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Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü ve Toplumsal Etkileri

Yıl 2021, , 109 - 132, 20.05.2021

Aras Özgün Andreas Treske

https://doi.org/10.24955/ilef.933277
Cited By: 1

Öz

Süreğen medya platformları, günümüzde anlatısal metinler için televizyon ve sinemayı ikame edecek yeni bir dolaşım/dağıtım biçimi olarak ortaya çıkıyor. Fakat bu dolaşım biçimine has izleme etkinliğinin zamansal ve mekansal koşulları ve ön plana çıkardığı anlatısal aygıtlar, onu geçmişteki sinema ve televizyon izleyiciliğinden farklı şekilde yapılandırıyor. Süreğen medya platformları, taşınabilir medya teknolojilerinin de yardımıyla, izleyici etkinliğini zamansal ve mekansal kısıtlarından kurtarıp sürekli, her yerde ve her zaman ulaşılabilir hale getiriyor. Bu sadece sinema ve televizyon izleyiciliğinin kurucu niteliği olan kamusallığın uzağında, yalıtılmış, sterilize bir iletişim tecrübesi yaratmakla kalmıyor, ilk bakışta kişisel ve kişiye özel gibi görünen bu yeni iletişim süreci esasında algoritmik süreçler aracılığıyla düzenlenerek platform kapitalizminin kontrol aygıtlarından birine dönüşüyor. Bu yazıda amacımız süreğen medya platformlarının dayattığı bu yeni izleyici etkinliğinin içinde kurulduğu koşulları kuramsal düzeyde analiz etmek ve bu koşulların kamusal yaşama etkisini sorgulamaya girişmek.

Anahtar Kelimeler

Süreğen medya platformları Platform kapitalizmi İzleyici çalışmaları yeni medya çalışmaları etkileşimli medya çalışmaları

