{"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

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 derinden etkiledi\u011fi gibi televizyon ve sineman\u0131n bi\u00e7imini de k\u00f6kten sarsmay\u0131 ba\u015farm\u0131\u015f \u201cde\u011fi\u015fimden\u201d \u00f6te geri d\u00f6nu\u0308\u015fu\u0308 mu\u0308mku\u0308n olmayan bir \u201cd\u00f6nu\u0308\u015fu\u0308me\u201d u\u011fratm\u0131\u015ft\u0131r. Birbirinden ba\u011f\u0131ms\u0131z teknolojileri bir araya getirerek yeni teknolojiler ve mecralar yaratma yetisi olarak tan\u0131mlanan yak\u0131nsama kavram\u0131na s\u0131rt\u0131n\u0131 dayayan yeni medya; i\u00e7erikten hedef kitleye, izleme al\u0131\u015fkanl\u0131klar\u0131ndan ileti\u015fim ara\u00e7lar\u0131na kadar her alan\u0131 etkisi alt\u0131na ald\u0131\u011f\u0131 gibi konvansiyonel yay\u0131nc\u0131l\u0131k anlay\u0131\u015f\u0131yla u\u0308retilen g\u00f6ru\u0308ntu\u0308 bi\u00e7imini de dijital i\u00e7erik platformlarla yeni bir g\u00f6ru\u0308ntu\u0308 bi\u00e7imine d\u00f6nu\u0308\u015ftu\u0308rmu\u0308\u015ftu\u0308r.<\/p>\n

Konvansiyonel medyan\u0131n tek bir mecrada yay\u0131nlanan i\u00e7eriklerin aksine yeni medya i\u00e7eriklerine \u00e7oklu medya ortamlar\u0131nda serbest\u00e7e dola\u015f\u0131ma ve d\u00f6nu\u0308\u015fu\u0308me imkan tan\u0131maktad\u0131r. Yeni medya kavramlar\u0131ndan biri olan \u00e7apraz medya, s\u00f6z konusu bu \u00f6zgu\u0308rlu\u0308kten hareketle hem bir hik\u00e2yenin \u00f6zu\u0308nu\u0308 de\u011fi\u015ftirmeden gu\u0308nu\u0308mu\u0308z popu\u0308ler dijital yay\u0131n platformlar\u0131; Netflix, You- Tube, Amazon Prime, Exxen, Gain ve BluTV ile mobil TV’ler gibi \u00e7oklu medya ortamlar\u0131nda yeniden u\u0308retilen medya i\u00e7eri\u011fini tan\u0131mlarken hem de say\u0131sal g\u00f6ru\u0308ntu\u0308nu\u0308n yaratt\u0131\u011f\u0131 \u00f6zgu\u0308rle\u015ftirici ve serbest s\u00f6ylemi a\u00e7\u0131klamaktad\u0131r.<\/p>\n

Televizyon, sinema, cep telefonu ve dijital platformlar\u0131 360 derece medya u\u0308st ba\u015fl\u0131\u011f\u0131yla ayn\u0131 potada da ele alan bu \u00e7al\u0131\u015fma, \u00e7apraz medya kavram\u0131 \u0131\u015f\u0131\u011f\u0131nda son d\u00f6nemin en popu\u0308ler polisiye yap\u0131mlar\u0131 aras\u0131nda g\u00f6sterilen Behzat \u00c7. dizisini merkezine alarak dizinin konvansiyonel yay\u0131nc\u0131l\u0131ktan Star TV, Vodefone mobil TV, sinema salonlar\u0131 ve dijitale (BluTv) olan yolculu\u011funda \u201cd\u00f6nu\u0308\u015fen bi\u00e7imin izini\u201d yay\u0131nlanan ilk b\u00f6lu\u0308mlerini, sinematografi; kamera hareketleri, \u00e7ekim \u00f6l\u00e7ekleri, \u00e7er\u00e7eveleme ve atmosfer yarat\u0131m\u0131, kurgu; kesme say\u0131lar\u0131, plan su\u0308releri ve planlar aras\u0131 ge\u00e7i\u015f bi\u00e7imleri, ses tasar\u0131m\u0131; mu\u0308zik, diyalog ve efekt sesleri kategorilerinde nitel ara\u015ft\u0131rma y\u00f6nteminin bi\u00e7imsel ve kar\u015f\u0131la\u015ft\u0131rmal\u0131 analiz y\u00f6ntemini kullanarak mercek alt\u0131na alm\u0131\u015ft\u0131r. \u00c7al\u0131\u015fma hem s\u00f6z konusu dizinin televizyondan mobile ard\u0131ndan dijitale ge\u00e7i\u015f seru\u0308venindeki bi\u00e7imsel evrimini analiz ederken hem de yeni medyan\u0131n konvansiyonel medya u\u0308zerindeki geri d\u00f6nu\u0308\u015fu\u0308 olmayan d\u00f6nu\u0308\u015fu\u0308mu\u0308nu\u0308n izlerini belirginle\u015ftirmektedir. Bu ara\u015ft\u0131rma, s\u00f6z konusu bu d\u00f6nu\u0308\u015fu\u0308mu\u0308n izini su\u0308rerek bi\u00e7imin gelecek perspektifini de incelemektedir.<\/p>\n

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Anahtar Kelimeler: yeni medya, \u00e7apraz medya, konvensiyonel bi\u00e7im, say\u0131sal bi\u00e7im, Behzat \u00c7.<\/p>\n

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Abstract<\/p>\n

Towards the end of the 20th century, the concepts of digitisation 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 \u2018transformation\u2019 that is irreversible, going beyond mere \u2018change\u2019. 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, centres 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 \u2018evolutionary path\u2019 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 analyses 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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Yazarlar: Kenan SUBA\u015eI, R\u00fcya DEL\u0130CE<\/p>\n

Sempozyum: International Communication and Art Symposium (INCAS), Elaz\u0131\u011f, T\u00fcrkiye, 04 Eyl\u00fcl 2021, cilt.1, ss.31-32<\/p>\n

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Detail<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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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}]}}