerde bir aidiyet yarattıkları sinematik evrenlerinin gerek seriler gerekse uzun metraj film ve animasyon eserleri olarak streaming platformlarına taşımışlardır. Makalenin ana sorunsalı bu paradigma değişimini gözler önüne sermektir. Yöntem olarak, istatistiksel veriler dahilinde üretilen grafikler kullanılacak ve böylece nicel bir çalışmaya ulaşılacaktır. Makalenin evreni, gişe hasılatları söz konusu olduğunda en güvenilir kaynak olan “Box Office Mojo” internet sitesinden elde edilen son on yılın gişe hasılat oranlarıyla kurulacaktır. Tüm bu çalışma farklı medya platformlarında üretilen eserlerin hikaye anlatma dinamiği olan Transmedya yöntemi üzerinden değerlendirlecek ve iki bin yirmili yıllara gelindiğinde medyanın yönelimleri gözler önüne serilmeye çalışılacaktır.

Kaynakça

  • Bolin, G. (2010). Digitization, multiplatform texts, and audience reception. Popular Communication, 8(1), 72–83. https://doi.org/10.1080/15405700903502353
  • Box Office Mojo. (n.d.a). The top ten highest grossing films of 2016 which divided into three categories: conventional films, transmedia films and animated films [Table]. https://www.boxofficemojo.com/year/world/2016/
  • Box Office Mojo. (n.d.b). The top ten highest grossing films of 2016 which divided into three categories: conventional films, transmedia films and animated films [Table]. https://www.boxofficemojo.com/year/world/2023/
  • Budzinski, O., Gaenssle, S., & Lindstädt-Dreusicke, N. (2021). The battle of YouTube, TV and Netflix: An empirical analysis of competition in audiovisual media markets. SN Bus Econ 1, 116. https://doi.org/10.1007/s43546-021-00122-0
  • Burgess, D., & Stevens, K. (2021). Taking Netflix to the cinema: National cinema value chain disruptions in the age of streaming. Media Industries, 8(1). https://doi.org/10.3998/mij.95
  • Chai, W. (2022). Creative freedom and self-limitation of streaming media platform: Take Netflix animation as an example. In Advances in social science, education and humanities research. Proceedings of the 2022 5th international conference on humanities education and social sciences (ICHESS 2022) (pp. 1824-1831). Atlantis Press. https://doi.org/10.2991/978-2-494069-89-3_209
  • Hay, J., & Couldry, N. (2011). Rethinking convergence/culture: An introduction. Cultural Studies, 25(4–5), 473–486. https://doi.org/10.1080/09502386.2011.600527
  • Herbert, D., Lotz, A., & Marshall, L. (2019). Approaching media industries comparatively: A case study of streaming. International Journal of Cultural Studies, 22(3), 349-366. https://doi.org/10.1177/1367877918 813245
  • Jenkins, H. (2006). Convergence culture, where old and new media collide. New York University Press.
  • Jenkins, H. (2011). Transmedia 202: Further reflections, Henry Jenkins. https://henryjenkins.org/blog/2011/RFT.html
  • Johnson, C. (2007). Tele-branding in TVIII: The network as brand and the programme as brand. New Review of Film and Television Studies, 5(1), 5-24. https://doi.org/10.1080/17400300601140126
  • Kısaoğlu, Ö. (2023). 360-degree strategy for TV broadcasters: Case of TRT. Yeni Medya, (15), 48-68. https://doi.org/10. 55609/yenimedya.1336590
  • Manicastri, S. (2022). Pop culture and class conflict in the Marvel cinematic universe. In S. Estacio-Touhey & J. Boyle (Eds.; 75th Anniversary White Paper Series), “A better tomorrow” research & reflections on the past, present, and future of workers. Rutgers LEARN. https://smlr.rutgers.edu/sites/default/files/Documents/LEARN/LEARN_White_Paper_Series_7503.pdf
  • Meir, C. (2023). SVOD original film commissioning: Expanding the possibilities of commercial film?. In A. D. Lotz & R. Lobato, Streaming video: Storytelling Across borders (pp. 280-297). New York University Press. https://doi.org/10.18574/nyu/9781479816866.003.0019
  • Noh, S. (2024). Global media streams: Netflix and the changing ecosystem of anime production. Television & New Media, 25(3), 234-250. https://doi.org/10.1177/15274764231206540
  • Rayburn, D. (2007). Streaming and digital media: Understanding the business and technology. Elsevier Publishing.
  • Roederer, C. (2019). Mapping the relationship between the Marvel Cinematic Universe and its fans (Publication No. 339136928) [Master of arts in visual culture thesis, University of Copenhagen]. Department of Arts and Cultural Studies. https://www.researchgate.net/publication/339136928_Mapping_the_relationship_between_the_Marvel_Cinematic_Universe_and_its_fans
  • Smits, R. (2024). Theatrical distribution or online streaming? Release strategies in Europe in times of disruption and change. In C. Meir & R. Smits (Eds.), European cinema in the streaming era (pp. 85–108). Palgrave Macmillan. https://doi.org/10.1007/978-3-031-42182-2_5
  • Teksoy, R. (2005). Sinema tarihi (1st vol.). Oğlak Yayınları.
  • The Direct. (n.d.). Disney production company owned cinematic universes [Photograph]. https://thedirect.com/article/disney-plus-marvel-mcu-star-wars-shows-slate-future
  • Üstünbaş-Erdoğan, B. (2023). An analysis of the relationship between streaming media as a digital media platform and cultural alienation (Thesis No. 804398) [Doctoral Thesis, Istanbul University]. Thesis Center of YOK.
  • Whip Media. (n.d.). Defining the new normal for theatrical releases: Opportunities for studios and platforms. https://whipmedia.com/whipflash-webinar-defining-the -new-normal-for-theatrical-releases-opportunities-for-studios-and-platforms
  • Ya'nan, W. (2021). Research on the change and development of animation design under the new media communication method. In Advances in social science, education and humanities research: Vol. 572. Proceedings of the 7th international conference on arts, design and contemporary education (pp. 402-406). Atlantis Press. https://doi.org/10.2991/assehr.k.210813.068
  • Yüksel, E. (2023). The effects of the Covid-19 pandemic on the spread of digital art in Turkey in the 21st century (Thesis No. 799557) [Master Thesis, Mersin University]. Thesis Center of YOK.

