Dijital Çağda Türk Film Eleştirisi: Yeni Kültürel Aracılar Olarak YouTube Türkiye Sinema Kanalları Örneği

Öz

Bu çalışmada, dijital çağda Türk film eleştirisinin nasıl bir dönüşüm geçirdiğinin ortaya konulması amaçlanmaktadır. YouTube Türkiye’de yayın yapan sinema kanallarının evren olarak belirlendiği çalışmada en çok aboneye sahip olan on sinema kanalı örneklem olarak seçilmiştir. Karma yöntemin kullanıldığı çalışmada sinema kanallarının en çok izlenen iki videosu analiz edilmiştir. Video içerikleri dört eleştiri türü olan tanıtım, klasik, derinlemesine ve bilimsel eleştiri etrafında MAXQDA yazılımı kullanılarak kodlanmış, analiz edilmiş ve görseller oluşturulmuştur. Elde edilen sonuçlara göre örneklem olarak belirlenen videolarda tanıtım içeriklerinin en çok yeralan eleştiri türü olduğu görülmüştür. Klasik ve derinlemesine eleştiri türünün sınırlı bir içeriğe sahip olduğu, bilimsel eleştiri türünün ise en az kodlanan kategori olduğu tespit edilmiştir. Sonuç olarak dijital platformların eleştiriyi demokratikleştikleştirdiği ancak eleştirinin sanatsal ve akademik yönünü zayıflattığı görülmüştür.

Anahtar Kelimeler

• Dijital Çağ
• Film Eleştirisi
• Yeni Kültürel Aracılar
• YouTube
• Sinema Kanalları

Turkish Film Criticism in the Digital Age: The Case of YouTube Türkiye Cinema Channels as New Cultural Intermediaries

Öz

This study aims to reveal how Turkish film criticism has transformed in the digital age. In the study where the cinema channels broadcasting on YouTube Türkiye were determined as the population, the ten cinema channels with the highest number of subscribers were selected as the sample. In the mixed method study, the two most watched videos of the cinema channels were analyzed. Video contents were coded, analyzed and visuals were created using MAXQDA software around four types of criticism: promotional, classical, in-depth and scientific criticism. According to the results obtained, it was seen that promotional content was the most common type of criticism in the videos selected as a sample. Classical and in-depth criticism had limited content, while scientific criticism was the least coded category. As a result, it has been seen that digital platforms add a democratizing function to criticism, but weaken the artistic and academic aspect of criticism.

Anahtar Kelimeler

• Digital Age
• Film Criticism
• New Cultural Intermediaries
• YouTube
• Cinema Channels

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