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MEDYATİK EĞLENCE, DİJİTAL GÖRÜNTÜ, YENİ BELGESEL: 360 DERECE VİDEO ÜZERİNE BİR İNCELEME

Yıl 2022, Cilt 9, Sayı 1, 199 - 214, 27.06.2022
https://doi.org/10.17572/mj2022.1.199214

Öz

Dijital teknik olanakların yaygınlaşması medyatik eğlence anlayışını değiştirmiştir. Yeni medya ekosistemi içerisinde belgesel yapımı, yeni katılımcı biçimler üzerinden gerçekleşmeye başlamıştır. Bu çalışmanın nesnesi olan Ancient Invisible Cities belgesel serisi, (i) duyusal iletiler ve etkileşim aracılığıyla katılıma izin vermesi, (ii) fiziksel ve analog ontolojik varlıkların dijital olarak yeniden inşasını barındırması ve (iii) nesnelerin üç boyutlu taramalar aracılığıyla üç yüz altmış derecelik seyir deneyimiyle incelenmesini mümkün kılması bakımından tercih edilmiştir. Dijital görüntünün belgesel yapımındaki konumunun sorgulanması ve belgesel anlatısındaki estetik varoluşunun değerlendirilmesi amaçlanmıştır. Yapılan içerik çözümlemesiyle dijital görüntünün sunduğu kusursuz temsil ve belgesel yapımının dayandığı gerçekçilik değerlendirilmiştir. Sonuç olarak anılan seyir deneyiminin klasik akış mantığının dijital görüntüyle eklemlenerek geçirdiği bir evrimi gösterdiği ve hibrit bir içerik türünü içerdiği görülmüştür.

