Araştırma Makalesi
COVID-19 Pandemisi Sürecinde Dijital Platformların Yükselişi: Sinema Değer Zincirindeki Değişim Sinema Endüstrisini Nasıl Etkiler?
Öz
COVID-19 pandemisi dijital platformlar için katalizör işlevi görmüştür. Sinema salonlarının kapanmasından dolayı stüdyolar, gösterimleri ertelerken bir yandan da kirala & izle modeli (VoD) ile dijital platformlara yönelmektedirler. Sinema salonlarında gösterim sürecinin atlanarak filmlerin doğrudan dijital platformlarda gösterime girmesi klasik yapım-dağıtım-gösterim zincirinin kırılması anlamına gelmektedir. Bu durum yeni bir dikey yapılanmayı ve işleyişi doğurmaktadır. Yeni Sinema İşletim Değer Zinciri ağırlık kazanmakta, bu alandaki dönüşüm Yeni Medya İş Modeli veya Business 2.0 olarak değerlendirilmektedir. Makale, bağlamsal yaklaşımla sinema değer zinciri içinde gün geçtikçe yükseliş eğrisi gösteren dijital platformları dünya ve Türkiye özelinde karşılaştırmalı olarak incelemeyi amaçlamaktadır. Küresel sinema endüstrisinde ve Türkiye’deki tartışmalar ile yasal düzenlemeler makalenin çalışma çerçevesini çizmektedir. Yöntem olarak bağlamsal yaklaşımla sinema değer zinciri, ulusal bir film endüstrisinin kültürel, politik, kurumsal, endüstriyel belirleyicilerinden biri olarak analiz edilmektedir. Bu çerçevede sinema sektörü temsilcileri ile yapmış olduğumuz derinlemesine görüşme verileri ile ikincil kaynakların (mevzuat, rapor, literatür) inceleme ve analizi yapılacaktır.
Anahtar Kelimeler
Sinema Değer Zinciri VoD dijital platformlar COVID-19 pandemisi sinema salonu
Teşekkür
Bu makale “COVID-19 Pandemisi ve Sinema Sektöründe Kriz” başlıklı 120K625 numaralı TÜBİTAK-SOBAG 1001 COVID-19 ve TOPLUM konulu projeden elde edilmiştir. Yazarlar araştırma desteği için TÜBİTAK’a teşekkür ederler. Bu makale ayrıca 26-28 Ekim 2020 tarihleri arasında düzenlenen 2. Uluslararası Dijital Çağda İletişim Sempozyumu’nda sunulan bildirinin geliştirilmiş bir halidir.
Kaynakça
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- Ballard, Sam. 2020. “Ōma in Paris Will Be The World’s First ‘Vertical’ Cinema With Private Pods.” Erişim tarihi 2 Eylül 2020. https://globetrender.com/2020/08/29/oma-paris-vertical-cinema-private-pods/.
- Belton, John. 2002. “A False Revolution.” October 100 (Spring): 98-114.
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The Rise of Digital Platforms in Days of COVID-19 Pandemic: How Does the Change in Film Value Chain Affect the Film Industry?
Öz
The COVID-19 pandemic acts as a catalyst for digital platforms. Since movie theatres are closed, studios delay exhibitions, with a tendency toward digital platforms with the VoD model. Skipping the exhibition process and directly exhibiting films on digital platforms means breaking the classical production-distribution-exhibition chain. The New Film Exploitation Value Chain carries weight, and the transformation in this domain is regarded as the New Media Business Model or Business 2.0. This article aims to examine digital platforms showing a positive slope in the cinema value chain, comparing Turkey with the world. The paper focuses on debates within the global film industry and Turkey, and the related legislation. With a contextual approach, the cinema value chain is analysed as one of the cultural, political, institutional, and industrial determinants of the national film industry. In-depth interviews with representatives of the film industry, and secondary sources, such as legislation, reports and literature, are analysed and examined.