Streaming Platforms, Animation Films & Cinematic Universes’ Effects on Transmedia Storytelling after Covid-19

Yıl 2025, Cilt: 31 Sayı: 54, 48 - 58, 27.03.2025
https://doi.org/10.32547/artvision.1539776

Öz

It can be thought that a major paradigm shift has occurred with the Covid-19 pandemic. In addition to education, health, transportation and cultural activities, which have been affected by this situation, radical changes have also occurred in the media area. When it comes to the digital media, the biggest of these changes has been observed in people's relationship with cinema. Because many films and animations consumed in movie theaters that have been closed for a long time, now need to be delivered to the audience through another experience. This situation has caused a serious increase in the use of "Streaming Platforms" as an existing technology. Production companies, who want to turn this situation to their advantage, have transferred their cinematic universes, which they have created a sense of belonging in the audience in cinemas for a long time to streaming platforms, both as series, feature films and animations. The main problem of the article is to reveal this paradigm shift. As a method, graphics produced within statistical data will be used and thus a quantitative study will be achieved. The universe of the article will be established with the box office revenue rates of the last eight years obtained from the “Box Office Mojo” website, which is the most reliable source. This entire study will be evaluated through the Transmedia method, which is the storytelling dynamics of works produced on different media platforms. Finally, the trends of the media in the 2020s will be explained.

