Film Türleri ve Duygular: Pandemi Döneminde Netflix Türkiye İzleyicilerinin İzlediği Türler ve Duygu Değişimleri

Yıl 2023, Cilt: 10 Sayı: 1, 1 - 22, 30.01.2023

Özgür Çalışkan

https://doi.org/10.17680/erciyesiletisim.1154927

Öz

Tür teorisi sinema alanında uzun bir geçmişse sahip bir alandır ve türler birçok biçimde biçimsel, içerik ya da izleyici etkileşimi açısından açıklanmaya çalışılmış ve incelenmiştir. Sinemadaki tür çalışmalarının içerisinde yer alan bilişsel çalışmalar da yer almaktadır. İzlenen film ile izleyici arasında farklı biçimlerde bir ilişki oluşmaktadır ve bu ilişkide türlerin de önemli yeri vardır. Özellikle giderek değişen film ve dizi izleme deneyimi bu ilişkiyle ilgili daha detaylı bilgiler de sunmaktadır. 2020 yılından itibaren Covid-19 pandemi sürecinde de izleme deneyimi özellikle dijital platformlar aracılığıyla farklılaşmıştır. Bununla birlikte izleyicilerin dijital platformlara yönelmesi daha belirgin veriler sunmaktadır. Bu çalışmada, 2020-2021 yılı döneminde Netflix Türkiye'de izlenen türlerin verisine ulaşılarak türler ve izleyici duyguları bağlamında bir inceleme yapılmaktadır. 2020 ve 2021 yılları verileri ile birlikte Türkiye'de 29 Nisan-14 Mayıs 2021 tarihleri arasında gerçekleşen tam kapanma dönemindeki veriler de ayrıca incelenmiştir. Film türleri hem yıllık olarak çeyrek bazda hem de genel bazda incelenmiş, özellikle Netflix Türkiye Top 10 içerisinde yer alan türlerin izlenme oranları da yorumlanmıştır. Sayısal veriler tür teorisi ve bilişsel teori bağlamında niteliksel olarak yorumlanmıştır.

Anahtar Kelimeler

Film Türleri, Netflix, Duygular, Pandemi, Türkiye, Film Genres, Emotions, Pandemic, Turkey

Film Genres and Emotions: Genres Watched by Netflix Türkiye Viewers and Emotion Variations During the Pandemic

Öz

A dynamic relationship exists between a film/series and the viewer, and genres have an essential place in this relationship. Significantly, the experience of watching films and television series, which is gradually changing, also provides more detail regarding this relationship. Since the COVID-19 pandemic in 2020, the viewing experience has changed, primarily through digital platforms. However, the viewer's tendency to use digital platforms provides more specific data. In this study, using data of genres watched on Netflix Türkiye between 2020 and 2021, which was obtained from FlixPatrol, was analyzed in the context of genres and viewer emotions. Türkiye's data for 2020 and 2021 and the full closure period between April 29 and May 14, 2021 were also examined. Furthermore, movie genres were analyzed quarterly and on a general basis, and the viewing rates of genres in the Top 10 were also interpreted. Numerical data were interpreted qualitatively in the context of genre and cognitive theories.

