{"title":"Kurgusal Mekânın Bilimsel ve Felsefi Boyutları: ‘The Animatrix-The Second Renaissance’ Bölümüne Metaverse Çerçevesinden Bakmak","authors":"Burcu Yildirim, I. E. Kavut","doi":"10.46372/arts.1142724","DOIUrl":"https://doi.org/10.46372/arts.1142724","url":null,"abstract":"Sinema aracılığıyla felsefi öğretiler ve görüşler mekân altyapısında izleyicilere iletilebilir. İnsan algılarına dair görüşlerin mekânsal düzlemde karşılık bulduğu Matrix serisi de bu yaklaşımı benimser. Zihnin yanıltılabilirliğini konu alan film serisi; felsefe, septisizm, fütürizm, psikoloji, ontoloji, mitoloji ve mistisizm başta olmak üzere birçok alandaki bilgileri alegorik kullanımlarla izleyiciye aktarır. İçerisinde yaşanılan dünyanın gerçekliğinin sorgulanmasına neden olan bir sanal dünya tezi öne sürer. Günümüzde sıklıkla tartışılan insan-yapay zekâ etkileşimine distopik bir yaklaşım sergiler. Zihin-beden ayrılığı diğer bir adıyla kartezyen düalizm felsefesi Matrix evreninde fiziksel bir temsile dönüşür. İzleyiciye gerçekliğin ne’liğini ontolojik açıdan sorgulatan Matrix, bahsi geçen tüm nitelikleriyle bugün bir bilim kurgu klasiği haline gelmiş, kendileri de birer klasiğe dönüşen birçok film ve edebi esere ilham kaynağı olmuştur. Yapılan çalışmada Matrix evrenine dair farklı açılardan çeşitli bilgiler sunan The Animatrix serisi ele alınmış, Matrix’in oluşum hikâyesini anlatan The Second Renaissance I - II bölümleri üzerine yoğunlaşılmıştır. Filmde alt metinsel olarak iletilen, metaverse olgusuna da kaynaklık eden öğreti ve görüşler mekân kullanımlarında aranmış, bugünün metaverse mimarisiyle karşılaştırılmıştır. Sonuçta mekân biçimlenişinin öğreti ve görüşlerin aktarımında bir arka fon görevi üstlendiği ve filmin metaverse olgusuna dair isabetli öngörüleriyle sinemanın bilimsel değerini vurguladığı bulgulanmıştır.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125361257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Katılımcı Kültür ve Transmedya Anlatıyı Dijital Oyun Üzerinden Tartışmak","authors":"Zeynep Özarslan, Berru Perdahci","doi":"10.46372/arts.1191274","DOIUrl":"https://doi.org/10.46372/arts.1191274","url":null,"abstract":"Dijital medyada etkileşimi ve katılımcı kültürü talep eden bir eğlence deneyimi yaratmak amacıyla kurgulanan, mecralar-arası hikâye anlatımı olarak tanımlanan transmedya anlatılarda, hikâye mümkün olduğu kadar çok ve farklı medya platformunda anlatılır ve hikâyeye ait bilgilerin tümünü barındıran tek bir mecra yoktur. Kasıtlı olarak boşlukların bırakıldığı ve bu eksiklikleri tamamlamaya çalışan hayranların katılımı ile genişleyen transmedya hikaye evreninde, çevrimiçi ve çevrimdışı dünya veya kurgusal dünya ile gerçek dünya birbirinin içine geçer. \u0000Bu çalışmada, Valorant adlı dijital oyun için hayranların ürettiği görsel ve yazılı içerikler, “yakınsama”, “katılımcı kültür” ve “kolektif zeka” kavramlarıyla ilişkili olarak ve transmedyanın yedi ilkesine göre durum çalışması metodolojisi kullanılarak analiz edilir. Bulgulara göre yakınsama, kolektif zeka ve katılımcı kültür sayesinde ortaya konan hayran performansı, transmedyanın yayılabilirlik, derine inebilirlik, çeşitlendirilebilirlik, dünya inşa etme ve performans ilkeleri ile örtüşmektedir. Öte yandan oyun şirketi, bu katılımcı kültür içerikleri üzerinden çıkar sağlamaktadır. Bu durum, dijital mecraların bir yaşam tarzına dönüştüğünü de göstermektedir.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116907124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Güvencesizleşmenin Sembolik İnkârı Olarak Sosyal Medya Pratikleri: Beyaz Yakalı Profesyonel Kültürüne LinkedIn Üzerinden Bir Bakış","authors":"Ufuk Gürbüzdal","doi":"10.46372/arts.1191703","DOIUrl":"https://doi.org/10.46372/arts.1191703","url":null,"abstract":"Bu makale, Türkiye’deki LinkedIn kullanıcılarının sembolik pratiklerini (yorumlar, paylaşımlar vb.) tartışarak, beyaz yakalı profesyonel kültürünün niteliğine ilişkin bir sorgulama gerçekleştirmektedir. Makale, kendini dünyanın en büyük profesyonel ağı olarak tanımlayan LinkedIn’e üye olan kullanıcıların hâkim sembolik pratiklerinin neler olduğunu, Türkiye’de popüler bir çevrim içi katılımcı sözlük olan Ekşi Sözlük’te “LinkedIn” başlığı altına yazılan toplam 252 sayfalık üye yorumlarının nitel analizi aracılığıyla tespit etmektedir. Bu