Araştırma Makalesi
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Examination of TikTok Application in the Axis of Uses and Gratifications Approach, User Experience and Entertainment Culture

Yıl 2022, Cilt: 9 Sayı: 2, 667 - 690, 22.07.2022
https://doi.org/10.17680/erciyesiletisim.1030922

Öz

With the innovations brought by the developing technology in the 21th century, there have been changes in the fields of culture, entertainment and communication. Thanks to these innovations, the media has gained the opportunity to reach individuals. As a result of the restrictions during the Covid 19 pandemic, social media applications come first among the environments where individuals have fun and make use of their free time at home. TikTok differs from other social media applications in terms of its content. Audiences who cannot take part in traditional media not only have the opportunity to have fun in their natural state through TikTok videos, but also have the opportunity to become a phenomenon with the short videos they shoot. Today, users with millions of followers gain experience and earn income thanks to this application. It is possible for any individual to be known for 15 seconds with a video they share in the TikTok application in this way. For the sake of this possibility of being liked, individuals strive to prove themselves with all their creativity in the videos they produce. In the current study, 1000 content randomly coming to the TikTok home screen and 10 TikTok accounts with the most followers were selected as the universe with the purposeful sampling method. The data obtained were evaluated in the context of uses and gratifications approach in terms of entertainment culture and user experience with the qualitative content analysis method. The TikTok application has also been structurally examined in terms of user experience. The aim of the study is to reveal the relationship between the contents of the TikTok application, which surpassed even the most popular domain name "google" in 2021, in terms of entertainment culture and user experiences. As a result of the research, it was determined that the TikTok application intensely contains negative content such as violence, sexuality and humiliation. In addition, it has been determined that users produce entertainment content in the contents of the TikTok application, which bears the traces of digital culture.