Anahtar Kelimeler

Film Genres, Emotions, Pandemic, Türkiye

Kaynakça

• Altman, R. (1984). A semantic/syntactic approach to film genre. Cinema Journal, 23(3), 6-18. https://doi.org/10.2307/1225093
• Aston, J., & Feng, L. (2020). Introduction. In L. Fang, & J. Aston, Renegotiating film genres in east asian cinemas and beyond (pp. 1-11). Cham: Palgrave Macmillan.
• Bartsch, A., Appel, M., & Stroch, D. (2010). Predicting emotions and meta-emotions at the movies: The role of the need for affect in audiences' experience of horror and drama. Communication Research, 37(2), 167-190. https://doi.org/10.1177/0093650209356441
• Ben-Ahmed, O., & Huet, B. (2018). Deep multimodal features for movie genre and interestingness prediction. Proceedings International Conference on Content-Based Multimedia Indexing, 1-6. https://doi.org/10.1109/CBMI.2018.8516504
• Bondebjerg, I. (2014). Documentary and cognitive theory: Narrative, emotion and memory. Media and Communication, 2(1), 13-22. https://doi.org/10.17645/mac.v2i1.17
• Boxoffice Türkiye. (2017, Aralık 21). Türkiye'de sinemaseverler neleri tercih ediyor? Retrieved from Boxoffice Türkiye: https://boxofficeturkiye.com/haber/turkiye-de-sinemaseverler-neleri-tercih-ediyor--1104
• Carroll, N. (2003). Engaging the moving image. Yale University Press.
• Clark, T. (2020, July 28). Horror, disaster, and sports: Exclusive data reveals what movies audiences have watched during the pandemic. Retrieved from Insider: https://www.businessinsider.com/top-movie-genres-watched-in-pandemic-horror-family-disaster-sports-2020-7
• Daily Sabah. (2021, November 22). Netflix Turkey content generates $52M for national economy. Retrieved from Daily Sabah: https://www.dailysabah.com/business/economy/netflix-turkey-content-generates-52m-for-national-economy
• Filmpulse. (2020). How curfew and social distancing affect the film genre and streaming. Retrieved from Filmpulse.
• Gorman, D. (2020, June 19). Netflix, Disney+, Amazon Video & Hulu: how are streaming habits changing? Retrieved from GWI: https://blog.gwi.com/trends/streaming-habits-coronavirus/
• Grodal, T. (2004). Frozen flows in von Trier's oeuvre. In T. Grodal, B. Larsen, & I. T. Laursen (Eds.), Visual authorship: Creativity and intentionality in media (pp. 129-167). Museum Tusculanum Press; University of Copenhagen.
• Grodal, T. (2017). How film genres are a product of biology, evolution and culture-an embodied approach. Palgrave Communications, 3, 1-7. https://doi.org/10.1057/palcomms.2017.79
• Grodal, T., & Kramer, M. (2010). Empathy, film, and the brain. Recherches sémiotiques / Semiotic Inquiry 30(1-2-3), 19-35. https://doi.org/10.7202/1025921ar
• Gross, J. J., & Levenson, R. W. (1995). Emotion elicitation using films. Cognition and Emotion, 9(1), 87-108. https://doi.org/10.1080/02699939508408966
• Kaltwasser, L., Rost, N., Ardizzi, M., Calbi, M., Settembrino, L., Fingerhut, J., Pauen, M., & Gallese, V. (2019). Sharing the filmic experience-the physiology of socioemotional processes in the cinema. PloS One, 14(10), 1-19. https://doi.org/10.1371/journal.pone.0223259
• Langkjær, B., & Gregersen, A. (2017). Cognitive film theory: A personal status -interview with Professor Ed Tan. Journal of Media, Cognition and Communication, 5(2), 70-80. https://tidsskrift.dk/mef-journal/article/view/97118
• Mokryn, O., Bodoff, D., Bader, N., Albo, Y., & Lanir, J. (2020). Sharing emotions: Determining films' evoked emotional experience from their online reviews. Information Retrieval Journal, 23, 457-501. https://doi.org/10.1007/s10791-020-09373-1
• Moody, R. (2021, September 10). Netflix subscribers and revenue by country. Retrieved from Comparitech: https://www.comparitech.com/tv-streaming/netflix-subscribers/
• Nikolij, D., Kostic-Stankovic, M., & Jeremic, V. (2022). How does genre preference influence the importance of film marketing mix elements: Evidence during the COVID-19 pandemics. Economic Research, 1-24. doi:https://doi.org/10.1080/1331677X.2022.2080734
• Panksepp, J. (1998). Affective neuroscience: The foundations of human and animal emotions. Oxford University Press.
• Redfern, N. (2009). Emotion, genre, and the hollywood paranoid film. Retrieved January 10, 2022 from https://nickredfern.wordpress.com/2009/05/07/emotion-genre-and-the-hollywood-paranoid-film/
• Ryall, T. (1998). Genre and hollywood. In J. Hill & P. Church Gibson (Eds.), The oxford guide to film studies (pp. 327-337). Oxford University Press.
• Schatz, T. (2012). The structural influence: New directions in film genre study. In B. K. Grant (Ed.), Film genre reader IV (pp. 110-120). University of Texas Press.
• Smith, G. M. (2003). Film structure and the emotion system. Cambridge University Press.
• Sobchack, T. (2012). Genre film: A classical experience. In B. K. Grant (Ed.), Film genre reader IV (pp. 121-132). University of Texas Press.
• Statista. (2016, July 8). Estimated number of active streaming subscribers for Netflix in Turkey from 2017 to 2020. Retrieved from Statista: https://www.statista.com/statistics/607812/netflix-subscribers-in-turkey/
• Stoll, J. (2021, January 13). Coronavirus and TV viewing: most watched movie and television genres in the United States as of March 2020, by ethnicity. Retrieved from Statista: https://www.statista.com/statistics/1110794/tv-movie-genre-viewers-coronavirus-ethnicity-us/
• Topal, K., & Ozsoyoglu, G. (2016). Movie review analysis: Emotion analysis of IMDB movie reviews. Proceedings of the 2016 IEEE/ACM International Conference on Advances in Social Networks Analysis and Mining, 1170-1176. https://doi.org/10.1109/ASONAM.2016.7752387
• Vivarelli, N. (2022, April 2). Netflix, HBO Max, Amazon Prime up the ante in Turkish TV production and storytelling. Retrieved from Variety: https://variety.com/2022/tv/spotlight/turkish-tv-netflix-amazon-hbo-max-1235220335/
• Wang, H. L., & Cheong, L.-F. (2006). Affective understanding in film. IEEE Transactions on Circuits and Systems Ffr Video Technology 16(6), 689-704. https://doi.org/10.1109/TCSVT.2006.873781
• Yazıcı, B. (2022). What to watch now: Culture, personality and genre choices in Netflix, 722914. İstanbul: Istanbul Bilgi University Institute of Graduate Programs.