tespitlerden hareketle, makale, beyaz yakalıların kendi mesleki konumlarını, parçası oldukları iş süreçlerini ve dâhil oldukları profesyonel ilişkileri sembolik olarak nasıl temsil ettiklerine odaklanmaktadır. Bu çerçevede, çalışmada, Ekşi Sözlük yazarlarının LinkedIn üzerinde gözlemledikleri yaygın beyaz yakalı sembolik pratiklerinin hangileri olduğu tespit edilmiş, Türkiye’deki beyaz yakalıların nesnel toplumsal koşulları ve beyaz yakalıların kendi toplumsal koşullarına yönelik öznel değerlendirmeleri bulgular üzerinden karşılaştırmalı olarak ele alınmıştır. Bu yolla, beyaz yakalıların profesyonel kültürüne ilişkin çeşitli çıkarımlar yapılmıştır.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121977068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vertical Screen in the Digital World: New Narrative Form of Vertical Short Films","authors":"Özgür Çalişkan","doi":"10.46372/arts.1197479","DOIUrl":"https://doi.org/10.46372/arts.1197479","url":null,"abstract":"Technology has affected the way cinema is produced and consumed. One of these effects is the transfer of film production and consumption to mobile devices. Mobile phones with vertical screens are not only a means of communication but are also involved in film production and consumption. Given this situation, visual content production for the vertical screen has also increased. This study examines the field of short films produced with vertical framing, which has been increasing, especially in the last decade. For this purpose, the content, form, and characteristics of vertical narrative in short films are revealed by analyzing short films in online festivals organized in the field of vertical short films. The study analyzes the common features of fifties short films and discusses the effects of digital transformation on short films as vertical narratives in the context of narrative form, framing techniques, and camera movements.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"658 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121027209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Istanbul Red’ In the Context of Adaptation Studies in Cinema","authors":"İkbal BOZKURT AVCI, A. Ekici","doi":"10.46372/arts.1151980","DOIUrl":"https://doi.org/10.46372/arts.1151980","url":null,"abstract":"This study aims to examine Ferzan Özpetek, one of the most important directors of the late Turkish and Italian cinema, in the direction of new theoretical approaches in the adaptation studies of the movie \"Istanbul Kırmızısı\" and the novel of the same name. The reason for choosing this movie is that both the director of the movie and the author of the novel are the same person. In the study, the novel, which is the film and the source text; The theme is evaluated in terms of temporal and spatial changes. Thematically; While the themes of love, friendship, family, freedom and Istanbul show continuity in both texts, the plot and characters that are the carriers of the themes show differences. The theme of love, which can be viewed through the author's own life and the life of his family members in the source text, progresses through the character of Orhan in the movie. The theme of freedom; While the source text is handled in a more social context, the character of Orhan is reduced to a private one in the movie. Although both texts take place in Istanbul, they show differences in terms of micro-regions within Istanbul. There is a three-year time difference between the novel and the movie. Apart from employing visual and auditory elements in cinematographic conventions to serve the theme, literature and cinema have different industrial and commercial structures.