Öz
Video oyunları ve sinema sektörünün kesişim noktalarından biri uyarlama konusudur. Filmlerden video oyunlarına veya video oyunlarından filmlere uyarlanan birçok yapım vardır. Bu çalışmada ise video oyunlarından uyarlanan filmlerin seyirci tarafındaki karşılığının tanımlanması hedeflenmiştir. Seyirci ve oyuncu, uyarlanan bu yapımların parçalarından biridir, onların konumu bu yapımların geleceğini şekillendirmesinde rol oynamaktadır, bu bağlamda bu çalışmada elde edilen sonuçlar bu yapımların potansiyelinin de ifade edilmesini sağlaması açısından değerlidir.
Bu çalışmada objektif sonuçlara ulaşabilmek için iki farklı yöntem kullanılmıştır; sinema sektöründeki profesyoneller ve sinema eğitimi görmüş toplam da 11 kişiyle çevrimiçi anket, www.imdb.com ve www.metascore.com adlı film kritik sitelerinde verilen puanlar ve kayıtlı kullanıcıların yazdıkları yorumlardan toplanan verilerin analizi. Seyircilerden elde edilen bu yorumların analiziyle seyircilerin odaklandıkları noktalar tespit edilmiştir, çevrimiçi anket yöntemiyle de sinema eğitimi almış veya sinema sektörü içinde profesyonel olan kişilerin verdikleri cevaplarla da konu hakkında hem ön görü hem de içinde bulunan durum hakkında bilgi sağlanmıştır. Bu yöntemler kendi içlerinde, sonuç kısmında ise iki yöntemin sonuçları birleştirilerek analiz edilmiştir.
Sonuç olarak ise seyircinin bu filmleri oyundan ayırmadan değerlendirdiği ve bu iş birliğinin gelişerek devam etmesini arzuladıkları yönündedir. Başarısız bulunan film örneklerinin video oyunlar hakkında belirleyici olmadığı tespit edilmiştir. Seyircinin, bu türün gelişeceğini daha başarılı sonuçların elde edileceğini düşünmesine rağmen oyun içindeki aktif olma duygusunun film içinde pasif olma duygusuna daha baskın bir şekilde yaşandığı anlaşılmıştır. Seyircinin filmlerle kurduğu ilişkinin video oyun merkezli olduğu, oyunda hissettiği duyguları ve oyunla ilgili detayları filmin iç yapısında da aradığı görülmüştür.
Anahtar Kelimeler
Kaynakça
- Aydın, G. (2019). Usage and Common Aspects Of Visual Effects In Cinema And Video Game. (Yüksek Lisans Tezi). Yeditepe Üniversitesi, İletişim Fakültesi, İstanbul.
- Becker, K. (2006). A psycho-cultural approach to video games.
- Bessière, K., Seay, A. F., & Kiesler, S. (2007). The ideal elf: Identity exploration in World of Warcraft. Cyberpsychology & behavior, 10(4), 530-535.
- Bittanti, M. (2003). The technoludic film: Images of video games in movies (1973–2001). In Entertainment Computing (pp. 307-312). Springer, Boston, MA.
- Bore, I. L. K. (2011). Reviewing romcom:(100) IMDb users and (500) Days of Summer. Participations, 8(2), 144-164.
- Busch, T., Boudreau, K., & Consalvo, M. (2015). Toxic gamer culture, corporate regulation, and standards of behavior among players of online games. In Video Game Policy (pp. 176-190). Routledge.
- Corneliussen, H., & Rettberg, J. W. (Eds.). (2008). Digital culture, play, and identity: A World of Warcraft reader. MIT Press.
- Elkington, T. (2008). Too many cooks: Media convergence and self-defeating adaptations. In The video game theory reader 2 (pp. 235-258). Routledge.
- Elsaesser, T. (2009). The mind-game film. Puzzle films: Complex storytelling in contemporary cinema, 13-41.
- Esser, A., Bernal-Merino, M. A., & Smith, I. R. (2016). Media across borders. Taylor & Francis.
- Gansing, K. (2003). The myth of interactivity or the interactive myth?: Interactive film as an imaginary genre. Digital Arts and Culture, RMIT University Melbourne, http://hypertext. rmit. edu. au/dac/papers, 39-45.
- Isaacs, B. (2013). The orientation of future cinema: Technology, aesthetics, spectacle. A&C Black.
- Johnson, K. (2008, October). Lost cause, an interactive film project. In Proceedings of the 16th ACM international conference on Multimedia (pp. 569-578).
- Jurca, R., & Faltings, B. (2007). Reporting Incentives in Online Feedback Forums: the influence of effort (No. REP_WORK).