Kaynakça

  • Adorno, T. (2007). Culture Industry, Cultural Management. Nihat Ülner, Mustafa Tüzel, Elçin Gen (trans.). Istanbul: İletişim Publications.
  • Afde, (2022). TikTok Demographics Statistics: 2021. (online), Retrieved from https://www.affde.com/tr/TikTok-users.html. Date of Access: February 02 2022.
  • Akin, S. (2013). Yellow Press . Shalom Weekly Political and Cultural Newspaper: (online), Retrieved from https://www.salom.com.tr/arsiv/haber-89008-sari_basin.html. Date of Access: December 04 2021.
  • Aktas, C. (2016). Transformation of Traditional Newspaper into a Hybrid Communication Tool with QR Code. Nişantaşı University Journal of Social Sciences , 16-31.
  • Akyazi, E. (2015). Social Media as a Medium of Political Polarization: A Study on the June 7, 2015 General Elections”, Doubt on the Network A Media Criticism . Istanbul: Beta Publications. 157-169.
  • Argan, M. (2007). Entertainment Marketing. Ankara: Detay Publishing.
  • Arik, E. (2013). The Rise of the Ordinary Man: Social Media Fame. Communication and Diplomacy (BYEGM), 1 (1), 97-112.(online) Retrieved from https://docplayer.biz.tr/1034342-Siradan-insanin-yukselisi-social-medya-sohretleri.html. Date of Access: October 02 2021.
  • Ateşalp, S. and Başlar, G. (2015). “Serials on Social Media in the Axis of Participatory Culture Debates: An Example of Sibling Share.”, E-Journal Of Intermadia. 2, (1). Marmara University Faculty of Communication, 165-166.
  • Aydin, S. O. (2008). Fame Culture: Social Change and the Role of the Media, Istanbul: Marmara University SBE.
  • Aydin, S. O. (2018). Fame Culture from Arena to Screen, Ankara: Imge Bookstore.
  • Aydin A. (2019). Evaluation of Social Media's Relationship with Political Communication and Political Participation in the Context of Case Studies, Temel, F. and Türkmenoğlu, A. T. (ed.), Media and Politics (in). Istanbul: Çizgi Bookstore. s. 233.
  • Bates, S., and Ferri, AJ (2010). What's Entertainment? Notes Toward a Definition. Studies in Popular Culture, 33(1), 1-20.
  • Blythe, M., Hassenzahl, M. (2004). The semantic of fun: Differentiating enjoyable experiences. (in) M. Blythe, K. Overbeeke, A. Monk, P. Wright (Eds.) Funology: usability to enjoyment 91-103. London: Kluwer.
  • Coruk, A. S. (2010). Memories of Istanbul in terms of the History of Daily Life from the Tanzimat to the Republic, Turkish Studies Literature Journal, 8(16): 489-522. https://www.talid.org/tr/Dergi/Makale/16/508.
  • Erdoğan İ and Korkmaz A (2002) The Other Theory: A Historical and Critical Evaluation of Approaches to Mass Communication, Ankara: Erk Publishing.
  • Ergul, H., Gokalp, E., and Cangöz, I. (2012). " What the Media Is... Everything Is A Lie!" Media in the Daily Life of the Urban Poor . Istanbul: İletişim Publications.
  • Herrman, J. (2019). How TikTok Is Rewriting the World. New York Times: (online), Retrieved from https://www.nytimes.com/2019/03/10/style/what-is-tik-tok.html. Date of Access: December 05 2021.
  • Fincham, B. (2018). Entertainment Sociology. Fatma Ülkü Selçuk (trans.). Ankara: Nobel Academic Publishing.
  • Joao T. (2021). Cloudflare Blog . Cloudflare: (online), Retrieved from https://blog.cloudflare.com/popular-domains-year-in-review-2021/. Date of Access: December 05 2021.
  • Kalay, I. (2016). Web Series of the Global Village as a Global Recreational Practice: Project 13 Example. Global Media Journal. 7(13). 151-168.
  • Kaser, K., Oelkers, DB (2005). Sports and Entertainment Marketing, Ohio: Thomson and Higher Education.
  • Broken, AM (2017). Changing Communication Process Through New Media: The Position of Youth in Social Networks. Gumushane Univ. Communication Fac. Electronic Journal, 5 (1), 230-261.
  • Broken. AM, Altun. E. (2018). Approaching Entertainment Culture via Instagram: An Analysis on Tagging Feature. 2nd International Conference on New Directions in Communication: Entertainment and Product Placement. 113-123. (online), Retrieved from http://acikerisim.ticaret.edu.tr/xmlui/bitstream/handle/11467/1834/2_ntcconf_master.pdf? sequence=1&isAllowed=y. Date of Access: April 03 2021
  • Küçükkurt M, Hazar M Ç, Muharrem Ç, and Topbaş H (2009) University Students' Perspective on the Media from the Perspective of Uses and Gratifications, Selçuk University Journal of Communication Faculty, 6 (1), 37-50.
  • Narin, B. (2017). Journalism 2.0 Hypertextuality in Internet Journalism , Ankara: Gece Library.
  • Ozdemir, N. (2012). Media Culture and Literature, Ankara: Grafiker Publications.
  • Özutku, F., Çopur, H. et al. (2014). ABC of Social Media, Istanbul: Alfa Publishing.
  • Podilchak, W. (1991). Distinctions between fun, leisure and enjoyment. Journal of Leisure Studies. 10(2): 133-148. DOI: 10.1080/02614369100390131.
  • Playstore. (2021). Most Popular Free Apps in Android Apps Category . (online), Retrieved from https://play.google.com/store/apps/top. Date of Access: April 02 2021.
  • Cool, AP (2016). Istanbul Technical University Published Master's Thesis. A View of Interactive Technologies Through the Concept of Boundary .
  • Söğüt, Y. (2019). Identity Construction and Media in the Context of a New Life Proposal, (in) Identity Construction from Concept to Practice . (ed. Yasin Söğüt), Ankara: Sonçağ Academy.
  • Tellan, D. (2016). Evaluating the Relationship between Space, Entertainment and Popular Culture, TRT Academy, 1(1), 136-153.
  • Tower, S. (2020). TikTok with 20 prominent statistics globally. (online), Retrieved from https://webrazzi.com/2020/05/20/markalarin-dikkatine-20-istatistik-ile-tiktok/. Date of Access: March 02 2021.
  • Tower, S. (2022). The Mobile App Market Outlook 2022 Report. (online), Retrieved from https://go.sensortower.com/mobile-app-market-outlook-2022-ty.html?aliId=eyJpIjoiMVZjY2N2YzFXaSswK0paciIsInQiOiJzMkErcUhVTWhkdW52ZHBcL0RtUklPZ3D09In0%. Date of Access: March 02 2021.
  • Vogel, H. (2004). Entertainment Industry Economics: A Guide For Financial Analysis, Cambridge University Press.
  • Yaylagul, Levent (2019). Mass Communication Theories, Sovereign and Critical Approaches. Ankara: Dipnot Publications.
  • Yildiz, M. (2017). Postmodern Communication Processes and Virtual Fame. Middle Black Sea Journal of Communication Studies, 2 (1), 16-23. (online), Retrieved from https://dergipark.org.tr/tr/pub/mbsjcs/issue/29737/298945. Date of Access: December 02 2021.
  • Yu, JX (2019). Research on TikTok APP Based on User-Centric Theory. Applied Science and Innovative Research, 3 (1), 28-36. (online), Retrieved from http://www.scholink.org/ojs/index.php/asir/article/view/1805/1947. Date of Access: December 03 2021.

