Belgesel film estetiğinde dijitalleşmenin estetik yönü: Netflix belgeselleri örneği
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Dosyalar
Tarih
2024
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Günümüz belgesellerinin, dijitalleşme sonucu ortaya çıkan Yeni Estetik'i barındırdığı varsayımına dayanan bu doktora tezi, Yeni Estetik'in, belgesel estetiğini nasıl etkilediği problematiğine dayanır. Bu problem çerçevesinde şu soruların cevapları aranmıştır: (i) Belgeselin dijitalleşme ile olan etkileşim süreci ne şekilde ilerlemiştir? (ii) Dijitalleşme, hangi araçlar ve pratikler çerçevesinde estetik bir yön kazanmıştır? (iii) Dijitalleşme belgesel filmlerdeki biçim ve estetiği nasıl şekillendirmiştir? Problem çerçevesinde çalışmanın amacı, dijitalleşmenin belgesellerde yarattığı yeni estetik formları/biçimleri ortaya koymaktır. Araştırmanın amacına en uygun verileri sağlayacağı düşüncesi ile amaçlı örneklem yoluna gidilmiştir. Çalışma evreni olarak Netflix seçilmiştir. Netflix'te yayınlanan Büyük Hack, Siber Cehennem: Bir İnternet Kâbusu ve Sosyal İkilem adlı üç belgesel örneği, betimsel analiz ve mizansen analizi yöntemleri ile analiz edilmiştir. Değerlendirmeye alınan örneklemler, Yeni Estetik'i yansıtan parametre başlıkları altında sıralanmıştır. Bu parametreler; hava perspektifi, artırılmış gerçeklik, piksel, aksaklık, dikeylik, bokeh etkisi, ağ bağlantı, dijital duygular, duvar yansımaları, profil fotoğrafları, yüz tanıma, Google Earth, Google Street View, Google Maps, Arayüz, hologram, özçekim, filtre uygulaması, yapay zekâ ve dokunmatik ekrandır. Analiz sonucunda, örneklem olarak incelenen belgesel filmlerin estetik açıdan öncelikle hem klasik yaklaşımları hem de dijital yaklaşımları barındırdığı görülmüştür. Bunun yanı sıra belgesel filmlerde farklı türde dijital cihaz kullanımına yer verilerek dijital kültürün ve dijital estetiğin yansıtıldığı, bunun neticesinde dijital kültür ve dijital estetik görüntülerinin Yeni Estetik'i karşılayacak düzeyde olduğu ve de bu sayede belgesel filmlerde Yeni Estetik'in var olduğu tespit edilmiştir. Tüm bunlarla birlikte dijital kültürün ve dijital estetiğin yarattığı etkiler ile belgesel estetiğini biçimlendirdiği yani kültürel bir deneyimin estetik bir forma dönüşerek belgesel estetiğine dönüştüğü sonucuna ulaşılmıştır.
This dissertation, which is based on the assumption that today's documentaries embody the New Aesthetic that emerged as a result of digitalization, is based on the problematic of how the New Aesthetic affects documentary aesthetics. Within the framework of this problem, answers to the following questions were sought: (i) How has the process of documentary's interaction with digitalization progressed? (ii) Through which tools and practices has digitalization acquired an aesthetic aspect? (iii) How has digitalization shaped the form and aesthetics of documentary films? Within the framework of the problem, the aim of the study is to reveal the new aesthetic forms/shapes created by digitalization in documentaries. Purposive sampling was used with the idea that it would provide the most appropriate data for the purpose of the study. Netflix was selected as the study population. The Big Hack, Cyber Hell: Exposing an Internet Horror and The Social Dilemma, were analyzed through descriptive analysis and mise-en-scene analysis methods. The evaluated samples are listed under parameter headings reflecting the New Aesthetic. These parameters are aerial perspective, augmented reality, pixels, glitch, verticality, bokeh effect, network connectivity, digital emotions, wall reflections, profile photos, face recognition, Google Earth, Google Street View, Google Maps, interface, hologram, selfie, filter application, artificial intelligence and touch screen. As a result of the analysis, it was seen that the documentary films examined as a sample primarily contain both classical approaches and digital approaches in terms of aesthetics. In addition, it has been determined that digital culture and digital aesthetics are reflected by using different types of digital devices in documentary films, and as a result, digital culture and digital aesthetic images are at a level to meet the New Aesthetic, and thus the New Aesthetic exists in documentary films. With all these, it has been concluded that digital culture and digital aesthetics shape documentary aesthetics with the effects created by digital culture and digital aesthetics, that is, a cultural experience turns into an aesthetic form and transforms into documentary aesthetics.
This dissertation, which is based on the assumption that today's documentaries embody the New Aesthetic that emerged as a result of digitalization, is based on the problematic of how the New Aesthetic affects documentary aesthetics. Within the framework of this problem, answers to the following questions were sought: (i) How has the process of documentary's interaction with digitalization progressed? (ii) Through which tools and practices has digitalization acquired an aesthetic aspect? (iii) How has digitalization shaped the form and aesthetics of documentary films? Within the framework of the problem, the aim of the study is to reveal the new aesthetic forms/shapes created by digitalization in documentaries. Purposive sampling was used with the idea that it would provide the most appropriate data for the purpose of the study. Netflix was selected as the study population. The Big Hack, Cyber Hell: Exposing an Internet Horror and The Social Dilemma, were analyzed through descriptive analysis and mise-en-scene analysis methods. The evaluated samples are listed under parameter headings reflecting the New Aesthetic. These parameters are aerial perspective, augmented reality, pixels, glitch, verticality, bokeh effect, network connectivity, digital emotions, wall reflections, profile photos, face recognition, Google Earth, Google Street View, Google Maps, interface, hologram, selfie, filter application, artificial intelligence and touch screen. As a result of the analysis, it was seen that the documentary films examined as a sample primarily contain both classical approaches and digital approaches in terms of aesthetics. In addition, it has been determined that digital culture and digital aesthetics are reflected by using different types of digital devices in documentary films, and as a result, digital culture and digital aesthetic images are at a level to meet the New Aesthetic, and thus the New Aesthetic exists in documentary films. With all these, it has been concluded that digital culture and digital aesthetics shape documentary aesthetics with the effects created by digital culture and digital aesthetics, that is, a cultural experience turns into an aesthetic form and transforms into documentary aesthetics.
Açıklama
Anahtar Kelimeler
Belgesel Film, Belgesel Estetiği, Netflix Belgeselleri, Dijitalleşme, Estetik, Dijital Estetik, Yeni Estetik, Documentary Film, Documentary Aesthetics, Netflix Documentaries, Digitalization, Aesthetic, Digital Aesthetic, New Aesthetic
Kaynak
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Künye
Özkar, M. (2024). Belgesel film estetiğinde dijitalleşmenin estetik yönü: Netflix belgeselleri örneği. (Doktora Tezi). Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü, Konya.