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130960409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Becoming Woman in Table Secrets","authors":"Derya Çetin","doi":"10.46372/arts.1151985","DOIUrl":"https://doi.org/10.46372/arts.1151985","url":null,"abstract":"This study aims to evaluate Ümit Ünal's film called Table Secrets within the framework of Gilles Deleuze and Felix Guattari's concept of becoming-woman. For this purpose, first of all, the minor literature and minor cinema concepts developed by the authors from there are included, and then the concepts of becoming and becoming a woman are examined. Then, the film selected by the purposive sampling method is analyzed under the headings of \"lines of escape and deterritorialization\", \"blurring of private-public space\" and \"pluralization of identities\". Lines of escape, which mean the deterritorialization of all kinds of arrangements, focus especially on Neslihan in the film. The film is based on Neslihan's oscillation between her identity as a quiet, obedient housewife and her cold-blooded identity who commits planned murders. Therefore, in this study, which aims to evaluate the concept of becoming-woman in the movie Sofra Sırları, it can be said that almost all women in the narrative were initially set up as a stereotypical category, but they entered a molecular or rhizomatic process of becoming-woman throughout the film.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116830870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Immersive Experience of the Immateriality","authors":"Başak Şi̇ray","doi":"10.46372/arts.1151965","DOIUrl":"https://doi.org/10.46372/arts.1151965","url":null,"abstract":"This article sheds a historical light to holistic and tactile perception of the artwork, which began with twentieth-century avant-garde artists, conceptually eloborated in Moholy-Nagy's film theory and Benjamin's groundbreaking text, The Work of Art at the Age of Mechanical Reproduction. This essay explores the foci of a similar tactile turn in contemporary new media theories through selected contemporary artworks. Expanding with immaterial art works such as video and new media, today's art examines the immersive experience and interaction exploring the spread of its haptic structure in space and time. \u0000 \u0000This article, which aims to rethink tactility, will analyze the material aspects of artworks that change the space haptically, such as light and video installations, by looking at how the immaterial nature of digital artworks is mostly materialized through the affect they create on the bodies of the viewers. The transformative nature of the affect and experience created in the tactile space-time continuum, to which the volunteer viewers for the immersive experience is invited, will be discussed.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116958808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"New Image Painters within the Context of the Pluralist Character of the 1970s","authors":"Havva Demi̇rcan","doi":"10.46372/arts.1148307","DOIUrl":"https://doi.org/10.46372/arts.1148307","url":null,"abstract":"This article discusses the new effects of New Image Painters, of the pluralist environment of the 1970s, in the context of postmodernism and explores the formal and conceptual situations in their art during these dates, when the change in the spirit of the time is clearly felt. New image painters that are not frequently encountered in Turkish literature, came to the fore with their exhibition in 1978. In this article, the reflections of these artists, who are in a kind of transition period, on their works, which cannot completely break away from the modern but also carry traces of the postmodern, are examined. Since the 1960s, there has been an increase in conceptual-based approaches to art, and with the disfavor shown to figurative painting and narration, the idea of art as a commodity that can be exhibited, sold, and bought has been also interrupted. By the 1970s, this situation had started to change and with the arrival of the 1980s, figurative painting and narration had come back. The defining character of the 1970s was pluralism, a term translated in Turkish as “çoğulculuk” in its sociological sense and as “çokçuluk” in its philosophical sense. Many writers and thinkers described the pluralistic structure of the 1970s era as ‘postmodern’. These artists, who approach the figure with an abstractionist, reductionist understanding rather than realism, and who do not deny the aesthetics of caricature, also pointed out the differences in the approach to the 'new', the ground shifts in the transition from the 70s to the 80s, as they did not see the 'bad' as an inferior form in art and started to move away from the idea of 'successfully completed works'. It can be said that the new imagers also herald the exhaustion of the 'master artist’ and 'genius' narrative.