Kaynakça

  • Bolin, G. (2010). Digitization, multiplatform texts, and audience reception. Popular Communication, 8(1), 72–83. https://doi.org/10.1080/15405700903502353
  • Box Office Mojo. (n.d.a). The top ten highest grossing films of 2016 which divided into three categories: conventional films, transmedia films and animated films [Table]. https://www.boxofficemojo.com/year/world/2016/
  • Box Office Mojo. (n.d.b). The top ten highest grossing films of 2016 which divided into three categories: conventional films, transmedia films and animated films [Table]. https://www.boxofficemojo.com/year/world/2023/
  • Budzinski, O., Gaenssle, S., & Lindstädt-Dreusicke, N. (2021). The battle of YouTube, TV and Netflix: An empirical analysis of competition in audiovisual media markets. SN Bus Econ 1, 116. https://doi.org/10.1007/s43546-021-00122-0
  • Burgess, D., & Stevens, K. (2021). Taking Netflix to the cinema: National cinema value chain disruptions in the age of streaming. Media Industries, 8(1). https://doi.org/10.3998/mij.95
  • Chai, W. (2022). Creative freedom and self-limitation of streaming media platform: Take Netflix animation as an example. In Advances in social science, education and humanities research. Proceedings of the 2022 5th international conference on humanities education and social sciences (ICHESS 2022) (pp. 1824-1831). Atlantis Press. https://doi.org/10.2991/978-2-494069-89-3_209
  • Hay, J., & Couldry, N. (2011). Rethinking convergence/culture: An introduction. Cultural Studies, 25(4–5), 473–486. https://doi.org/10.1080/09502386.2011.600527
  • Herbert, D., Lotz, A., & Marshall, L. (2019). Approaching media industries comparatively: A case study of streaming. International Journal of Cultural Studies, 22(3), 349-366. https://doi.org/10.1177/1367877918 813245
  • Jenkins, H. (2006). Convergence culture, where old and new media collide. New York University Press.
  • Jenkins, H. (2011). Transmedia 202: Further reflections, Henry Jenkins. https://henryjenkins.org/blog/2011/RFT.html
  • Johnson, C. (2007). Tele-branding in TVIII: The network as brand and the programme as brand. New Review of Film and Television Studies, 5(1), 5-24. https://doi.org/10.1080/17400300601140126
  • Kısaoğlu, Ö. (2023). 360-degree strategy for TV broadcasters: Case of TRT. Yeni Medya, (15), 48-68. https://doi.org/10. 55609/yenimedya.1336590
  • Manicastri, S. (2022). Pop culture and class conflict in the Marvel cinematic universe. In S. Estacio-Touhey & J. Boyle (Eds.; 75th Anniversary White Paper Series), “A better tomorrow” research & reflections on the past, present, and future of workers. Rutgers LEARN. https://smlr.rutgers.edu/sites/default/files/Documents/LEARN/LEARN_White_Paper_Series_7503.pdf
  • Meir, C. (2023). SVOD original film commissioning: Expanding the possibilities of commercial film?. In A. D. Lotz & R. Lobato, Streaming video: Storytelling Across borders (pp. 280-297). New York University Press. https://doi.org/10.18574/nyu/9781479816866.003.0019
  • Noh, S. (2024). Global media streams: Netflix and the changing ecosystem of anime production. Television & New Media, 25(3), 234-250. https://doi.org/10.1177/15274764231206540
  • Rayburn, D. (2007). Streaming and digital media: Understanding the business and technology. Elsevier Publishing.
  • Roederer, C. (2019). Mapping the relationship between the Marvel Cinematic Universe and its fans (Publication No. 339136928) [Master of arts in visual culture thesis, University of Copenhagen]. Department of Arts and Cultural Studies. https://www.researchgate.net/publication/339136928_Mapping_the_relationship_between_the_Marvel_Cinematic_Universe_and_its_fans
  • Smits, R. (2024). Theatrical distribution or online streaming? Release strategies in Europe in times of disruption and change. In C. Meir & R. Smits (Eds.), European cinema in the streaming era (pp. 85–108). Palgrave Macmillan. https://doi.org/10.1007/978-3-031-42182-2_5
  • Teksoy, R. (2005). Sinema tarihi (1st vol.). Oğlak Yayınları.
  • The Direct. (n.d.). Disney production company owned cinematic universes [Photograph]. https://thedirect.com/article/disney-plus-marvel-mcu-star-wars-shows-slate-future
  • Üstünbaş-Erdoğan, B. (2023). An analysis of the relationship between streaming media as a digital media platform and cultural alienation (Thesis No. 804398) [Doctoral Thesis, Istanbul University]. Thesis Center of YOK.
  • Whip Media. (n.d.). Defining the new normal for theatrical releases: Opportunities for studios and platforms. https://whipmedia.com/whipflash-webinar-defining-the -new-normal-for-theatrical-releases-opportunities-for-studios-and-platforms
  • Ya'nan, W. (2021). Research on the change and development of animation design under the new media communication method. In Advances in social science, education and humanities research: Vol. 572. Proceedings of the 7th international conference on arts, design and contemporary education (pp. 402-406). Atlantis Press. https://doi.org/10.2991/assehr.k.210813.068
  • Yüksel, E. (2023). The effects of the Covid-19 pandemic on the spread of digital art in Turkey in the 21st century (Thesis No. 799557) [Master Thesis, Mersin University]. Thesis Center of YOK.
Toplam 24 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Bilgisayar Oyunları ve Animasyon, Dijital ve Elektronik Medya Sanatı, İnteraktif Medya, Ekran ve Dijital Medya (Diğer), Sinema (Diğer)
Bölüm Araştırma Makaleleri
Yazarlar

İlkan Devrim Dinç 0000-0002-4706-7590

Yayımlanma Tarihi 27 Mart 2025
Gönderilme Tarihi 28 Ağustos 2024
Kabul Tarihi 20 Şubat 2025
Yayımlandığı Sayı Yıl 2025 Cilt: 31 Sayı: 54

Kaynak Göster

APA Dinç, İ. D. (2025). Streaming Platforms, Animation Films & Cinematic Universes’ Effects on Transmedia Storytelling after Covid-19. Art Vision, 31(54), 48-58. https://doi.org/10.32547/artvision.1539776

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