Kaynakça

  • Bartlett, R. ve Thompson, A. (Yönetmen). (2018). Ancient Invisible Cities [Belgesel]. İngiltere: BBC.
  • Belton, J. (2002). Digital Cinema: A False Revolution. October, 100, 99–114. doi: 10.1162/016228702320218411
  • Bešlagić, L. (2019). Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary. AM Journal of Art and Media Studies, 20, 51–60. doi: 10.25038/am.v0i20.323
  • Borjan, E. (2020). Challenges of Documentary in the Age of New Media. Filozofska Istraživanja, 40(4), 699–711. doi: 10.21464/fi40403
  • Bruzzi, S. (2006). New Documentary. Londra: Routledge.
  • Coover, R. (2012). Visual Research and the New Documentary. Studies in Documentary Film, 6(2), 203–214, doi: 10.1386/sdf.6.2.203_1
  • Cubitt, S. (2007). Precepts for Digital Artwork. J. Marchessault ve S. Lord (Ed.), içinde, Fluid Screens, Expanded Cinema (s. 304–319). Toronto: University of Toronto.
  • Darley, A. (2001). Visual Digital Culture: Surface Play and Spectacle in New Media Genres. Londra: Routledge.
  • Dikmen, E. Ş. (2021). Sanal Gerçeklik Platformlarında Dı̇jı̇tal Öykü Anlatımı ve 360 Vı̇deo Teknolojisı̇. Proceedings of the 18th International Symposium Communication in the Millennium, 33.
  • Ducasse, J., Kljun, M., ve Čopič Pucihar, K. (2020). Interactive Web Documentaries: A Case Study of Audience Reception and User Engagement on iOtok. International Journal of Human–Computer Interaction, Online First, 1–28. doi: 10.1080/10447318.2020.1757255
  • Glynne, A. (2011). Belgeseller: ... nasıl yapılır, nasıl dağıtılır (Z. M. Oğur ve N. I. Çeper, Çev.). İstanbul: Kalkedon.
  • Gunning, T. (2007). Moving Away from the Index: Cinema and the Impression of Reality. differences, 18(1), 29–52. doi: 10.1215/10407391-2006-022
  • Hansen, M. B. N. (2001.) Seeing with the Body: The Digital Image in Postphotography. Diacritics, 31(4), 54–84. doi: 10.1353/dia.2004.0003
  • Harvey, K. (2012). ‘Walk-In Documentary’: New Paradigms for Game-Based Interactive Storytelling and Experiential Conflict Mediation. Studies in Documentary Film, 6(2), 189–202. doi: 10.1386/sdf.6.2.189_1
  • Hayes, J., ve Graybeal, G. (2011). Synergizing Traditional Media and the Social Web for Monetization: A Modified Media Micropayment Model. Journal of Media Business Studies, 8(2), 19–44. doi: 10.1080/16522354.2011.11073
  • Hight, C. (2008). The field of Digital Documentary: A Challenge to Documentary Theorists. Studies in Documentary Film, 2(1), 3–7. doi: 10.1386/sdf.2.1.3_2
  • Irom B. (2021) Virtual Reality and Celebrity Humanitarianism: Rashida Jones in Lebanon. Media, Culture & Society, Online First, 1–17. doi: 10.1177/01634437211022725
  • Jiaying, S. (2014). An Olfactory Cinema: Smelling Perfume. Acta Universitatis Sapientiae, Film and Media Studies, 8(1), 113–127. doi: 10.2478/ausfm-2014-0029
  • Kim, J. (2021a). Post-verite Turns: Mapping Twenty-First-Century Korean Documentary Cinema. Korea Journal, 61(3), 188–222. doi: 10.25024/kj.2021.61.3.188
  • Kim, J. (2021b). Synthetic Vision in Virtual Reality Documentaries. Film-Philosophy, 25(3), 321–345. doi: 10.3366/film.2021.0178
  • Klein, B. (2011). Entertaining Ideas: Social Issues in Entertainment Television. Media, Culture & Society, 33(6), 905–921. doi: 10.1177/0163443711411008
  • Lynch, E., Howes, D. ve French, M. (2020). A Touch of Luck and a “Real Taste of Vegas”: A Sensory Ethnography of the Montreal Casino. The Senses and Society, 15(2), 192–215. doi: 10.1080/17458927.2020.1773641
  • MacDougall, D. (2020). Seven Types of Collaboration. Studies in Documentary Film, Online First, 1–20. doi: 10.1080/17503280.2020.1854150
  • McKee, A. (2013). The Power of Art, the Power of Entertainment. Media, Culture & Society, 35(6), 759–770. doi: 10.1177/0163443713491518
  • Mussinelli, C. (2009). Digital Generation: Overview of Cultural and Entertainment Content Usage in Italy. Publishing Research Quarterly, 25(2), 94–100. doi: 10.1007/s12109-009-9112-4
  • Neuman, W. L. (2014). Toplumsal Araştırma Yöntemleri: Nitel ve Nicel Yaklaşımlar (S. Özge, Çev.). Ankara: Yayın Odası.
  • Nichols, B. (1994) Blurred Boundaries: Questions of Meaning in Contemporary Culture. Indianapolis: Indiana University.
  • Pizzoli, S. F. M., Monzani, D., Vergani, L., Sanchini, V., ve Mazzocco, K. (2021). From Virtual to Real Healing: A Critical Overview of the Therapeutic Use of Virtual Reality to Cope with Mourning. Current Psychology, Online First, 1–8. doi: 10.1007/s12144-021-02158-9
  • Renov, M. (2004). The Subject of Documentary. Minneapolis: University of Minnesota.
  • Spence, C. (2020). The Multisensory Experience of Handling and Reading Books. Multisensory Research, 33, 902–928. doi: 10.1163/22134808-bja10015
  • Spence, C. (2021). Scenting Entertainment: Virtual Reality Storytelling, Theme Park Rides, Gambling, and Video-Gaming. i-Perception, 12(4), 1–26. doi: 10.1177/20416695211034538
  • Stein, J.-P. (2021). Conjuring up the Departed in Virtual Reality: The Good, the Bad, and the Potentially Ugly. Psychology of Popular Media, 10(4), 505–510. doi: 10.1037/ppm0000315
  • Vaughan, D. (1999). For Documentary. Los Angeles: University of California.
  • Williams, L. (1993). Mirrors without Memories: Truth, History, and the New Documentary. Film Quarterly, 46(3), 9–21. doi: 10.2307/1212899

MEDIATIC ENTERTAINMENT, DIGITAL IMAGE, NEW DOCUMENTARY: A REVIEW OF 360 DEGREES VIDEO

Yıl 2022, Cilt 9, Sayı 1, 199 - 214, 27.06.2022
https://doi.org/10.17572/mj2022.1.199214