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133470833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Analysis of Early Watercolor Paintings by Thomas Girtin and Joseph Mallord William Turner","authors":"Orhan Erkal","doi":"10.46372/arts.1091583","DOIUrl":"https://doi.org/10.46372/arts.1091583","url":null,"abstract":"18th century points at an era where the national identity of English Art is on the verge of establishment with the founding of the Royal Academy. In this period landscape painting which starts to stand out on its own in Europe also stands out in England by plein air watercolor paintings. This research analyzes the early watercolor landscapes of Thomas Girtin and Joseph Mallord William Turher who worked in parallel between the years 1775-1802. The study is limited to these dates stated in the sentence before, because of Girtin’s death in 1802. The lack of such a study in Turkish literature which analyzes these artitsts works together puts forth the necessity of this research. National and ınternational literature reviewed as a method and the works of these artists were analyzed based information gained from the source review. Firstly, the study scrutinizes the status of landscape painting in England at the end of the 18th century. Under the 2nd title the artworks which were produced together by Girtin and Turner under the Academy of Dr. Monro examined. 3rd title examines their works as apprentices. Under the 4th title the development of the artists observed trough their country tours. Under the 5th title both in the last years of Girtin, both artists activies examined. All of the information gained from the research arranged and presented at the reader under the conclusion section. The study aims to track down the process of construction of English watercolor school on these artists and provides a basis for further research on the early years of Girtin and Turner for Turkish researchers.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"109 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115754399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Effect of Casting on the Film Structure: An Example of Nuri Bilge Ceylan’s Cinema","authors":"Shyqyri Caushaj, Zeynep ÇETİN ERUS","doi":"10.46372/arts.1112615","DOIUrl":"https://doi.org/10.46372/arts.1112615","url":null,"abstract":"This research aims to analyze the relation between the director's casting in cinema and the language and narrative of a film with a focus on Nuri Bilge Ceylan's cinema. The alterations in the language and narrative of his films are examined by focusing on the changes in the selection of actors throughout his filmography. This article discusses the relation between his casting choices and the gradual increase of dialogues in his films, his cinema (consisting to some extent of photographic images being dramatized) becoming more talkative, the prolongation of the film durations, the director's centering the humans and their nature with a searcher soul. This research has a qualitative structure, and the case study method was used by examining the behind-the-scenes footage and interviews with the actors. After the first four movies in which he worked with amateur actors -including the short film Cocoon (1994), The Town (1997), Clouds of May (1999), and Distant (2002)- the film he took part as an actor himself, the Climates (2006), is considered as a transition point for his gravitation towards working with professional actors. He then worked with professional actors in his last four movies, Three Monkeys (2008), then Once Upon a Time in Anatolia (2011), Winter Sleep (2014), and The Wild Pear Tree (2018), which are differentiated from the first period films with amateurs actors. The reason for the change in the criteria of the casting process, the difference between amateur or professional casting, and his approach and the changes were analyzed in the light of the theories of Model Acting and System Acting. The effect of these changes was examined through Ceylan's cinematic language and the study aims to discuss how actor choices could affect the narrative assets of the film.","PeriodicalId":433282,"journal":{"name":"ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121927181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}