Volatile Cinematic Image in the Mediation of New Media

Öz

Social networks have created a publicness in which moving image content circulates as well as takes on conventional media functions. This circumstance has a feature that links with the historical process of cinema's ontological growth and necessitates a cinematic image comprehension that goes beyond digital cinema. In the study, the course of the cinematic image in new media environments has been discussed in terms of periodic post-sharing and the heuristic figural analysis technique has been adopted. Social networks, which constitute one of the new media environments, are the research universe and Instagram has been purposively determined as the sample. The Stories application within the network was chosen as the analysis unit. Accordingly, the cinematic quality of the Stories as audio-visual texts circulated in new media environments has been questioned. In addition, the phrase of the new media-mediated cinematic image has been defined through the non-permanent and disappearing quality of these images. This property has been claimed to constitute a novel ontological trait of the cinematic image obtained through new media. It has been argued that the interplay between film and new media is what revealed this characteristic, which is known as “volatility”. As a result, the common elements of the literature in the context of new media and cinematic images have been clarified, and emphasis has been placed on the philosophical ideas derived from social theory by these debates. Finally, the reflection of the time-referenced volatile feature of the new media-mediated cinematic image on the promises and concerns for the future has been interpreted.

Anahtar Kelimeler

• Volatile Cinematic Image
• New Media
• Social Media
• Instagram
• Stories

Yeni Medya Dolayımlı Uçucu Sinematik İmge

Öz

Sosyal paylaşım ağları, konvansiyonel medya işlevlerini üstlenmesinin yanı sıra hareketli görüntü içeriklerinin dolaşıma girdiği bir kamusallık yaratmıştır. Anılan kamusallık sinemanın ontolojik olarak tarihsel süreç içerisindeki evrimiyle kesişen bir nitelik taşımakta ve dijital sinemayı aşan bir sinematik imge kavrayışını gerekli kılmaktadır. Buradan hareketle çalışmada sinematik imgenin yeni medya ortamlarındaki seyri, süreli gönderi paylaşımı özelinde tartışılmakta ve biçimsel çözümleme tekniği benimsenmektedir. Yeni medya ortamlarından biri olan sosyal paylaşım ağlarının araştırma evreni seçildiği çalışmada, güdümlü olarak Instagram örneklem belirlenmiştir. Ağ bünyesindeki Hikâye uygulaması çözümleme birimi olarak seçilmiştir. Buna göre yeni medya ortamlarında dolaşıma sokulan görsel işitsel metinler olarak Hikâyelerin sinematik niteliği sorgulanmış ve yeni medya dolayımlı sinematik imge tamlaması, anılan imgenin kalıcı olmayan ve kaybolan niteliği üzerinden tanımlanmıştır. Bu niteliğin sinematik imgenin yeni medya dolayımında edindiği yeni bir ontolojik özellik olduğu savunulmuştur. “Uçuculuk” olarak tanımlanan bu özelliğin sinema ile yeni medya etkileşiminden doğduğu tartışılmıştır. Böylece yeni medya ve sinematik imge bağlamlı tartışmaların genel uğrakları ortaya konulmuş ve bu tartışmaların sosyal teoriden beslendiği düşünsel izleklere başvurulmuştur. Sonuç olarak yeni medya dolayımlı sinematik imgenin, zaman referanslı uçucu özelliğinin geleceğe dönük vaat ve endişelere yansıması değerlendirilmiştir.

