Cilt 2 Sayı 2 / Volume 2 Issue 2

Permanent URI for this collectionhttps://hdl.handle.net/11413/1020

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Zamansız Bir Görsel Kültür Ürünü Olarak Kaybedenler Kulübü
(The Turkish Online Journal of Design Art and Communication, 2012-04) Yaşartürk, Gül; TR199395
The movie Kaybedenler Kulübü can be seen as an ordinary period film. Although the film takes place in the mid 1990's, it often has no periodic indicator or any expression pertaining to the period. Here, it is possible to say that the film has no borders between time and space. Although the events in the film take place in the 1990's, the audience, not having any idea about the film’s subject or the characters, can easily think that the events occur today due to the visual structure of the film. This choice may be considered as a tribute to the past, or can also be seen as an effort to bring the past forth into the present; to revive the past. Precisely within the framework of the unnoticed efforts, the real characters have began began to make the same program again, but not surprisingly, it does not meet sufficient interest. Because it is obvious that, the radio program is a periodic product. The said effort to revive the book of Baudrillard and Simulation Simulakrlar Ramses finds an optimistic reflection within the text entitled The Story of the Resurrection. After its removal from the tomb, the mummy of Ramses II decays throwing the researchers into great despair. Furthermore, the film does not establish the basis and conjuncture of radio programs' being popular in the 1990's and completely degrades itself into a product of “visual culture”. Usage of different framing to divide the screen and excessive usage of music to support the film results in its being solely consisting of form. In the film, it is possible to see neither the answer to the question “Why are these people losers?”, nor the connection between being a loser and the 1990's. Instead, Kaybedenler Kulübü builds its world upon the solitude of the characters and the discourse of the conservative world of men's fraternity.
When Opinion Leaders Tweet: Framing Analysis Of Kuwaiti Parliament Members’ Tweets
(The Turkish Online Journal of Design Art and Communication, 2012-04) Salem, Fatima Al
This research investigated Kuwaiti parliament members’ leadership behavior on Twitter by applying Bolman and Deal’s (1984) leadership theory of framing. The study classified parliament members according to their political party affiliation-Islamists, independents, liberals, and populists party- and investigated the prevalence of four leadership frames through a content analysis of eight parliament members’ messages on Twitter over a period of six months from June 15, 2011 to November 15, 2011. Results showed that, overall, the structural frame was the most commonly used frame among parliament members, followed by the political, symbolic, and human resource frame respectively. The use of frames depended on both the political group and the topic of issues. The Islamist group, liberal and populist party more often used the structural frame in their Twitter messages whereas the independent group more often used the political frame.
Visual Effects Cinematography The Cinematographer’s Filmic Techique From Traditional To Digital Era
(The Turkish Online Journal of Design Art and Communication, 2012-04) Eldin, Nawal Mohamed Salah
Special effects cinematography is as old as cinema itself. The cinematographer had a major role in making the special effects scene either by making the whole effect in camera or combined with the optical effects in laboratory after shooting. A question pops up after the digital revolution: Does the cinematographer have the same role as before? Is there a need to adopt new techniques to master the cinematographer work in the digital era? This paper attempts to explore the differences between the conventional and the digital visual effects from the cinematographer’s technical point of view, based on a comparative study. Before the digital era most of the effects were done by the camera or in the laboratory. Nowadays, however, there are new tools and techniques such as digital visual effects that overruled the cinema industry, sometimes the only live-action elements are the actors. The term CGI (Computer Generated Images) is currently well known to many people and filming is only the first step to be followed by many other procedures. The mentioned procedures are called post production, which is the region where most of the visual effects creation takes place.
Visual Culture: Antenna And Roots
(The Turkish Online Journal of Design Art and Communication, 2012-04) Wanner, Maria Celeste de Almeida; Ornellas, Valter Luis Dantas
The gap between the digital era in undeveloped places, in the 21st century, is an important issue to be discussed. Based in the research called Antenna and Roots, developed at the Fine Art School at the Federal University of Bahia, Brazil, called Antenna and Roots, this paper proposes a dialogue between Visual Culture and contemporary visual languages, creative process, its methodology, and how the students are encourage to investigate with low tech equipments, certain that what makes a good art work is not only the equipment, but how an artist approaches material, equipments, etc., in order to materialize ideas, along the knowledge and understand about the world they live, without illustrating theories.
