Volatile Cinematic Image in the Mediation of New Media

Yıl 2022, , 337 - 353, 29.12.2022

Sezer Ahmet Kına

https://doi.org/10.55609/yenimedya.1144010

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

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