Öz

Digital technical possibilities has changed the understanding of mediatic entertainment. Within the new media ecosystem, documentary production has begun to take place through new participatory forms. Ancient Invisible Cities series, which is the object of this study, has been preferred for the following reasons: (i) Allowing participation through sensory messages and interaction, (ii) digital reconstruction of physical and analog ontological assets, (iii) making it possible to examine objects with three hundred sixty degrees video viewing experience through three-dimensional scans. It has been aimed to question the digital image in documentary making and to evaluate its aesthetic existence in documentary narration. With the content analysis, the perfect representation of the digital image and the realism of the documentary production have been evaluated. Consequently, it has been seen that the viewing experience shows an evolution of the classical flow by being articulated with the digital image and includes a hybrid content type.

Kaynakça

  • Bartlett, R. ve Thompson, A. (Yönetmen). (2018). Ancient Invisible Cities [Belgesel]. İngiltere: BBC.
  • Belton, J. (2002). Digital Cinema: A False Revolution. October, 100, 99–114. doi: 10.1162/016228702320218411
  • Bešlagić, L. (2019). Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary. AM Journal of Art and Media Studies, 20, 51–60. doi: 10.25038/am.v0i20.323
  • Borjan, E. (2020). Challenges of Documentary in the Age of New Media. Filozofska Istraživanja, 40(4), 699–711. doi: 10.21464/fi40403
  • Bruzzi, S. (2006). New Documentary. Londra: Routledge.
  • Coover, R. (2012). Visual Research and the New Documentary. Studies in Documentary Film, 6(2), 203–214, doi: 10.1386/sdf.6.2.203_1
  • Cubitt, S. (2007). Precepts for Digital Artwork. J. Marchessault ve S. Lord (Ed.), içinde, Fluid Screens, Expanded Cinema (s. 304–319). Toronto: University of Toronto.
  • Darley, A. (2001). Visual Digital Culture: Surface Play and Spectacle in New Media Genres. Londra: Routledge.
  • Dikmen, E. Ş. (2021). Sanal Gerçeklik Platformlarında Dı̇jı̇tal Öykü Anlatımı ve 360 Vı̇deo Teknolojisı̇. Proceedings of the 18th International Symposium Communication in the Millennium, 33.
  • Ducasse, J., Kljun, M., ve Čopič Pucihar, K. (2020). Interactive Web Documentaries: A Case Study of Audience Reception and User Engagement on iOtok. International Journal of Human–Computer Interaction, Online First, 1–28. doi: 10.1080/10447318.2020.1757255
  • Glynne, A. (2011). Belgeseller: ... nasıl yapılır, nasıl dağıtılır (Z. M. Oğur ve N. I. Çeper, Çev.). İstanbul: Kalkedon.
  • Gunning, T. (2007). Moving Away from the Index: Cinema and the Impression of Reality. differences, 18(1), 29–52. doi: 10.1215/10407391-2006-022
  • Hansen, M. B. N. (2001.) Seeing with the Body: The Digital Image in Postphotography. Diacritics, 31(4), 54–84. doi: 10.1353/dia.2004.0003
  • Harvey, K. (2012). ‘Walk-In Documentary’: New Paradigms for Game-Based Interactive Storytelling and Experiential Conflict Mediation. Studies in Documentary Film, 6(2), 189–202. doi: 10.1386/sdf.6.2.189_1
  • Hayes, J., ve Graybeal, G. (2011). Synergizing Traditional Media and the Social Web for Monetization: A Modified Media Micropayment Model. Journal of Media Business Studies, 8(2), 19–44. doi: 10.1080/16522354.2011.11073