Understanding The “Hybrid” Media In Design Education
(The Turkish Online Journal of Design Art and Communication, 2012-04) Atiker, Barış; TR19469
The digital transformation of moving images in the last 30 years has resulted with revolutionary impact on art and design fields. The increasing use of digital technologies for creating design and artwork with moving images has united many disciplines such as graphic design, photography, painting, cinematography, animation, three-dimensional visualization and typography, so that the moving image is no longer pure. According to Manovich, the combination of different disciplines within moving image has created a “hybrid” media where the different image layers are interacting with each other and this interaction is not only in the slight transition between different image layers, but also the transition between the production techniques and conceptual representations of them. The shifting from real to hybrid images provides many opportunities for creative solutions, but then the designer becomes more dependent on digital technologies. However the “hybrid” media and visual language should keep evolving and transforming as a combination of different disciplines, so that the design education perspective should move from software-based education to the new visual aesthetics. Thereby the creative solutions offered by the software will turn into new challenges and design experiences. This paper aims to explore the understanding of “hybrid” media’s visual language in design education through the frame of basic and new design principles.
Türkiye’de Sinema Salonlarının Dijital Dönüşümü
(The Turkish Online Journal of Design Art and Communication, 2012-04) Erkılıç, Hakan; TR21121
Cinema industry is changing from celluloid-based film (35mm film) production, distribution and release net to the digital production, distribution and release net. Today digital process about production phase has been completed, providing the standardization is waited. So In digital cinema distribution and release phase which seem a real problem involves suspense out of a few practice. It is underlined that right away cinema industry need to invest in digital cinema which reduces the costs to compete with innovations such as HD TV broadcasting, developing DVD market. Also, new digital technology enables film distribution, download and viewing via internet so this appeals to the audience and causes lose of audience in the movie theatres. It is asserted that with digital cinema distribution and release, costs will be lower and its positive results in the ticket prices (lower ticket price) will appeal the audience to the movie theatres again. At this point in spite of the finance ,suspense of technological standardization and inadequacy of craft, main concern is how to transform movie theatres to the digital cinema. This notice focuses on observed release aspect of digital process in Turkey cinema both in production and release field. Within this scope the question of has Turkey got a ‘policy of digital cinema’ will be answered.
Savaş Fotoğrafı Tarihinde Dijitalleşme Süreci Ve Fotografik Etkisi
(The Turkish Online Journal of Design Art and Communication, 2012-04) Yavuz, Uğur Günay; TR128386
From the Crimean War photographs that Roger Fenton went by a coach and authenticated to today, the war photography has showed a remarkable and rapid evolution in sense of technology especially after 1975 when the digital technology has entered in our daily lives and pervaded. As time goes by, instead of carrying a photo camera, cellular phones with the photo camera option has become a preference, yet became a standard. A Pulitzer Award winner newspaper photographer Damon Winter, assigned by New York Times to observe the U.S. operations in Afghanistan has awarded in “Pictures of the Year” Contest by the pictures that he has taken by his cellular phone with the help of a software called “Hipstamatic”. The utmost in the digitalization in the photography, by all means, is also bringing a wide range of debates with it. By this study, the history of war photography will be reviewed from the first day to today and will be analysed with the photographs including the 1st and 2nd World Wars, Vietnamese Conflict, the Iraq War where digital photography was used and thus the photographic effects of digitalization on the war photography is aimed to be revealed.
New Cultural Horızons: 3D
(The Turkish Online Journal of Design Art and Communication, 2012-04) Mischie, Ioana
Nowadays, we are witnessing new horizons in the contemporary cinema: the 3D technique’s giant step. The question is: is 3D a valid criteria? The filmmaker wants you to live with the characters, offering Cinema an incredible flexibility as a multicultural platform. We have no universal scale at our disposal to measure the quality of a good story, of a memorable film, or even of an innovative technique. It is more a matter of communis opinio: what is generally accepted as good quality. At the start of the film you have to engage the minds and hearts of the audience. It’s crucial, it is a hyatus. The presentation is based on individual film analysis, exemplified by interviews with James Cameron (the director of “Avatar”), with Wim Wenders (the director of the 3D documentary “Pina”) and as well, will take into consideration a case study focused on how the Romanian public understands 3D.