Anahtar Kelimeler
Film Value Chain VoD digital platforms COVID-19 pandemic cinema theater
Kaynakça
- Andreeva, Neillie. 2020. “Historian William Mann On How The 1918 Spanish Flu Changed Hollywood Forever & How COVID-19 Might Too.” Deadline. Erişim tarihi 25 Nisan 2020. https://deadline.com/2020/04/hollywood-coronavirus-impact-spanish-flu-history-lessons-william-mann-interview-1202899630/
- Ballard, Sam. 2020. “Ōma in Paris Will Be The World’s First ‘Vertical’ Cinema With Private Pods.” Erişim tarihi 2 Eylül 2020. https://globetrender.com/2020/08/29/oma-paris-vertical-cinema-private-pods/.
- Belton, John. 2002. “A False Revolution.” October 100 (Spring): 98-114.
- Brecht, Bertolt. 1974. “Film bir meta’dır, sinema bir eğlence.” Çeviren İzzet Yasar. Çağdaş Sinema 1: 50-52.
- Box Office Türkiye. 2020a. “Sinema salonları vs. online mecralar: Doğrudan ev sinemasına gelen Trolls World Tour, birçok rekorun yeni sahibi oldu.” Erişim tarihi 20 Nisan 2020. https://boxofficeturkiye.com/haber/sinema-salonlari-vs-online-mecralar-dogrudan-ev-sinemasina-gelen-trolls-world-tour-bircok-rekorun-yeni-sahibi-oldu--2571,
- Box Office Türkiye. 2020b."Sinemada normalleşme süreci 6 aydan uzun sürebilir." Erişim tarihi 15 Nisan 2020. https://boxofficeturkiye.com/haber/box-office-turkiye-sinemada-normallesme-sureci-6-aydan-uzun-surebilir--2568
- Brody, Richard. 2020. “Lessons for the Movie Industry from the 1918 Influenza Pandemic.” New Yorker. Erişim tarihi 20 Nisan 2020.https://www.newyorker.com/culture/the-front-row/lessons-for-the-movie-industry-from-the-1918-influenza-pandemic.
- Cherchi Ushai, Paolo. 2001. The Death of Cinema. Londra: BFI.
- Comolli, Jean-Luc ve Paul Narboni. 1989. “Cinema/Ideology/Criticism”. Cahiers du Cinéma, 1969-1972: The Politics of Representation içinde, editör Nick Browne, 58-67. Cambridge: Harvard University Press.
- Cunat, Lea. 2019. “European Public Broadcasters’ Future Investment in Original Content Challenged.” Ampere Analysis. Erişim tarihi 20 Ağustos 2020. https://www.ampereanalysis.com/insight/european-public-broadcasters-future-investment-in-original-content-challenged
- Currah, Andrew. 2006. “Hollywood versus the Internet: the media and entertainment industries in a digital and networked economy.” Journal of Economic Geography 6: 439–468.
- Davies, Adam ve Nicaol Wistreich. 2007. The Film Finance Handbook, New GlobalEdition. Londra: Netribution.
- D'Alessandro, Anthony. 2020a. “Universal & AMC Theatres Make Peace, Will Crunch Theatrical Window To 17 Days With Option For PVOD After.” Erişim tarihi 1 Ağustos 2020. https://deadline.com/2020/07/universal-amc-theatres-theatrical-window-crush-pvod-agreement-1202997573/.
- D'Alessandro, Anthony. 2020b. “Cinemark Boss Mark Zoradi On Universal-AMC Deal: ‘Aggressive Shortened Theatrical Window Could Have An Adverse Impact’ To Movie’s Life.” Erişim tarihi 5 Ağustos 2020. https://deadline.com/2020/08/cinemark-mark-zoradi-on-universal-amc-theater-window-collapse-1203003411/.