Kaynakça

  • Ang, Ien. 1996. Living Room Wars: Rethinking Media Audiences for a Postmodern World. New York and London: Routledge.
  • Brantner, Chris. “More Americans Now Pay For Streaming Services Than Cable TV.” Forbes, 20 Mart, 2019. Erişim Tarihi 4 Şubat 2020. https://www.forbes.com/sites/chrisbrantner/2019/03/20/americans-now-pay-more-for-streaming-services-than-cable-tv/#496a133fcdd2
  • Bourdieu, Pierre. 2007. Distinction: a social critique of the judgement of taste. Harvard University Press.
  • Van Buskirk, Eliot. 2009. “How the Netflix Prize Was Won.” Wired, 22 Eylül, 2009. Erişim Tarihi 4 Şubat 2020. https://www.wired.com/2009/09/how-the-netflix-prize-was-won/
  • Cavell, Stanley. 1982. “The Fact of Television.” Daedalus, Vol.111, No. 4, Print Culture and Video Culture (Güz 1982), pp. 75-96
  • Çetindağ, Selin, Sevda Ünal, Mutlu Binark. 2018. "Televizyon Endüstrisinde Yeni Yayıncılık Ekosistemi Ve "İkinci Ekran" Olgusu: İçerde Dizisi Örneği”. Kolektif Zeka. der. Oya Morva, Erkan Saka, Kalkedon, p. 123-169
  • Schofield Clark, Lynn. 2014. “Mobile Media in the Emotional and Moral Economies of the Household.” The Routledge Companion to Mobile Media. der. Gerard Goggin, Larissa Hjorth, Routledge
  • Dayan, Daniel, Elihu Katz. 1992. Media Events: The Live Broadcasting of History. Harvard University Press
  • Eco, Umberto. 1994. Six Walks in the Fictional Woods. Harvard University Press
  • Feuer, Jane. 1983. "The Concept of Live Television: Ontology as Ideology”, Regarding Television. Critical Approaches-An Anthology, ed. Ann Kaplan. Frederick, MD: University Publications of America.
  • Glebatis Perks, Lisa. 2014. Media Marathoning: Immersions in Morality. London: Lexington Books
  • Goggin, Gerard. 2014. “Mobile Video: Spreading Stories with Mobile Media.” The Routledge Companion to Mobile Media. der. Gerard Goggin, Larissa Hjorth, Routledge
  • Habermas, Jürgen. 1989. The Structural Transformation of the Public Sphere: An Inquiry into a category of Bourgeois Society. Cambridge: Polity Press
  • Hall, Stuart. 1982. “The rediscovery of ‘ideology: return of the repressed in media studies.” Culture, Society and the Media, der. Michael Gurevitch, Tony Bennett, James Curran, Janet Woollacott, Routledge, London and New York, p. 52-87
  • Hall, Stuart. 1977. “Culture, the Media and the ‘Ideological Effect’.” Mass Communication and Society, der. J. Curran, M. Gurevitch and J. Wollacott. London: Edward Arnold, pp. 315-48.
  • Hall, Stuart. 2009. “Encoding/Decoding.” Media and Cultural Studies: KeyWorks der. Durham, Meenakshi Gigi; Keller, Douglas M. Hoboken, New Jersey: Wiley. p. 171-74.
  • Hills, Matt. 2004. “Defining Cult TV: Texts, Intertexts and Fan Audiences” in Robert C. Allen and Annette Hill, editors, The Television Studies Reader. New York: Routledge. 509-23
  • Johnston, Casey. 2012. “Netflix Never Used Its $1 Million Algorithm Due To Engineering Costs.” Wired, 12 Nisan, 2012. Erişim Tarihi 4 Şubat 2020. https://www.wired.com/2012/04/netflix-prize-costs/
  • Kaplan, E. Ann. 1987. Rocking Around the Clock: Music Television, Postmodernism, and Consumer Culture. London: Routledge
  • Lash, Scott, Celia Lury. 2007. Global Culture Industry: The Mediation of Things. Malden, MA: Polity Press
  • Liptak, Andrew. 2019. “The MPAA says streaming video has surpassed cable subscriptions worldwide.” The Verge, 21 Mart, 2019. Erişim Tarihi 4 Şubat 2020. https://www.theverge.com/2019/3/21/18275670/mpaa-report-streaming-video-cable-subscription-worldwide
  • Morley, David. 1986. Family Television: Cultural Power and Domestic Leisure. London: Comedia/Routledge.
  • Morozov, Evgeny. 2015. “Where Uber and Amazon rule: welcome to the world of the platform”, The Guardian, 7 Haziran, 2015. Erişim Tarihi 4 Şubat 2020. https://www.theguardian.com/technology/2015/jun/07/facebook-uber-amazon-platform-economy
  • Neiger, Chris. 2019. “Netflix's Market Share Is Shrinking, but It's Still the King of Video Streaming.” The Motley Fool, 27 Ağustos, 2019. Erişim Tarihi 4 Şubat 2020. https://www.fool.com/investing/2019/08/27/netflix-market-share-shrinking-still-streaming.aspx
  • Özgün, Aras. 1994. “Televizüel Aygıt, Müzik Videoları, MTV.” Birikim Sayı: 64, Ağustos 1994.
  • Özgün, Aras. 2010. “A Common Word.” Rethinking Marxism, Vol. 22, No:3, 374-381, DOI: 10.1080/08935696.2010.490372
  • Rose, Steve. 2020. “'It's a war between technology and a donkey' – how AI is shaking up Hollywood.” The Guardian, 16 Ocak, 2020. Erişim Tarihi 4 Şubat 2020. https://www.theguardian.com/film/2020/jan/16/its-a-war-between-technology-and-a-donkey-how-ai-is-shaking-up-hollywood
  • Simmel, Georg. 1994. “The Picture Frame: an Aesthetic Study” Theory, Culture & Society Vol. 11, no. 1 (February 1994): 11–17. doi:10.1177/026327694011001003.
  • Srnicek, Nick. 2016. Platform Capitalism. Cambridge, UK ; Malden, MA: Polity Press.
  • Watson, Amy. 2019a. “Netflix - Statistics and Facts”, Statista, 27 Mayıs, 2019. Erişim Tarihi 4 Şubat 2020. https://www.statista.com/topics/842/netflix/
  • Watson, Amy. 2019b. “Share of adults with a Netflix subscription in the United States as of December 2018, by ethnicity”, Statista, 17 Aralık, 2019. Erişim Tarihi 4 Şubat 2020. https://www.statista.com/statistics/760330/netflix-subscription-adults-usa-ethnicity/
  • Williams, Raymond. 1974. Television: Technology and Cultural Form. London: Fontana
  • Treske, Andreas. 2013. The Inner Life of Video Spheres. Amsterdam: Institute of Network Cultures
  • Treske, Andreas. 2015. Video Theory: Online Video Aesthetics or the Afterlife of Video. Bielefeld: transcript Verlag. https://doi.org/10.14361/9783839430583-fm
  • Treske, Andreas, Aras Ozgun. 2020. “Narrative Platforms: Towards a Morphology of New Audience Activities and Narrative Forms”, Video Vortex Reader III: Inside the YouTube Decade, ed. Geert Lovink, Andreas Treske. Amsterdam: Institute of Network Cultures
  • Umstead, Thomas. 2019. “African-Americans are Leaders in Media Consumption”, Multichannel News, 15 Eylül, 2019. Erişim Tarihi 4 Şubat 2020. https://www.multichannel.com/blog/african-americans-are-leaders-in-media-consumption
  • Volpe, Allie. 2017. “The One Thing That Isn't Evolving With Netflix & Hulu's Takeover of TV.” Thrillist, 16 Ekim, 2017. Erişim Tarihi 4 Şubat 2020. https://www.thrillist.com/entertainment/nation/netflix-episode-length-streaming-services-traditional-tv
  • Weber, Samuel. 1996. Mass Mediauras: Form, Technics, Media, Stanford, California: Stanford University Press.