TikTok Uygulamasının Kullanımlar ve Doyumlar Yaklaşımı, Kullanıcı Deneyimi ve Eğlence Kültürü Ekseninde İncelenmesi

Yıl 2022, Cilt: 9 Sayı: 2, 667 - 690, 22.07.2022
https://doi.org/10.17680/erciyesiletisim.1030922

Öz

21. yüzyılda gelişen teknolojinin getirdiği yeniliklerle birlikte kültür, eğlence ve iletişim alanlarında da değişimler yaşanmıştır. Bu yenilikler sayesinde medya bireylere ulaşma imkânına kavuşmuştur. Covid 19 pandemisi sırasındaki kısıtlamalar sonucunda bireylerin evde eğlendiği ve boş zamanlarını değerlendirdiği ortamların başında sosyal medya uygulamaları gelmektedir. TikTok, içeriği bakımından diğer sosyal medya uygulamalarından farklılık göstermektedir. Geleneksel medyada yer alamayan izleyiciler, TikTok videoları aracılığıyla sadece doğal hallerinde eğlenme fırsatı bulmakla kalmıyor, aynı zamanda çektikleri kısa videolarla fenomen olma fırsatına da sahip oluyorlar. Günümüzde milyonlarca takipçisi olan kullanıcılar bu uygulama sayesinde deneyim kazanmakta ve gelir elde etmektedir. Herhangi bir bireyin bu şekilde TikTok uygulamasında paylaştığı bir video ile 15 saniye boyunca tanınması mümkün olmaktadır. Bu beğenilebilme ihtimali adına bireyler ürettikleri videolarda tüm yaratıcılıklarıyla kendilerini kanıtlamaya çalışmaktadırlar. Mevcut çalışmada, amaçlı örnekleme yöntemiyle evren olarak TikTok ana ekranına rastgele gelen 1000 içerik ve en fazla takipçisi olan 10 TikTok hesabı seçilmiştir. Elde edilen veriler, nitel içerik analizi yöntemiyle eğlence kültürü ve kullanıcı deneyimi açısından kullanımlar ve doyumlar yaklaşımı bağlamında değerlendirilmiştir. TikTok uygulaması, kullanıcı deneyimi açısından da yapısal olarak incelendi. Çalışmanın amacı, 2021 yılında en popüler alan adı “google”'lı dahi geride bırakan TikTok uygulamasının içeriklerinin eğlence kültürü ve kullanıcı deneyimleri açısından ilişkisini ortaya çıkarmaktır. Araştırma sonucunda TikTok uygulamasının yoğun olarak şiddet, cinsellik ve aşağılama gibi olumsuz içerikleri barındırdığı belirlendi. Ayrıca dijital kültürün izlerini taşıyan TikTok uygulamasının içeriklerinde kullanıcıların eğlence içeriği ürettiği tespit edildi.

