Türk televizyon kanallarında yayınlanan Osmanlı Dönem dizilerinin görsel anlatı ve estetik yapısı
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Dosyalar
Tarih
2016
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Ege üniversitesi, Sosyal Bilimleri Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Günümüzde yazılı tarih ürünlerinin yanı sıra görsel bir anlatı formu üzerinden geçmişi kurgulayan pek çok eser üretilmekte ve geçmiş bu eserler yoluyla sonraki kuşaklara aktarılmaktadır. Geçmiş dönemlerde mitler, masallar, destanlar yoluyla gerçekleşen bu aktarım çağımızda hikayeler, romanlar, filmler, televizyon dizileri gibi sanatsal ve ticari formlar yoluyla gerçekleşmekte ve tarih anlatıya, anlatı da tarihe dönüşmektedir. Bu dönüşüm çerçevesinde ortaya çıkan en önemli kavramlardan biri de tarihsel dönem dizileri ekseninde ortaya konulan görsel tarih yazımıdır. Günümüzde hareketli görüntü üretimine dayalı kitle iletişim araçları ve görsel tarih yazımı bu araçlar üzerinden gerçekleştirilmektedir. Görsel tarih yazımının gerçekleştirildiği en önemli kitle iletişim araçlarından biri olan televizyon öykü ve anlatısını kendi ekran yapısına özgü olarak öncelikle biçime dair estetik kodlar ve anlam sistemleriyle gerçekleştirmektedir. Bu çalışmanın amacı Türk televizyon kanallarında izleyiciler ve reyting sistemi açısından popüler olan tarihsel dizi filmlerden özellikle Osmanlı İmparatorluğu dönemini işleyen yapımların görsel estetik ve anlatı yapısının biçim ve içerik anlamında hangi görsel ve estetik kodlarla inşa edildiğini çözümleyerek görsel tarih yazımı açısından farklılıkları ortaya çıkarmaktır. Çalışmaya konu edilen Osmanlı dönem dizileri amaca yönelik örneklem yoluyla ticari ve kamusal yayıncılık sistemini temsil eden Türk televizyon kanalları içerisinden kamusal, yarı kamusal ve özel alan temsiliyle ilgili özellikleri bağlamında incelenmiştir. Türk televizyon kanallarında yayınlanan Osmanlı dönem dizilerinin tarihsel kurgularını görsel ve işitsel anlatı yapısı içinde nasıl kurdukları, biçim ve içerik ile oluşturulan estetik anlayış içerisinde anlamın nasıl inşa edildiği sahnenin çekimlere ayrılarak çözümlenmesi yöntemi ve temsiller çerçevesinde çözümlenerek yorumlanmıştır.
Nowadays as well as the documental historical works, many works are being produced that manipulates the past by a visual narration form and the past is transferred by these works to the next generations. This transfer that was done by myths, tales and epic in the past periods, today is being done by the artistic and commercial forms like stories, novels, films, and television series and history is transformed narration and narration is transformed history. One of the most important concepts that have emerged in this transformation is visual history writing that was introduced in the centerline of historical period television series. Today mass media which is based on dynamic image production and visual history writing is being done by these tools. Television, as one of the most important mass media tools that visual history writing is being done, makes its story and narration firstly with aesthetic codes about forms and narration systems peculiar to it screen structure. The purpose of this work is to bring out the differences from the perspective of visual history writing by analyzing the construction of visual aesthetic and narration structure of historical television series which are popular in the way of viewers and rating system in Turkish television channels especially the productions about Ottoman Empire by using which visual and aesthetic codes. The Ottoman period television series are investigated by the goal-oriented sample method among the Turkish television channels which represents the commercial and public broadcasting system according to specialties about public, semi-public and private space. How the Ottoman period television series that are broadcasted in Turkish television channels make their historical montages in visual and audio narration structure and how they make the meaning in the aesthetic understanding that is made with form and content are analyzed and interpreted in the perspective of representations and with the method of analysis of the scene by dividing shots.
Nowadays as well as the documental historical works, many works are being produced that manipulates the past by a visual narration form and the past is transferred by these works to the next generations. This transfer that was done by myths, tales and epic in the past periods, today is being done by the artistic and commercial forms like stories, novels, films, and television series and history is transformed narration and narration is transformed history. One of the most important concepts that have emerged in this transformation is visual history writing that was introduced in the centerline of historical period television series. Today mass media which is based on dynamic image production and visual history writing is being done by these tools. Television, as one of the most important mass media tools that visual history writing is being done, makes its story and narration firstly with aesthetic codes about forms and narration systems peculiar to it screen structure. The purpose of this work is to bring out the differences from the perspective of visual history writing by analyzing the construction of visual aesthetic and narration structure of historical television series which are popular in the way of viewers and rating system in Turkish television channels especially the productions about Ottoman Empire by using which visual and aesthetic codes. The Ottoman period television series are investigated by the goal-oriented sample method among the Turkish television channels which represents the commercial and public broadcasting system according to specialties about public, semi-public and private space. How the Ottoman period television series that are broadcasted in Turkish television channels make their historical montages in visual and audio narration structure and how they make the meaning in the aesthetic understanding that is made with form and content are analyzed and interpreted in the perspective of representations and with the method of analysis of the scene by dividing shots.