Streaming Media Platforms: Social Implications of the Transformation of Audience Activity

Yıl 2021, , 109 - 132, 20.05.2021

Aras Özgün Andreas Treske

https://doi.org/10.24955/ilef.933277
Cited By: 1

Öz

Streaming media platforms are increasingly replacing cinema and television as the dominant means of narrative-content distribution, yet viewing media on these platforms differs in important ways from cinema and television spectatorship, both through the narrative and interactive possibilities they allow, but also through the temporal and spatial conditions they impose on audiences. With the help of the mobile media technologies they are delivered through, streaming media platforms free audiences from the temporal and spatial limitations of cinema and television and offer a continuous yet isolated viewing experience. Algorithmically regulated and customized program flow and the accompanying illusion of interactivity create a “privatized” viewing experience which contrasts with the “publicness” and “collectiveness” of that of cinema and television. In this article, we discuss the novel conditions imposed on viewers by streaming media platforms at a conceptual and theoretical level and interrogate their impact on public life. 

Anahtar Kelimeler

streaming media platforms platform captalism audience studies new media studies interactive media studies

Kaynakça

  • Ang, Ien. 1996. Living Room Wars: Rethinking Media Audiences for a Postmodern World. New York and London: Routledge.
  • Brantner, Chris. “More Americans Now Pay For Streaming Services Than Cable TV.” Forbes, 20 Mart, 2019. Erişim Tarihi 4 Şubat 2020. https://www.forbes.com/sites/chrisbrantner/2019/03/20/americans-now-pay-more-for-streaming-services-than-cable-tv/#496a133fcdd2
  • Bourdieu, Pierre. 2007. Distinction: a social critique of the judgement of taste. Harvard University Press.
  • Van Buskirk, Eliot. 2009. “How the Netflix Prize Was Won.” Wired, 22 Eylül, 2009. Erişim Tarihi 4 Şubat 2020. https://www.wired.com/2009/09/how-the-netflix-prize-was-won/
  • Cavell, Stanley. 1982. “The Fact of Television.” Daedalus, Vol.111, No. 4, Print Culture and Video Culture (Güz 1982), pp. 75-96
  • Çetindağ, Selin, Sevda Ünal, Mutlu Binark. 2018. "Televizyon Endüstrisinde Yeni Yayıncılık Ekosistemi Ve "İkinci Ekran" Olgusu: İçerde Dizisi Örneği”. Kolektif Zeka. der. Oya Morva, Erkan Saka, Kalkedon, p. 123-169
  • Schofield Clark, Lynn. 2014. “Mobile Media in the Emotional and Moral Economies of the Household.” The Routledge Companion to Mobile Media. der. Gerard Goggin, Larissa Hjorth, Routledge
  • Dayan, Daniel, Elihu Katz. 1992. Media Events: The Live Broadcasting of History. Harvard University Press
  • Eco, Umberto. 1994. Six Walks in the Fictional Woods. Harvard University Press
  • Feuer, Jane. 1983. "The Concept of Live Television: Ontology as Ideology”, Regarding Television. Critical Approaches-An Anthology, ed. Ann Kaplan. Frederick, MD: University Publications of America.
  • Glebatis Perks, Lisa. 2014. Media Marathoning: Immersions in Morality. London: Lexington Books
  • Goggin, Gerard. 2014. “Mobile Video: Spreading Stories with Mobile Media.” The Routledge Companion to Mobile Media. der. Gerard Goggin, Larissa Hjorth, Routledge
  • Habermas, Jürgen. 1989. The Structural Transformation of the Public Sphere: An Inquiry into a category of Bourgeois Society. Cambridge: Polity Press
  • Hall, Stuart. 1982. “The rediscovery of ‘ideology: return of the repressed in media studies.” Culture, Society and the Media, der. Michael Gurevitch, Tony Bennett, James Curran, Janet Woollacott, Routledge, London and New York, p. 52-87
  • Hall, Stuart. 1977. “Culture, the Media and the ‘Ideological Effect’.” Mass Communication and Society, der. J. Curran, M. Gurevitch and J. Wollacott. London: Edward Arnold, pp. 315-48.
  • Hall, Stuart. 2009. “Encoding/Decoding.” Media and Cultural Studies: KeyWorks der. Durham, Meenakshi Gigi; Keller, Douglas M. Hoboken, New Jersey: Wiley. p. 171-74.
