{"id":8235,"date":"2026-07-13T09:53:02","date_gmt":"2026-07-13T09:53:02","guid":{"rendered":"https:\/\/kenansubasi.com\/?p=8235"},"modified":"2026-07-31T12:08:17","modified_gmt":"2026-07-31T09:08:17","slug":"konvansiyonelden-dijitale-360-derece-medya-perspektifinde-donusen-bicimin-izini-surmek-behzat-c-ornegi","status":"publish","type":"post","link":"https:\/\/kenansubasi.com\/en\/konvansiyonelden-dijitale-360-derece-medya-perspektifinde-donusen-bicimin-izini-surmek-behzat-c-ornegi\/","title":{"rendered":"Tracing the Transforming Format in a 360-Degree Media Perspective from Conventional to Digital: The Behzat \u00c7. Example"},"content":{"rendered":"
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Summary<\/p>\n

The concepts of digitalization and new media, which entered the literature towards the end of the 20th century with the boundless advancement of communication technologies, profoundly affected the production methods of all art forms, and managed to radically shake the form of television and cinema, causing an irreversible "transformation" rather than just a "change." New media, relying on the concept of convergence\u2014defined as the ability to create new technologies and platforms by bringing together independent technologies\u2014has influenced every aspect, from content and target audience to viewing habits and communication tools, and has transformed the image format produced by conventional broadcasting into a new image format through digital content platforms.<\/p>\n

Unlike conventional media, which broadcasts content on a single platform, new media allows for the free circulation and transformation of content across multiple media environments. Cross-media, a concept within new media, stems from this freedom, describing media content that is reproduced across popular digital streaming platforms like Netflix, YouTube, Amazon Prime, Exxen, Gain, and BluTV, as well as mobile TVs, without altering the essence of a story. It also explains the liberating and open discourse created by digital imagery.<\/p>\n

This study, which encompasses television, cinema, mobile phones, and digital platforms under the umbrella of 360-degree media, focuses on the Behzat \u00c7. series, one of the most popular crime dramas of recent times, within the context of the cross-media concept. It examines the series' journey from conventional broadcasting to Star TV, Vodafone mobile TV, cinemas, and digital (BluTV) by analyzing its early episodes using formal and comparative analysis methods within qualitative research. The analysis examines cinematography (camera movements, shot scales, framing, and atmosphere creation), editing (number of cuts, shot durations, and transitions between shots), and sound design (music, dialogue, and sound effects). The study analyzes both the formal evolution of the series from television to mobile and then to digital, and highlights the irreversible transformation of conventional media by new media. By tracing this transformation, this research also explores the future perspective of this form.<\/p>\n

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Keywords: new media, cross-media, conventional format, digital format, Behzat \u00c7.<\/p>\n

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Abstract<\/p>\n

Towards the end of the 20th century, the concepts of digitization and new media, which entered the literature alongside the boundless advancement of communication technologies, profoundly affected the production methods of all art forms and succeeded in fundamentally shaking the form of television and cinema. It has brought about a 'transformation' that is irreversible, going beyond mere 'change'. New media, defined as the ability to bring together independent technologies to create new technologies and platforms, has influenced every area, from content to target audience, viewing habits to communication tools, and has transformed the image format produced by conventional publishing into a new image format with digital content platforms.<\/p>\n

Unlike conventional media, which publishes content on a single medium, new media allows content to circulate and transform freely across multiple media environments. Cross-media, one of the concepts of new media, takes advantage of this freedom to reproduce media content that has been re-produced in multiple media environments, such as today's popular digital publishing platforms (Netflix, YouTube Tube, Amazon Prime, Exxen, Gain, and BluTV, as well as mobile TVs, while also explaining the liberating and free discourse created by digital images.<\/p>\n

This study, which examines television, cinema, mobile phones, and digital platforms under the umbrella term of 360-degree media, centers on the Behzat \u00c7. series, one of the most popular crime dramas of recent times, in light of the concept of cross-media. It traces the 'evolutionary path' of the series from conventional broadcasting to its journey across Star TV, Vodafone mobile TV, cinema theatres, and digital platforms (BluTV). camera movements, shooting scales, framing and atmosphere creation, editing; number of cuts, shot durations and transition forms between shots, sound design; music, dialogue and sound effects. The study analyzes the formal evolution of the series in question during its transition from television to mobile and then to digital, while also highlighting the traces of the irreversible transformation of conventional media by new media. This research examines the future perspective of form by tracing the traces of this transformation.<\/p>\n

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Authors: Kenan SUBA\u015eI, R\u00fcya DEL\u0130CE<\/p>\n

Symposium: International Communication and Art Symposium (INCAS), Elaz\u0131\u011f, T\u00fcrkiye, September 4, 2021, Vol. 1, pp. 31-32<\/p>\n

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\r\n \r\n \"Kenan_Subasi_Makale_7\"\r\n <\/a>\r\n <\/div>\r\n <\/div> \r\n <\/div>\r\n\r\n \t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

\u00d6zet 20. yu\u0308zy\u0131l\u0131n sonlar\u0131na do\u011fru ileti\u015fim teknolojilerinin s\u0131n\u0131r tan\u0131maz ilerleyi\u015fiyle birlikte literatu\u0308re dahil olan say\u0131salla\u015fma ve yeni medya kavramlar\u0131, tu\u0308m sanat dallar\u0131n\u0131n u\u0308retim bi\u00e7imini […]<\/p>\n","protected":false},"author":1,"featured_media":8237,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[21],"tags":[71,72,73,74,75,76,78,54,77],"class_list":["post-8235","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bildiri","tag-dijital-medya","tag-dijital-sinema","tag-gorsel-imge","tag-gundem-belirleme","tag-gundem-belirleme-kurami","tag-sanal-gerceklik","tag-sinema","tag-vr-film","tag-vr-sinema"],"acf":{"choi\u0441e_menu_page":"global_settings","full_width":false,"header_transparent":false,"header_white":false,"menu_align_page":"default","menu_style":""},"_links":{"self":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/comments?post=8235"}],"version-history":[{"count":7,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8235\/revisions"}],"predecessor-version":[{"id":8243,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/posts\/8235\/revisions\/8243"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media\/8237"}],"wp:attachment":[{"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/media?parent=8235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/categories?post=8235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kenansubasi.com\/en\/wp-json\/wp\/v2\/tags?post=8235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}