- D'Alessandro Anthony. 2021. “Mission: Impossible 7’ & ‘A Quiet Place Part II’ To Hit Paramount+ After 45-Day Theatrical Run.” Deadline Erişim tarihi 26 Şubat 2021.https://deadline.com/2021/02/mission-impossible-7-a-quiet-place-part-ii-to-hit-paramount-after-45-day-theatrical-run-1234700304/
- D'Alessandro, Anthony ve Nancy Tartaglione. 2020. “Cineworld Reacts To Universal-AMC Theatrical Window Crunching PVOD Deal: We Do Not See Any Business Sense In This Model.” Erişim tarihi1Ağustos 2020. https://deadline.com/2020/07/cineworld-universal-amc-theatrical-windows-pvod-deal-1202998245/.
- Dikkol, Selver. 2020. “Türkiye’de Blu TV Deneyimini Ekonomik ve Sembolik Sermaye Bağlamında Okumak.” Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi (e-gifder) 8 (1): 478-502.
- Doğan, Ömer Faruk. 2020. “Bir Başkadır, Almanya’da en çok izlenenler listesine girdi.” Erişim tarihi 25 Kasım 2020. https://hwp.com.tr/bir-baskadir-almanya-en-cok-izlenenler-listesine-girdi-159968.
- Dziadul, Chris. 2021. “Netflix starts 2021 on a roll.” Erişim tarihi 25 Ocak 2021. https://www.broadbandtvnews.com/2021/01/20/netflix-starts-2021-on-a-roll/?mc_cid=a520f727dd&mc_eid=7a57aef086
- DW Türkçe. 2021. “Türkiye dizi ihracatında Hollywood'dan sonra dünya ikincisi.” Erişim tarihi 20 Haziran 2021. https://www.youtube.com/watch?v=g07tFkijtt4. Eliashberg, Jehoshua, Anita Elberse ve Mark Leenders. 2006. “The Motion PictureIndustry: Critical Issues in Practice, Current Research, and New Research Directions.” Marketing Science 25(6):638-661.
- Erem, Onur. 2019. “Sinema yasası: Neden tartışılıyor, yeni yasa çözüm olacak mı?” Erişim tarihi 23 Ocak 2019. https://www.bbc.com/turkce/haberler-turkiye-46925169,
- Erkılıç, Hakan. 2017."Dijital Sinema Teorisi Üzerine: Akışkan Sinema ve Akışkan Sinema Teorisi." SineFilozofi 2(4): 56-72.
- Erkılıç, Hakan, Senem Duruel Erkılıç ve Süleyman Değirmen. 2020. COVID-19 Pandemisi ve Sinema Sektöründe Kriz- TÜBİTAK-SOBAG COVID-19 ve TOPLUM 120K625 PROJESİ.
- Erkılıç, Hakan ve Ayşe Gül Toprak. 2012. “Belgesel sinemanın alternatif dağıtım ve gösterim olanağı olarak internet.” The Turkish Online Journal of Design Art and Communication 2(2): 10-16.
- Finney, Angus. 2010. The International Film Business. Londra: Routledge.
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- Finney, Angus. 2015. The International Film Business: A Market Guide Beyond Hollyvood. New York: Routledge.
- Gaudreault, André ve Phillippe Marion. 2015. The End of Cinema. Çeviren Timothy Barnard. NewYork: Columbia University Press.
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- Kehoe, Keith ve John Mateer. 2015. “The Impact of Digital Technology on the Distribution Value Chain Model of Independent Feature Films in the UK.” International Journal on Media Management 17:2, 93-108, DOI: 10.1080/14241277.2015.1055533
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- Kovach, Steve. 2020. “Your movie theater experience is going extinct.” CNBC. Erişim Tarihi 26 Aralık 2020. https://www.cnbc.com/2020/12/04/warner-bros-to-release-movies-on-hbo-max-threatening-theatrical-windows.html.