Anahtar Kelimeler

• Uçucu Sinematik İmge
• Yeni Medya
• Sosyal Medya
• Instagram
• Hikâye

Kaynakça

1. Baudrillard, J. (2011). Simülakrlar ve simülasyon (O. Adanır, Çev.). Doğu Batı Yayınları.
2. Bauman, Z. (2000). Liquid modernity. Polity Press.
3. Bauman, Z. (2017). Globalization: The human consequences. Polity Press.
4. Bazin, A. (2005). What is cinema? (H. Gray, Çev.). University of California Press.
5. Bezazoğlu, D. H. (2022). Arşiv imgesinin film ortamında inşası üzerine bir inceleme, Moment Dergi, 9(1), 136-152. https://doi.org/10.17572/mj2022.1.136152
6. Boczkowska, K. (2021). From master narratives to DIY stories: On the post-digital sublime and database documentary in two city symphony films. Studies in Documentary Film, 15(1), 59-74. https://doi.org/10.1080/17503280.2019.1696147
7. Casetti, F. (2011). Sutured reality: Film, from photographic to digital. October, 138, 95–106. https://doi.org/10.1162/octo_a_00069
8. Chupeau, B., Baudry, S. & Doerr, G. (2014). Forensic characterization of pirated movies: Digital cinema cam vs. optical discrip. 2014 IEEE International Workshop on Information Forensics and Security, 155-160. https://doi.org/10.1109/WIFS.2014.7084320