- Juul, J. (2018). The game, the player, the world: Looking for a heart of gameness. PLURAIS-Revista Multidisciplinar, 1(2).
- Kirkland, E. (2007). Restless dreams in Silent Hill: approaches to video game analysis. International Journal of Technology Management & Sustainable Development, 6(3), 167-178.
- Kranz, D. L., & Mellerski, N. C. (Eds.). (2008). In/Fidelity: Essays on Film Adaptation. Cambridge Scholars Pub.
- Lay, S. (2007). Audiences across the divide: Game to film adaptation and the case of Resident Evil. Participations, 4(2).
- Lukas, S. A. (2009). Horror Video Game Remakes and the Question of Medium: Remaking Doom, Silent Hill and Resident Evil. Fear, Cultural Anxiety and Transformation. Horror, Science Fiction, and Fantasy Films Remade. Lanham: Lexington Books, 221-242.
- Mahalli, D. (2011). Güncel Sanat Pratiğinde Video Oyunları. (Yüksek Lisans Tezi). Yıldız Teknik Üniversitesi, Sosyal Bilimler Üniversitesi, İstanbul.
- Mathijs, E., & Mendik, X. (2007). The cult film reader. McGraw-Hill Education (UK).
- Naficy, H. (2010). Multiplicity and multiplexing in today's cinemas: Diasporic cinema, art cinema, and mainstream cinema. Journal of Media Practice, 11(1).
- Newman, J. (2012). Videogames. Routledge.
- Peralta, V. (2007). Extraction and integration of movielens and imdb data. Laboratoire Prisme, Université de Versailles, Versailles, France.
- Picard, M., & Fandango, G. (2008). Video games and their relationship with other media. The video game explosion: A history from Pong to Playstation an beyond, Greenwood Press, Westport, 293-300.
- Potel, M. J., Sayre, R. E., & Robertson, A. (1979). A system for interactive film analysis. Computers in biology and medicine, 9(3), 237-256.
- Roger Calliois (2001). Man, Play and Games. Illionois: University of Illinois Pres.
- Schwartz, D. M. (1997). U.S. Patent No. 5,607,356. Washington, DC: U.S. Patent and Trademark Office.
- Telotte, J. P. (Ed.). (1991). The Cult Film Experience: Beyond All Reason. University of Texas Press.
- Thomson, D. (2015). Filmler Hayatımızı Nasıl Etkiler. 1. Baskı. İstanbul: Alfa Basım Yayın.
- Tong, W. L., & Tan, M. C. C. (2002). Vision and virtuality: The construction of narrative space in film and computer games. ScreenPlay: cinema/videogames/interfaces, 98-109.
- Wolf, M. J. (2001). Genre and the video game. The medium of the video game, 113-134.
Öz
One of the intersections of the video games and cinema industry is the subject of adaptation. There are many productions adapted from movies to video games or from video games to movies. In this study, it is aimed to define the response of the films adapted from video games on the audience side. The audience and the actor are part of these adapted productions, their location plays a role in shaping the future of these productions, in this context the results obtained in this study are valuable in terms of expressing the potential of these productions.
In this study, two different methods were used to achieve objective results; Online survey with 11 professionals in the cinema industry and cinema education, an analysis of the data collected from the criticism sites on www.imdb.com and www.metascore.com, and the comments of registered users. With the analysis of these comments obtained from the audience, the focus of the audience has been determined, and with the answers given by the people who have received cinema education or professionals who are professional in the cinema sector, information has been provided on both the foresight and the situation in it. These methods are analyzed within themselves and in the conclusion part, the results of the two methods are combined.
As a result, it is that the audience evaluates these films without separating them from the game and they wish that this cooperation will continue to develop and continue. It has been determined that failed film samples are not decisive for video games. Although the audience thinks that this genre will develop, more successful results will be achieved, it has been understood that the feeling of being active in the game is more dominant to the feeling of being passive in the movie. It was seen that the relationship of the audience with the films was video game centered, and the emotions he felt in the game and the details of the game were also looked for in the inner structure of the film.
Anahtar Kelimeler
Kaynakça
- Aydın, G. (2019). Usage and Common Aspects Of Visual Effects In Cinema And Video Game. (Yüksek Lisans Tezi). Yeditepe Üniversitesi, İletişim Fakültesi, İstanbul.
- Becker, K. (2006). A psycho-cultural approach to video games.
- Bessière, K., Seay, A. F., & Kiesler, S. (2007). The ideal elf: Identity exploration in World of Warcraft. Cyberpsychology & behavior, 10(4), 530-535.
- Bittanti, M. (2003). The technoludic film: Images of video games in movies (1973–2001). In Entertainment Computing (pp. 307-312). Springer, Boston, MA.