  • Hills, Matt. 2004. “Defining Cult TV: Texts, Intertexts and Fan Audiences” in Robert C. Allen and Annette Hill, editors, The Television Studies Reader. New York: Routledge. 509-23
  • Johnston, Casey. 2012. “Netflix Never Used Its $1 Million Algorithm Due To Engineering Costs.” Wired, 12 Nisan, 2012. Erişim Tarihi 4 Şubat 2020. https://www.wired.com/2012/04/netflix-prize-costs/
  • Kaplan, E. Ann. 1987. Rocking Around the Clock: Music Television, Postmodernism, and Consumer Culture. London: Routledge
  • Lash, Scott, Celia Lury. 2007. Global Culture Industry: The Mediation of Things. Malden, MA: Polity Press
  • Liptak, Andrew. 2019. “The MPAA says streaming video has surpassed cable subscriptions worldwide.” The Verge, 21 Mart, 2019. Erişim Tarihi 4 Şubat 2020. https://www.theverge.com/2019/3/21/18275670/mpaa-report-streaming-video-cable-subscription-worldwide
  • Morley, David. 1986. Family Television: Cultural Power and Domestic Leisure. London: Comedia/Routledge.
  • Morozov, Evgeny. 2015. “Where Uber and Amazon rule: welcome to the world of the platform”, The Guardian, 7 Haziran, 2015. Erişim Tarihi 4 Şubat 2020. https://www.theguardian.com/technology/2015/jun/07/facebook-uber-amazon-platform-economy
  • Neiger, Chris. 2019. “Netflix's Market Share Is Shrinking, but It's Still the King of Video Streaming.” The Motley Fool, 27 Ağustos, 2019. Erişim Tarihi 4 Şubat 2020. https://www.fool.com/investing/2019/08/27/netflix-market-share-shrinking-still-streaming.aspx
  • Özgün, Aras. 1994. “Televizüel Aygıt, Müzik Videoları, MTV.” Birikim Sayı: 64, Ağustos 1994.
  • Özgün, Aras. 2010. “A Common Word.” Rethinking Marxism, Vol. 22, No:3, 374-381, DOI: 10.1080/08935696.2010.490372
  • Rose, Steve. 2020. “'It's a war between technology and a donkey' – how AI is shaking up Hollywood.” The Guardian, 16 Ocak, 2020. Erişim Tarihi 4 Şubat 2020. https://www.theguardian.com/film/2020/jan/16/its-a-war-between-technology-and-a-donkey-how-ai-is-shaking-up-hollywood
  • Simmel, Georg. 1994. “The Picture Frame: an Aesthetic Study” Theory, Culture & Society Vol. 11, no. 1 (February 1994): 11–17. doi:10.1177/026327694011001003.
  • Srnicek, Nick. 2016. Platform Capitalism. Cambridge, UK ; Malden, MA: Polity Press.
  • Watson, Amy. 2019a. “Netflix - Statistics and Facts”, Statista, 27 Mayıs, 2019. Erişim Tarihi 4 Şubat 2020. https://www.statista.com/topics/842/netflix/
  • Watson, Amy. 2019b. “Share of adults with a Netflix subscription in the United States as of December 2018, by ethnicity”, Statista, 17 Aralık, 2019. Erişim Tarihi 4 Şubat 2020. https://www.statista.com/statistics/760330/netflix-subscription-adults-usa-ethnicity/
  • Williams, Raymond. 1974. Television: Technology and Cultural Form. London: Fontana
  • Treske, Andreas. 2013. The Inner Life of Video Spheres. Amsterdam: Institute of Network Cultures
  • Treske, Andreas. 2015. Video Theory: Online Video Aesthetics or the Afterlife of Video. Bielefeld: transcript Verlag. https://doi.org/10.14361/9783839430583-fm
  • Treske, Andreas, Aras Ozgun. 2020. “Narrative Platforms: Towards a Morphology of New Audience Activities and Narrative Forms”, Video Vortex Reader III: Inside the YouTube Decade, ed. Geert Lovink, Andreas Treske. Amsterdam: Institute of Network Cultures
  • Umstead, Thomas. 2019. “African-Americans are Leaders in Media Consumption”, Multichannel News, 15 Eylül, 2019. Erişim Tarihi 4 Şubat 2020. https://www.multichannel.com/blog/african-americans-are-leaders-in-media-consumption
  • Volpe, Allie. 2017. “The One Thing That Isn't Evolving With Netflix & Hulu's Takeover of TV.” Thrillist, 16 Ekim, 2017. Erişim Tarihi 4 Şubat 2020. https://www.thrillist.com/entertainment/nation/netflix-episode-length-streaming-services-traditional-tv
  • Weber, Samuel. 1996. Mass Mediauras: Form, Technics, Media, Stanford, California: Stanford University Press.
Toplam 38 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Aras Özgün 0000-0001-8105-3451