9. Çelenk, S. (2015). Görsel gerçekçilik rejiminin sonu mu? “Yeni” medya döneminde sinema. Mülkiye Dergisi, 39(1), 215-245.
10. De Fina, A. & Perrino, S. (2017). Storytelling in the digital age: New challenges. Narrative Inquiry, 27(2), 209-216. https://doi.org/10.1075/ni.27.2.01def
11. Deleuze, G. (2001). Cinema 2: The time-image (H. Tomlinson & R. Galeta, Çev.). Athlone Press.
12. Denson, S. & Leyda, J. (2016). Perspectives on post-cinema: An introduction. İçinde S. Denson & J. Leyda (Editörler), Post-cinema: Theorizing 21st-century film (ss. 1-19). Reframe Books.
13. Denzin, N. K. (1991). Images of postmodern society: Social theory and contemporary cinema. Sage Publication.
14. Ebner, M. & Holzinger, A. (2007). Successful implementation of user-centered game based learning in higher education: An example from civil engineering. Computers & Education, 49(3), 873-890. https://doi.org/10.1016/j.compedu.2005.11.026
15. Ekström, A. (2016). When is the now? Monitoring disaster in the expansion of time. International Journal of Communication, 10, 5342-5361. https://ijoc.org/index.php/ijoc/article/view/5069/1828
16. Elsaesser, T. (1990). Early cinema: From linear history to mass media archaeology. İçinde T. Elsaesser (Editör), Early cinema: Space, frame, narrative (ss. 1-10). BFI Publishing.
17. Erkılıç, H. (2006). Elektronik/dijital sinema: Değişen üretim tarzında olanaklar ve sınırlılıklar. İçinde E. Akyazı, N. E. Dilmen & T. Kara (Editörler), Yeni iletişim ortamları ve etkileşim (ss. 62- 69). İBB Matbaası.
18. Erkılıç, H. (2017). Dijital sinema teorisi üzerine: Akışkan sinema ve akışkan sinema teorisi. SineFilozofi, 2(4), 56-72. https://dergipark.org.tr/tr/pub/sinefilozofi/issue/33468/346378
19. Frampton, D. (2006). Filmosophy. Wallflower Press.
20. Fuchs, C. (2012). Dallas Smythe today – the audience commodity, the digital labour debate, Marxist political economy and critical theory: Prolegomena to a digital labour theory of value. tripleC, 10(2), 692-740. https://doi.org/10.31269/triplec.v10i2.443
21. Graham, B. & Cook, S. (2010). Rethinking curating: Art after new media. MIT Press.
22. Gurevitch, L. (2016). Cinema designed: Visual effects software and the emergence of the engineered spectacle. İçinde S. Denson & J. Leyda (Editörler), Post-cinema: Theorizing 21st-century film (ss. 270-296). Reframe Books.
23. Güğümcü, S. (2013). Sinematik imge üzerine düşünmek. sinecine, 4(2), 85-97.
24. Hardt, M. & Negri, A. (2012). Declaration. Argo – Navis Author Services.
25. Hartog, F. (2015). Regimes of historicity: Presentism and experiences of time (S. Brown, Çev.). Columbia University Press.
26. Hayward, S. (2001). Cinema studies: The key concepts. Routledge Press.
27. Jameson, F. (2003). The end of temporality. Critical Inquiry, 29(4), 695-718. https://doi.org/10.1086/377726
28. Johnson, J. (2021). Designing with the mind in mind: Simple guide to understanding user interface design guidelines. Morgan Kaufmann Books.
29. Kına, S. A. & Aşılıoğlu, E. (2021). Takdim. İçinde S. A. Kına & E. Aşılıoğlu (Editörler), Black Mirror: Aynadan Yansıyanlar (ss. 15-22). Nika Yayınevi.
30. Kına, S. A. (2022). Medyatik eğlence, dijital görüntü, yeni belgesel: 360 derece video üzerine bir inceleme. Moment Dergi, 9(1), 199-214. https://doi.org/10.17572/mj2022.1.199214
31. Kracauer, S. (1997). Theory of film: The redemption of physical reality. Princeton University Press. Lang, A. (2014). Why is it called Instagram?. Rewind & Capture. https://www.rewindandcapture.com/why-is-it-called-instagram/
32. Manovich, L. (2001). The language of new media. MIT Press.
33. Mpofu, P. (2021). Indigenous media and social media convergence: Adaptation of storytelling on Twitter, SoundCloud and YouTube. Journal of Asian and African Studies, 57(6),1199-1213. https://doi.org/10.1177/00219096211049176
34. Monaco, J. (2010). Bir film nasıl okunur? Sinema dili, tarihi ve kuramı: Sinema, medya ve mültimedya dünyası (E. Yılmaz, Çev.). Oğlak Yayınları.
35. Murray, J. H. (2012). Inventing the medium: Principles of interaction design as a cultural practice. MIT Press.
36. Newton, C. (2016). Instagram’s new stories are a near-perfect copy of Snapchat stories. The Verge. https://www.theverge.com/2016/8/2/12348354/instagram-stories-announced-snapchat-kevin-systrom-interview
37. Paul, C. (2008). New media in the white cube and beyond: Curatorial models for digital art. University of California Press.
38. Pisters, P. (2016). Flash-forward: The future is now. İçinde S. Denson & J. Leyda (Editörler), Post-cinema: Theorizing 21st-century film (ss. 145-170). Reframe Books.
39. Pruitt, J. & Adlin, T. (2010). The persona lifecycle: Keeping people in mind throughout product design. Morgan Kaufmann Books.
40. Rascaroli, L. (2017). How the essay film thinks. Oxford University Press.
41. Rodowick, D. N. (2007). The virtual life of film. Harward University Press.
42. Ryan, M.-L. (2006). Avatars of story. University of Minnesota Press
43. Salen, K. & Zimmerman, E. (2003). Rules of play: Game design fundamentals. MIT Press.
44. Schweitzer, E. J. (2005). Election campaigning online: German party websites in the 2002 national elections. European Journal of Communication, 20(3), 327-351. https://doi.org/10.1177/0267323111423378
45. Simonofski, A., Zuiderwijk, A., Clarinval, A. & Hammedia, W. (2022). Tailoring open government data portals for lay citizens: A gamification theory approach. International Journal of Information Management, 65, 1-14. https://doi.org/10.1016/j.ijinfomgt.2022.102511
46. Smythe, D. W. (1977). Communications: Blindspot of western Marxism. Canadian Journal of Political and Social Theory, 1(3), 1-28.
47. Sontag, S. (1996). The decay of cinema. The New York Times Magazine. https://www.nytimes.com/1996/02/25/magazine/the-decay-of-cinema.html
48. Stam, R. (2000). Film theory: An introduction. Blackwell Publishing.
49. Şener, O. (2016). Snapchat medyayı dönüştürüyor: Yeni form, dil ve içerik. Journo. https://journo.com.tr/snapchat-medyayi-donusturuyor-form-dil-icerik
50. van Dijk, J. (1999). The network society: Social aspects of new media. Sage Publications.
51. Yaren, Ö. (2017). Post-sinema çağına henüz girmedik mi? Sinemanın krizi ve post-sinema tartışmaları. Varlık, 1323, 28-31.
52. Weltevrede, E., Helmond, A. & Gerlitz, C. (2014). The politics of real-time: A device perspective on social media platforms and search engines. Theory, Culture & Society, 31(6), 125-150. https://doi.org/10.1177/0263276414537318