- Bore, I. L. K. (2011). Reviewing romcom:(100) IMDb users and (500) Days of Summer. Participations, 8(2), 144-164.
- Busch, T., Boudreau, K., & Consalvo, M. (2015). Toxic gamer culture, corporate regulation, and standards of behavior among players of online games. In Video Game Policy (pp. 176-190). Routledge.
- Corneliussen, H., & Rettberg, J. W. (Eds.). (2008). Digital culture, play, and identity: A World of Warcraft reader. MIT Press.
- Elkington, T. (2008). Too many cooks: Media convergence and self-defeating adaptations. In The video game theory reader 2 (pp. 235-258). Routledge.
- Elsaesser, T. (2009). The mind-game film. Puzzle films: Complex storytelling in contemporary cinema, 13-41.
- Esser, A., Bernal-Merino, M. A., & Smith, I. R. (2016). Media across borders. Taylor & Francis.
- Gansing, K. (2003). The myth of interactivity or the interactive myth?: Interactive film as an imaginary genre. Digital Arts and Culture, RMIT University Melbourne, http://hypertext. rmit. edu. au/dac/papers, 39-45.
- Isaacs, B. (2013). The orientation of future cinema: Technology, aesthetics, spectacle. A&C Black.
- Johnson, K. (2008, October). Lost cause, an interactive film project. In Proceedings of the 16th ACM international conference on Multimedia (pp. 569-578).
- Jurca, R., & Faltings, B. (2007). Reporting Incentives in Online Feedback Forums: the influence of effort (No. REP_WORK).
- Juul, J. (2018). The game, the player, the world: Looking for a heart of gameness. PLURAIS-Revista Multidisciplinar, 1(2).
- Kirkland, E. (2007). Restless dreams in Silent Hill: approaches to video game analysis. International Journal of Technology Management & Sustainable Development, 6(3), 167-178.
- Kranz, D. L., & Mellerski, N. C. (Eds.). (2008). In/Fidelity: Essays on Film Adaptation. Cambridge Scholars Pub.
- Lay, S. (2007). Audiences across the divide: Game to film adaptation and the case of Resident Evil. Participations, 4(2).
- Lukas, S. A. (2009). Horror Video Game Remakes and the Question of Medium: Remaking Doom, Silent Hill and Resident Evil. Fear, Cultural Anxiety and Transformation. Horror, Science Fiction, and Fantasy Films Remade. Lanham: Lexington Books, 221-242.
- Mahalli, D. (2011). Güncel Sanat Pratiğinde Video Oyunları. (Yüksek Lisans Tezi). Yıldız Teknik Üniversitesi, Sosyal Bilimler Üniversitesi, İstanbul.
- Mathijs, E., & Mendik, X. (2007). The cult film reader. McGraw-Hill Education (UK).
- Naficy, H. (2010). Multiplicity and multiplexing in today's cinemas: Diasporic cinema, art cinema, and mainstream cinema. Journal of Media Practice, 11(1).
- Newman, J. (2012). Videogames. Routledge.
- Peralta, V. (2007). Extraction and integration of movielens and imdb data. Laboratoire Prisme, Université de Versailles, Versailles, France.
- Picard, M., & Fandango, G. (2008). Video games and their relationship with other media. The video game explosion: A history from Pong to Playstation an beyond, Greenwood Press, Westport, 293-300.
- Potel, M. J., Sayre, R. E., & Robertson, A. (1979). A system for interactive film analysis. Computers in biology and medicine, 9(3), 237-256.
- Roger Calliois (2001). Man, Play and Games. Illionois: University of Illinois Pres.
- Schwartz, D. M. (1997). U.S. Patent No. 5,607,356. Washington, DC: U.S. Patent and Trademark Office.
- Telotte, J. P. (Ed.). (1991). The Cult Film Experience: Beyond All Reason. University of Texas Press.
- Thomson, D. (2015). Filmler Hayatımızı Nasıl Etkiler. 1. Baskı. İstanbul: Alfa Basım Yayın.
- Tong, W. L., & Tan, M. C. C. (2002). Vision and virtuality: The construction of narrative space in film and computer games. ScreenPlay: cinema/videogames/interfaces, 98-109.
- Wolf, M. J. (2001). Genre and the video game. The medium of the video game, 113-134.
Ayrıntılar
| Birincil Dil | Türkçe |
|---|---|
| Bölüm | Makaleler |
| Yazarlar | |
| Yayımlanma Tarihi | 1 Nisan 2021 |
| Gönderilme Tarihi | 30 Ocak 2021 |
| Kabul Tarihi | 6 Mart 2021 |
| Yayımlandığı Sayı | Yıl 2021 Cilt: 11 Sayı: 2 |
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