Andreas Treske 0000-0002-0930-2086

Yayımlanma Tarihi 20 Mayıs 2021
Yayımlandığı Sayı Yıl 2021

Kaynak Göster

APA Özgün, A., & Treske, A. (2021). Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü ve Toplumsal Etkileri. Ankara Üniversitesi İlef Dergisi, 8(1), 109-132. https://doi.org/10.24955/ilef.933277
AMA Özgün A, Treske A. Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü ve Toplumsal Etkileri. Ankara Üniversitesi İlef Dergisi. Mayıs 2021;8(1):109-132. doi:10.24955/ilef.933277
Chicago Özgün, Aras, ve Andreas Treske. “Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü Ve Toplumsal Etkileri”. Ankara Üniversitesi İlef Dergisi 8, sy. 1 (Mayıs 2021): 109-32. https://doi.org/10.24955/ilef.933277.
EndNote Özgün A, Treske A (01 Mayıs 2021) Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü ve Toplumsal Etkileri. Ankara Üniversitesi İlef Dergisi 8 1 109–132.
IEEE A. Özgün ve A. Treske, “Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü ve Toplumsal Etkileri”, Ankara Üniversitesi İlef Dergisi, c. 8, sy. 1, ss. 109–132, 2021, doi: 10.24955/ilef.933277.
ISNAD Özgün, Aras - Treske, Andreas. “Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü Ve Toplumsal Etkileri”. Ankara Üniversitesi İlef Dergisi 8/1 (Mayıs 2021), 109-132. https://doi.org/10.24955/ilef.933277.
JAMA Özgün A, Treske A. Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü ve Toplumsal Etkileri. Ankara Üniversitesi İlef Dergisi. 2021;8:109–132.
MLA Özgün, Aras ve Andreas Treske. “Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü Ve Toplumsal Etkileri”. Ankara Üniversitesi İlef Dergisi, c. 8, sy. 1, 2021, ss. 109-32, doi:10.24955/ilef.933277.
Vancouver Özgün A, Treske A. Süreğen Medya Platformları: İzleyici Etkinliğinin Dönüşümü ve Toplumsal Etkileri. Ankara Üniversitesi İlef Dergisi. 2021;8(1):109-32.

Cited By

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https://doi.org/10.31123/akil.988565