SAYFADAN EKRANA VE ÖTESİNE: CORALINE BAŞLIKLI ESERDE TRANSMEDYA ANLATIMI

Öz

Neil Gaiman’ın Coraline (2002) adlı eseri, uyarlama çalışmalarında sadakat (fidelity) odaklı modellerden transmedya ve işbirlikçi hikâye anlatım biçimlerine doğru yaşanan dönüşümün çarpıcı bir örneğini sunar. Başlangıçta bir çocuk romanı olarak yayımlanan anlatı, P. Craig Russell tarafından resimlenen grafik roman (2008), Henry Selick yönetmenliğinde stop-motion animasyon filmi (2009), bir video oyunu ve çeşitli etkileşimli dijital platformlar aracılığıyla yeniden üretilmiştir. Her bir uyarlama, ait olduğu medyanın estetik ve teknolojik olanakları doğrultusunda anlatıyı dönüştürerek, uyarlamanın yalnızca metinlerarası bir aktarım değil, aynı zamanda medyalararası bir yeniden yapılandırma ve yaratıcı yeniden yorumlama süreci olduğunu gösterir. Henry Jenkins’in transmedya hikâye anlatımı kuramı ve N. Katherine Hayles’in elektronik edebiyat kavramından hareketle, bu makale Coraline’in platformlar arasında dağılan bir anlatı olarak işlediğini ileri sürmektedir. Bu bağlamda grafik roman, görsel yorumlama yoluyla anlatıyı genişletirken; film duyusal yoğunlaşma ve maddesel bir dünya kurar; video oyunu ve dijital platformlar ise etkileşim sağlayarak kullanıcıların anlam üretimine katılmasına olanak tanır. Coraline’in sayfadan ekrana ve etkileşimli ortamlara uzanan evrimini izleyen bu çalışma, dijital çağda uyarlamanın dinamik, işbirlikçi ve medyalararası bir süreç olarak anlaşılması gerektiğini savunur. Sonuç olarak, transmedya hikâye anlatımının edebî deneyimi yeniden tanımladığını ve yazarlık, okur/oyuncu öznelliği ile edebiyatın doğasına ilişkin yerleşik kabulleri ağlaşmış bir medya ortamında yeniden düşünmeye açtığını ortaya koyar.

Anahtar Kelimeler

• Coraline
• Dijital anlatı
• Elektronik edebiyat
• Transmedya hikâye anlatımı
• Uyarlama kuramı.

FROM PAGE TO SCREEN AND BEYOND: TRANSMEDIA STORYTELLING IN CORALINE

Öz

Neil Gaiman’s Coraline (2002) offers a compelling example of the change in adaptation studies from fidelity-based models toward transmedia and collaborative forms of storytelling. Originally published as a children’s novel, the narrative has been reimagined across multiple media, including the graphic novel illustrated by P. Craig Russell (2008), the stop-motion animated film directed by Henry Selick (2009), a video game, and various interactive digital platforms. Each adaptation transforms the story in accordance with the aesthetic and technological affordances of its medium, demonstrating that adaptation is not merely a process of textual transfer but one of medial reconfiguration and creative reinterpretation. Drawing on Henry Jenkins’ theory of transmedia storytelling and N. Katherine Hayles’ concept of electronic literature, this article argues that Coraline operates as a distributed narrative across platforms. In this context, the graphic novel extends the narrative through visual interpretation, the film intensifies sensory immersion and material presence, and the video game and digital platforms introduce interactivity, enabling users to participate in the construction of meaning. By tracing Coraline’s evolution from page to screen to interactive environments, this study contends that adaptation in the digital era must be understood as a dynamic, collaborative, and intermedial process. Finally, it demonstrates how transmedia storytelling redefines literary experience, prompting a reconsideration of authorship, reader agency, and the very notion of literariness within a networked media landscape.

Anahtar Kelimeler

• : Adaptation theory
• Coraline
• Digital narrative
• Electronic literature
• Transmedia storytelling.

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