Kaynakça

  • Adorno, T. (2007). Culture Industry, Cultural Management. Nihat Ülner, Mustafa Tüzel, Elçin Gen (trans.). Istanbul: İletişim Publications.
  • Afde, (2022). TikTok Demographics Statistics: 2021. (online), Retrieved from https://www.affde.com/tr/TikTok-users.html. Date of Access: February 02 2022.
  • Akin, S. (2013). Yellow Press . Shalom Weekly Political and Cultural Newspaper: (online), Retrieved from https://www.salom.com.tr/arsiv/haber-89008-sari_basin.html. Date of Access: December 04 2021.
  • Aktas, C. (2016). Transformation of Traditional Newspaper into a Hybrid Communication Tool with QR Code. Nişantaşı University Journal of Social Sciences , 16-31.
  • Akyazi, E. (2015). Social Media as a Medium of Political Polarization: A Study on the June 7, 2015 General Elections”, Doubt on the Network A Media Criticism . Istanbul: Beta Publications. 157-169.
  • Argan, M. (2007). Entertainment Marketing. Ankara: Detay Publishing.
  • Arik, E. (2013). The Rise of the Ordinary Man: Social Media Fame. Communication and Diplomacy (BYEGM), 1 (1), 97-112.(online) Retrieved from https://docplayer.biz.tr/1034342-Siradan-insanin-yukselisi-social-medya-sohretleri.html. Date of Access: October 02 2021.
  • Ateşalp, S. and Başlar, G. (2015). “Serials on Social Media in the Axis of Participatory Culture Debates: An Example of Sibling Share.”, E-Journal Of Intermadia. 2, (1). Marmara University Faculty of Communication, 165-166.
  • Aydin, S. O. (2008). Fame Culture: Social Change and the Role of the Media, Istanbul: Marmara University SBE.
  • Aydin, S. O. (2018). Fame Culture from Arena to Screen, Ankara: Imge Bookstore.
  • Aydin A. (2019). Evaluation of Social Media's Relationship with Political Communication and Political Participation in the Context of Case Studies, Temel, F. and Türkmenoğlu, A. T. (ed.), Media and Politics (in). Istanbul: Çizgi Bookstore. s. 233.
  • Bates, S., and Ferri, AJ (2010). What's Entertainment? Notes Toward a Definition. Studies in Popular Culture, 33(1), 1-20.
  • Blythe, M., Hassenzahl, M. (2004). The semantic of fun: Differentiating enjoyable experiences. (in) M. Blythe, K. Overbeeke, A. Monk, P. Wright (Eds.) Funology: usability to enjoyment 91-103. London: Kluwer.
  • Coruk, A. S. (2010). Memories of Istanbul in terms of the History of Daily Life from the Tanzimat to the Republic, Turkish Studies Literature Journal, 8(16): 489-522. https://www.talid.org/tr/Dergi/Makale/16/508.
  • Erdoğan İ and Korkmaz A (2002) The Other Theory: A Historical and Critical Evaluation of Approaches to Mass Communication, Ankara: Erk Publishing.
  • Ergul, H., Gokalp, E., and Cangöz, I. (2012). " What the Media Is... Everything Is A Lie!" Media in the Daily Life of the Urban Poor . Istanbul: İletişim Publications.
  • Herrman, J. (2019). How TikTok Is Rewriting the World. New York Times: (online), Retrieved from https://www.nytimes.com/2019/03/10/style/what-is-tik-tok.html. Date of Access: December 05 2021.
  • Fincham, B. (2018). Entertainment Sociology. Fatma Ülkü Selçuk (trans.). Ankara: Nobel Academic Publishing.
  • Joao T. (2021). Cloudflare Blog . Cloudflare: (online), Retrieved from https://blog.cloudflare.com/popular-domains-year-in-review-2021/. Date of Access: December 05 2021.
  • Kalay, I. (2016). Web Series of the Global Village as a Global Recreational Practice: Project 13 Example. Global Media Journal. 7(13). 151-168.
  • Kaser, K., Oelkers, DB (2005). Sports and Entertainment Marketing, Ohio: Thomson and Higher Education.
