RV Donner du sens aux histoires en réalité virtuelle: une lecture dans le contexte du cinéma d'attraction

Yıl 2022, Sayı: 36, 61 - 86, 27.06.2022

A. Hümeyra Hüsmen

https://doi.org/10.16878/gsuilet.1050445

Öz

La RV est devenue un outil d'usage général à partir des années 2010. Elle se présente devant nous comme un candidat à se faire place avec des chiffres de ventes qui augmentent d'année en année et des projets lancés spécifiquement dans ce contexte. La façon dont cet outil raconte une histoire est si nouvelle qu'elle ne peut être discutée qu'à travers les conceptions qui seront mises en oeuvre. Cette étude a pour objectif de mener une discussion similaire et soutient que les histoires de la RV, qui visent à développer un langage spécifique, ne peuvent réussir qu'en s'éloignant du cinéma narratif classique. La RV n'est pas encore un outil dont les règles et les méthodes d'analyse sont parfaitement déterminées. Par conséquent, cette ambiguïté des règles oblige donc à s’adosser aux outils précédents lorsque l'on parle sur la RV. La présente étude aussi poursuit une méthode similaire et tire parti du concept de cinéma d'attraction. On peut dire que l'étude porte sur une révision de la littérature à travers la description du cinéma d'attraction. Les définitions du cinéma d'attraction obtenues à partir de cette littérature ont été utilisées pour traiter les histoires de la RV. Dans l'étude, les motivations du cinéma d'attraction qui mettent l'accent sur l'interaction, soulignent la présence des spectateurs et visent à les choquer ont été utilisées pour donner un sens aux histoires de réalité virtuelle. En tenant compte du succès obtenu dans le domaine, les expériences de « The Key » (2020) et de « Goliath » (2021), ont été choisi comme exemple ; ont été analysé, et il a été conclu il a été conclu qu'essayer de donner un sens aux histoires de RV avec le mot simulation en s'éloignant des formes de représentation du cinéma narratif classique sera bénéfique pour révéler le potentiel du médium.

Anahtar Kelimeler

réalité virtuelle, RV, cinéma d, cinéma narratif classique, immersion

Making Meaning out of VR Stories: A Reading within the Context of the Cinema of Attractions

Öz

VR has been spread to general use since the 2010s with increasing sales values every year and the initiatives announced on its behalf; VR appears as a candidate striving to gain a place for itself. The way this tool tells a story is so novel that it can only be discussed through the designs that will be implemented. This study aims to engage in a similar discussion and contends that VR stories, which are to develop a specific language for themselves, can attain success by keeping their distance from classical narrative cinema. VR is not a tool that has designated rules and analysis methods. The lack of a precise frame of analysis requires one to lean back on former tools and methods. Following a similar method, this study utilizes the concept of the cinema of attractions. This study is based on a theoretical framework that is executed by describing the cinema of attractions. Portrayals of the cinema of attractions obtained from this theoretical framework are used to discuss VR stories. In this study, motivations of the cinema of attractions that highlight the interaction, emphasize the presence of the audience, and aim to shock them, are used to interpret VR stories. By assessing two VR experiences, namely The Key (2019) and Goliath (2021), that are favored as the object of analysis considering their success in the field, it is concluded that trying to comprehend VR stories as simulations and differentiating them from the classical narrative cinema and its strategies based on the representation could be beneficial in revealing the potential of VR.

Anahtar Kelimeler

virtual reality, VR, the cinema of attractions, classical narrative cinema, immersion

VR Hikâyelerini Anlamlandırmak: Atraksiyonlar Sineması Bağlamında Bir Okuma

Öz

VR, 2010’lardan itibaren genel kullanıma yayılan bir araç haline geldi. Artan satış rakamları ve özelinde duyurulan projelerle her geçen yıl kendine daha fazla yer edinmeye aday bir araç olarak karşımızda duruyor. Bu aracın nasıl hikâye anlatacağı ise ancak ortaya konan tasarımlar üzerinden tartışmaya açılabilecek kadar yeni. Bu çalışma benzer bir tartışma yürütme amacını taşıyor ve özgül bir dil geliştirme çabası içinde olan VR hikâyelerinin başarıyı klasik anlatı sinemasından uzaklaşarak bulabileceğini savunuyor. VR henüz tam anlamı ile kuralları ve analiz yöntemleri belirlenmiş bir araç değil. Bu belirsizlik, VR üzerine konuşurken kendinden önceki araçlara sırt yaslamayı gerektiriyor. Eldeki çalışma da benzer bir yöntem izleyerek atraksiyonlar sineması kavramından yararlanmakta. Çalışmanın, atraksiyonlar sinemasının betimlenmesi yoluyla bir literatür taramasına dayandığı söylenebilir. Literatür taramasından atraksiyonlar sinemasına dair özellikler elde edildi ve elde edilen özelliklerden yararlanılarak VR hikâyeleri tartışmaya açıldı. Çalışmada atraksiyonlar sinemasının etkileşimi öne çıkaran, izleyicisinin varlığına vurgu yapan ve onu şoke etme amacı taşıyan yönelimleri VR hikâyelerini anlamlandırmak için kullanıldı. Alanda sağladıkları başarılar göz önünde bulundurularak örneklem olarak tercih edilen The Key (2019) ve Goliath (2021) deneyimleri incelendi. VR hikâyelerinin klasik anlatı sinemasının temsil biçimlerinden uzaklaşılarak, simülasyon kelimesi ile anlamlandırılmaya çalışılmasının, aracın potansiyelini ortaya çıkarmada fayda sağlayacağı sonucuna varıldı.

Anahtar Kelimeler

sanal gerçeklik, VR, atraksiyonlar sineması, klasik anlatı sineması, sarmalama

Kaynakça

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