- Kostovska, Ivana, Tim Rats ve Karen Donders.2020. “The rise of the ‘Netflix tax’ and what it means for sustaining European audiovisual markets.” Innovation: The European Journal of Social Science Research 33(4): 423-441. DOI: 10.1080/13511610.2020.1774354
- Küng, Lucy. 2008. Strategic management in the media: Theory and practice. Londra: SAGE Publications.
- Leiva, Garcia, M T. ve A. Luis Albornoz. 2020. “VOD service providers and regulation in the European Union: an audiovisual diversity approach.” International Journal of Cultural Policy 180 (1): 101-115. DOI: 10.1080/10286632.2020.1769614
- Lobato, Ramon. 2019. Netflix Nations. NewYork: NewYork University Press.
- Lodge, Guy. 2020. “Tenet didn't just fail to save cinema – it may well have killed it for good.” Erişim tarihi 5 Ekim 2020. https://www.theguardian.com/film/2020/oct/06/tenet-didnt-just-fail-to-save-cinema-it-may-well-have-killed-it-for-good.
- Meikle, Graham ve Sherman Young. 2012. Media Convergence: Networked Digital Media in Everyday Life. Palgrave-Macmillan
- Meares, Hadley. 2020. “Closed Movie Theaters and Infected Stars: How the 1918 Flu Halted Hollywood.” Erişim tarihi 1 Nisan 2020. Hollywood Reporter. https://www.hollywoodreporter.com/news/how-1918-flu-halted-hollywood-1286640.
- Murdock, Graham. 2000. “Digital Futures: European Television in the Age of Convergence.” Television Across Europe içinde, editörler Jan Wieten, Graham Murdock ve Peter Dahlgren. London: Sage. “Netflix Türkiye, Yeni Yerli Projelerini Duyurdu.” 2020. Erişim tarihi 25 Ekim 2020. https://altyazi.net/haberler/netflix-turkiye-yeni-yerli-proje-duyurusu/.
- Nilsen, Anders Waage ve Rune Smistad. 2012. “ICT challenges and opportunities for the film industry - a value chain perspective on digital distribution.” Erişim tarihi 17 Ekim 2019. http://archive.northsearegion.eu/files/repository/20140903172212_value-chain-perspective-on-digitaldistribution.pdf.
- “O karar ortalığı karıştırdı... Çok sert tepki geldi.” 2019. Erişim tarihi 20 Şubat 2019. https://www.hurriyet.com.tr/gundem/o-karar-ortaligi-karistirdi-cok-sert-tepki-geldi-41120295. Pardo, Alejandro. 2014. “Digital Hollywood: How internet and social media are changing the movie business.” Handbook of Social Media Management: Value Chain and Business Models in Changing Media Markets içinde, editörler M. Friedrichsen ve W. Mülh-Benninghaus, 329–348. New York: Springer.
- Pulver, Andrew. 2020. “At least 170,000 lose jobs as film industry grinds to a halt due to coronavirus.” The Guardian. Erişim tarihi 25 Mart 2020. https://www.theguardian.com/film/2020/mar/19/loss-of-jobs-income-film-industry-hollywood-coronavirus-pandemic-covid-19.
- Ray, Kunal. 2020. “Cinema after COVID-19.” Erişim tarihi 14 Haziran 2020. https://www.thehindu.com/opinion/op-ed/cinema-after-covid-19/article31643937.ece Rubin, Rebecca. 2021. “U.S. Box Office Plummets 80%, Global Revenue Drops 71% in 2020 Amid Pandemic.” Erişim tarihi 15 Ocak 2021. Variety. https://variety.com/2021/film/box-office/box-office-final-revenues-2020-coronavirus-pandemic-1234879082/
- Salvador Elisa, Jean Paul Simon ve Pierre Jean Benghozi. 2019. “Facing Disruption: The Cinema Value Chain in the Digital Age.” International Journal of Arts Management 22(1): 25-40.