  • Broken, AM (2017). Changing Communication Process Through New Media: The Position of Youth in Social Networks. Gumushane Univ. Communication Fac. Electronic Journal, 5 (1), 230-261.
  • Broken. AM, Altun. E. (2018). Approaching Entertainment Culture via Instagram: An Analysis on Tagging Feature. 2nd International Conference on New Directions in Communication: Entertainment and Product Placement. 113-123. (online), Retrieved from http://acikerisim.ticaret.edu.tr/xmlui/bitstream/handle/11467/1834/2_ntcconf_master.pdf? sequence=1&isAllowed=y. Date of Access: April 03 2021
  • Küçükkurt M, Hazar M Ç, Muharrem Ç, and Topbaş H (2009) University Students' Perspective on the Media from the Perspective of Uses and Gratifications, Selçuk University Journal of Communication Faculty, 6 (1), 37-50.
  • Narin, B. (2017). Journalism 2.0 Hypertextuality in Internet Journalism , Ankara: Gece Library.
  • Ozdemir, N. (2012). Media Culture and Literature, Ankara: Grafiker Publications.
  • Özutku, F., Çopur, H. et al. (2014). ABC of Social Media, Istanbul: Alfa Publishing.
  • Podilchak, W. (1991). Distinctions between fun, leisure and enjoyment. Journal of Leisure Studies. 10(2): 133-148. DOI: 10.1080/02614369100390131.
  • Playstore. (2021). Most Popular Free Apps in Android Apps Category . (online), Retrieved from https://play.google.com/store/apps/top. Date of Access: April 02 2021.
  • Cool, AP (2016). Istanbul Technical University Published Master's Thesis. A View of Interactive Technologies Through the Concept of Boundary .
  • Söğüt, Y. (2019). Identity Construction and Media in the Context of a New Life Proposal, (in) Identity Construction from Concept to Practice . (ed. Yasin Söğüt), Ankara: Sonçağ Academy.
  • Tellan, D. (2016). Evaluating the Relationship between Space, Entertainment and Popular Culture, TRT Academy, 1(1), 136-153.
  • Tower, S. (2020). TikTok with 20 prominent statistics globally. (online), Retrieved from https://webrazzi.com/2020/05/20/markalarin-dikkatine-20-istatistik-ile-tiktok/. Date of Access: March 02 2021.
  • Tower, S. (2022). The Mobile App Market Outlook 2022 Report. (online), Retrieved from https://go.sensortower.com/mobile-app-market-outlook-2022-ty.html?aliId=eyJpIjoiMVZjY2N2YzFXaSswK0paciIsInQiOiJzMkErcUhVTWhkdW52ZHBcL0RtUklPZ3D09In0%. Date of Access: March 02 2021.
  • Vogel, H. (2004). Entertainment Industry Economics: A Guide For Financial Analysis, Cambridge University Press.
  • Yaylagul, Levent (2019). Mass Communication Theories, Sovereign and Critical Approaches. Ankara: Dipnot Publications.
  • Yildiz, M. (2017). Postmodern Communication Processes and Virtual Fame. Middle Black Sea Journal of Communication Studies, 2 (1), 16-23. (online), Retrieved from https://dergipark.org.tr/tr/pub/mbsjcs/issue/29737/298945. Date of Access: December 02 2021.
  • Yu, JX (2019). Research on TikTok APP Based on User-Centric Theory. Applied Science and Innovative Research, 3 (1), 28-36. (online), Retrieved from http://www.scholink.org/ojs/index.php/asir/article/view/1805/1947. Date of Access: December 03 2021.
Toplam 38 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İletişim ve Medya Çalışmaları
Bölüm Yabancı Dillerdeki Araştırma Makaleleri
Yazarlar

Yasin Söğüt 0000-0001-5327-9234

Alpaslan Öngel 0000-0002-5146-4863

Yayımlanma Tarihi 22 Temmuz 2022
Gönderilme Tarihi 1 Aralık 2021
Yayımlandığı Sayı Yıl 2022 Cilt: 9 Sayı: 2

Kaynak Göster

APA Söğüt, Y., & Öngel, A. (2022). Examination of TikTok Application in the Axis of Uses and Gratifications Approach, User Experience and Entertainment Culture. Erciyes İletişim Dergisi, 9(2), 667-690. https://doi.org/10.17680/erciyesiletisim.1030922