  • Hight, C. (2008). The field of Digital Documentary: A Challenge to Documentary Theorists. Studies in Documentary Film, 2(1), 3–7. doi: 10.1386/sdf.2.1.3_2
  • Irom B. (2021) Virtual Reality and Celebrity Humanitarianism: Rashida Jones in Lebanon. Media, Culture & Society, Online First, 1–17. doi: 10.1177/01634437211022725
  • Jiaying, S. (2014). An Olfactory Cinema: Smelling Perfume. Acta Universitatis Sapientiae, Film and Media Studies, 8(1), 113–127. doi: 10.2478/ausfm-2014-0029
  • Kim, J. (2021a). Post-verite Turns: Mapping Twenty-First-Century Korean Documentary Cinema. Korea Journal, 61(3), 188–222. doi: 10.25024/kj.2021.61.3.188
  • Kim, J. (2021b). Synthetic Vision in Virtual Reality Documentaries. Film-Philosophy, 25(3), 321–345. doi: 10.3366/film.2021.0178
  • Klein, B. (2011). Entertaining Ideas: Social Issues in Entertainment Television. Media, Culture & Society, 33(6), 905–921. doi: 10.1177/0163443711411008
  • Lynch, E., Howes, D. ve French, M. (2020). A Touch of Luck and a “Real Taste of Vegas”: A Sensory Ethnography of the Montreal Casino. The Senses and Society, 15(2), 192–215. doi: 10.1080/17458927.2020.1773641
  • MacDougall, D. (2020). Seven Types of Collaboration. Studies in Documentary Film, Online First, 1–20. doi: 10.1080/17503280.2020.1854150
  • McKee, A. (2013). The Power of Art, the Power of Entertainment. Media, Culture & Society, 35(6), 759–770. doi: 10.1177/0163443713491518
  • Mussinelli, C. (2009). Digital Generation: Overview of Cultural and Entertainment Content Usage in Italy. Publishing Research Quarterly, 25(2), 94–100. doi: 10.1007/s12109-009-9112-4
  • Neuman, W. L. (2014). Toplumsal Araştırma Yöntemleri: Nitel ve Nicel Yaklaşımlar (S. Özge, Çev.). Ankara: Yayın Odası.
  • Nichols, B. (1994) Blurred Boundaries: Questions of Meaning in Contemporary Culture. Indianapolis: Indiana University.
  • Pizzoli, S. F. M., Monzani, D., Vergani, L., Sanchini, V., ve Mazzocco, K. (2021). From Virtual to Real Healing: A Critical Overview of the Therapeutic Use of Virtual Reality to Cope with Mourning. Current Psychology, Online First, 1–8. doi: 10.1007/s12144-021-02158-9
  • Renov, M. (2004). The Subject of Documentary. Minneapolis: University of Minnesota.
  • Spence, C. (2020). The Multisensory Experience of Handling and Reading Books. Multisensory Research, 33, 902–928. doi: 10.1163/22134808-bja10015
  • Spence, C. (2021). Scenting Entertainment: Virtual Reality Storytelling, Theme Park Rides, Gambling, and Video-Gaming. i-Perception, 12(4), 1–26. doi: 10.1177/20416695211034538
  • Stein, J.-P. (2021). Conjuring up the Departed in Virtual Reality: The Good, the Bad, and the Potentially Ugly. Psychology of Popular Media, 10(4), 505–510. doi: 10.1037/ppm0000315
  • Vaughan, D. (1999). For Documentary. Los Angeles: University of California.
  • Williams, L. (1993). Mirrors without Memories: Truth, History, and the New Documentary. Film Quarterly, 46(3), 9–21. doi: 10.2307/1212899

Ayrıntılar

Birincil Dil Türkçe
Konular İletişim
Bölüm Makaleler (Tema)
Yazarlar

Sezer Ahmet KINA> (Sorumlu Yazar)
ANKARA ÜNİVERSİTESİ, İLETİŞİM FAKÜLTESİ
0000-0002-0814-6915
Türkiye

Yayımlanma Tarihi 27 Haziran 2022
Başvuru Tarihi 30 Ocak 2022
Kabul Tarihi 9 Mayıs 2022
Yayınlandığı Sayı Yıl 2022, Cilt 9, Sayı 1

Kaynak Göster

APA Kına, S. A. (2022). MEDYATİK EĞLENCE, DİJİTAL GÖRÜNTÜ, YENİ BELGESEL: 360 DERECE VİDEO ÜZERİNE BİR İNCELEME . Moment Dergi , Görsel Kültür , 199-214 . DOI: 10.17572/mj2022.1.199214