- “Sazan Sarmalı Netflix'te gösterime girince ortalık karıştı!” 2020. Cumhuriyet. 16 Şubat 2019. https://www.cumhuriyet.com.tr/haber/sazan-sarmali-netflixte-gosterime-girince-ortalik-karisti-1251581
- Schwartzel, Erich. 2020. “Trolls World Tour’ breaks digital records and charts a new path for Hollywood.” Wall Street Journal. Erişim tarihi 2 Mayıs 2020. https://www.wsj.com/articles/trolls-world-tour-breaks-digital-records-and-charts-a-new-path-for-hollywood-11588066202.
- Scorsese, Martin. 2021. “Federico Fellini and the lost magic of cinema.” Harper’s Magazine. Erişim tarihi 20 Şubat 2021. https://harpers.org/archive/2021/03/il-maestro-federico-fellini-martin-scorsese/
- Shambu, Girish. 2020.Yeni Sinefili. Çeviren Bilge Demirtaş. Eskişehir: Yort.
- Spangler, Todd. 2020. “YouTube to Host Free Virtual Film Festival With 20 Partners Including Cannes, Tribeca, Sundance.” Erişim tarihi 12 Mayıs 2020. https://variety.com/2020/digital/news/youtube-free-film-festival-cannes-tribeca-sundance-1234590501/
- Stevens, Kristen. 2016. Australian Film Festivals. NewYork: Palgrave Macmillan.
- Strauven, Wanda. 2020. “Let’s Go to Oberhausen! Some Notes on an Online Film Festival Experience.” Pandemic Media. Erişim tarihi 25 Ağustos 2020. https://pandemicmedia.meson.press/chapters/education-instruction/lets-go-to-oberhausen-some-notes-on-an-online-film-festival-experience/
- Swartz, Jon. 2020. “Netflix has biggest quarter with nearly 16 million new subscribers signing on.” Erişim Tarihi 30 Nisan 2020. https://www.marketwatch.com/story/netflix-adds-more-than-15-million-new-subscribers-stock-rockets-higher-2020-04-21?mod=article_inline.
- Troyn, Chuck. 2013. On-Demand Culture. New Jersey: Rutgers University Press
- Turner, Graeme. 1999. Film as Social Practice. Londra: Routledge.
- Ulin, Jeffrey C. 2010. The Businness of Media Distrubition. Oxford: Elsevier.
- UNESCO. 2020. Culture in Crisis: Policy Guide for a Resilient Creative Sector. Erişim tarihi 26 Aralık 2020. https://unesdoc.unesco.org/ark:/48223/pf0000374631. Vanacker, Rebecca. 2020. “Scoob! Tops Premium VOD Charts Faster Than Trolls World Tour.” Screen Rant. Erişim tarihi 3 Haziran 2020. https://screenrant.com/scoob-beats-trolls-world-tour-vod-charts/.
- Vang, Jan ve Cristiana Chaminade. 2007. “Cultural Clusters, Global-Local Linkages and Spillovers: Theoretical and Empirical Insights from an Exploratory Study of Toronto's Film Cluster.” Industry and Innovation 14(4): 401-420.
- van Dijck, José, Thomas Poell ve Martijn de Waal. 2018. The Platform Society. NewYork: Oxford University Press.
- Vary, Adam B.ve Rebecca Rubin. 2020. “With ‘Mulan,’ Disney Tests Out Entirely New Early VOD Model.” Erişim tarihi 6 Ağustos 2020. https://variety.com/2020/film/news/mulan-disney-plus-premiere-1234711185/.
- Vitkauskaitė, Ieva. 2020. “Types of Film Production Business Models and Their Interrelationship.” Informacijos Mokslai 89:43-54. von Sychowski, Patric. 2014. “Premium VOD just killed the cinema release window.” Celluloid Junkie. Erişim tarihi 10 Haziran 2020. https://celluloidjunkie.com/2014/06/03/premium-vod-just-killed-cinema-release-window/
- Vulser, Nicole. 2020. “Plan de Relance :Roselyne Bachelot Détaille la Répartition des Aides au Cinéma.” Le Monde. Erişim tarihi 26 Aralık.2020. https://www.lemonde.fr/cinema/article/2020/09/23/plan-de-relance-roselyne-bachelot-detaille-la-repartition-des-aides-au-cinema_6053348_3476.html
- Walsh, Joe.2020. “Netflix Subscriber Growth Slows After Surging During Pandemic.” Erişim Tarihi 24 Ekim 2020. https://www.forbes.com/sites/joewalsh/2020/10/20/netflix-subscriber-growth-slows-after-surging-during-pandemic/?sh=62db06ac244
- Westcott, Kevin vd. 2020. Digital Media Trends Survey, 14th edition. Erişim tarihi 5 Ağustos 2020. https://www2.deloitte.com/content/dam/insights/us/articles/6456_digital-media-trends-covid/DI_Digital-media-trends-14th-edition.pdf.
- Yavuz, Deniz. 2020a. “2020 yılında, sayılarla Türkiye sinema vizyonu.” Antrakt Sinema. Erişim tarihi 9 Aralık 2020. https://www.antraktsinema.com/makale.php?id=811 Yavuz, Deniz. 2020b. “Tenet'in Türkiye serüveni.” Antrakt Sinema. Erişim tarihi 9 Aralık 2020. https://www.antraktsinema.com/makale.php?id=810 “7. Koğuştaki Mucize ABD ve Fransa’da Netflix’ten en çok izlenen film oldu”. 2020. Cumhuriyet, 6 Nisan 2020. https://www.cumhuriyet.com.tr/haber/7-kogustaki-mucize-abd-ve-fransada-netflixten-en-cok-izlenen-film-oldu-1731471.
- Yıldız, Gizem. 2021. “Kurtlar sofrasında kazanan dijital yayın platformu hangisi?” Marketing Türkiye. Erişim tarihi:20 Şubat 2021. https://www.marketingturkiye.com.tr/haberler/dijital-yayin-platformlarinda-rekabet-kizisiyor
- Yılmaz, Mustafa Cihan.2020. “Netflix'in Türkiye'deki ve Dünyadaki Abone Sayısı Belli Oldu.” Erişim tarihi 3 Temmuz 2020. https://www.webtekno.com/netflix-turkiye-abone-sayisi-belli-oldu-h95042.html
- Yılmaz, Zafer. 2020. “Doç. Dr. Hakan Erkılıç: “Dijital Platformların Yükselişini Dillendirmek Sinemaya İhanet Değil.” SineBlog. Erişim tarihi 18 Haziran 2020. http://sineblog.org/ozel-soylesi-doc-dr-hakanerkilic-dijital-platformlarin-yukselisini-dillendirmek-sinemaya-ihanet-degil/
- Yücel, Fırat. 2020. “Bakanlık ve RTÜK’ten Sansür, Netflix’ten İptal Kararı.” Erişim tarihi 28 Temmuz 2020. https://fasikul.altyazi.net/pano/bakanlik-ve-rtukten-sansur-netflixten-iptal-karari/.
- Yücel, Fırat ve Enis Köstepen. 2020. “Sinema Nereye?” Erişim Tarihi 25 Ağustos 2020. https://fasikul.altyazi.net/video/fasikul-tartismalari/sinema-nereye/.
Toplam 71 adet kaynakça vardır.
Ayrıntılar
| Birincil Dil | Türkçe |
|---|---|
| Bölüm | Makaleler |
| Yazarlar | |
| Yayımlanma Tarihi | 29 Aralık 2021 |
| Yayımlandığı Sayı | Yıl 2021Sayı: 2021 Özel Sayı: 2. Uluslararası Dijital Çağda İletişim Sempozyumu, Süreklilikler ve Kesintiler: Kültürler, Pazarlar ve Siyaset |