Dynamics Of Viral Advertising
(The Turkish Online Journal of Design Art and Communication, 2012-04) Binay Kurultay, Ayşe; TR142697
Digital technologies have heightened the debate on convergence where technologies, corporations and people [target audiences] meet. New media has become a new meeting place and a social platform for people. As more brands choose to employ relationship marketing strategies that emphasize consumer’s experience with the brand, it is inevitable that they explore opportunities to connect with their target audiences in this new meeting place. Thus, user-created content and electronic word of mouth [eWOM] have become important concepts for influential and noteworthy advertising campaigns in this new medium. The aim of this study is to understand the dynamics of viral marketing campaigns and to identify the strategies that make viral advertising successful. International cases, such as brand applications of 3D Mapping Projections are used to understand the relationship between cutting-edge digital art and their use in advertisements. Recent Turkish viral ad campaigns such as Profilo’s “O Tabak Bitecek!” [Finish everything on your plate] and Turkish Airlines Miles and Smiles’ “İnanılmaz Evlenme Teklifi” [Unbelievable Proposal] disseminated through social networks are used as cases to identify the message strategies used in making these advertisements successful.
Dijital Evrende Mimesisi Yeniden Düşünmek; Avatar Filmi
(The Turkish Online Journal of Design Art and Communication, 2012-04) İğneci Süzen, Rana; TR128145
Cinema, with its unique way of expression, states a wide range area of capabilities. This is a “narrative” form that conveys a strong sense and discourse which includes its own unique codes and techniques. Even if this narrative form houses infinite contingencies, basically, it is based on showing and performing. While the Modernist or the Avant-garde cinemas, which are experiencing the modern narrative techniques, are on the other side of these narrational contingencies, the Classical Cinema has always managed to protect its ties with the mimesis concept which exists since Aristotle thanks to its practices on generally used forms of dramatic narration which are showing and performing. Mimesis, accordingly, states the form in which the narrator is excluded and in which the events are re-fictioned and relived in a present time. Here, the context of making the events ‘lived’ without a mediator, establishes a virtual reality which is over the feelings of “katharsis” and “identification” with the application of digital 3D effects in the cinema of today. This study argues how the “mimesis” concept is evolutionized by the digital capabilities of the cinema or what this new form has added to the narrative capabilities of the cinema. Accordingly, the 3D movie Avatar directed by James Cameron will be analysed in accordance in the cinematic narrative forms.
Construction Of The Sacred In The Moving Image
(The Turkish Online Journal of Design Art and Communication, 2012-04) Gil, Ines
Contemporary moving image (film and video) is looking for a new form of expressing the sacred, after decades of refusing all kinds of explicit “religious” content. The notion of Sacred changed with the social evolution and today its representation is directly related to the image of reality, that allows a sincere and immediate contact with the viewer. The body’s image can be a strong mediator between the expression of the sacred and reality, because it questions the position of man in the world and its relation to others. Bill Viola and The Dardenne Brothers – among others, are directors who work with a totally different cinematographic form but they have the same challenge: to reveal the potential sacred of life through light and image movement.
Belgesel Sinemanın Alternatif Dağıtım Ve Gösterim Olanağı Olarak İnternet
(The Turkish Online Journal of Design Art and Communication, 2012-04) Erkılıç, Hakan; Toprak, Ayşe Gül; TR21121; TR184403
distribution and release channels .With digital technology, non-fiction film obtains various and free field than ever before. Making low cost, speed, easy access possible ; digital technology , by this way makes the differences not only changing production mode of films but also meeting style to the audience. DVD and VoD (video on demand) systems varies vieweing platforms of consumer. Documentary films which can’t find the chance to be released in movie theatres have the opportunity of meeting the audience through web sites here after. So having a film (watching or purchasing a film) through internet carries documentary beyond nation –state borders.In this notice, documentary film’s usage of web based systems as an alternative distribution and release opportunity is going to be argued .This system’s features such as streaming, VoD, DVD sales, information sharing will be evaluated too. Also whether this tendency in the world will be an alternative or not in documentary production and distribution in Turkey is going to be interrogated.
A New Film Language: “Amateur Video”
(The Turkish Online Journal of Design Art and Communication, 2012-04) Künüçen, Hale; Olguntürk, Kağan; TR3486; TR161573
Film making has been a very expensive hobby for ameteurs from the day it was discovered. Also it has not been taken as a professional tool for years. Especially after Griffth’s approaches on camera movements, camera angles, framing techniques such as medium shot or close-up. The quality level of filmmaking between amateurs and professionals has been highly spread. Today, by the help of new technologies these two fields got closer. Now we can make near-professional films by using amateur equipments; we can edit them at our home computer, we can even prepare some music at home by using the help of some softwares. Also we can freely share it by using websites such as Youtube, Vimeo or some others. So for amateurs its not only easy and cheap to produce a film but also it is easy and cheap to distribute it. The number of amateur movies produced today are much more then professional movies. The enormous number of amateur productions also affected the audience and created “a new way” of story telling like shaked camera movements, deficient lighting, grainy look. This way of story telling first was discomforting and disorienting for the audience, but later they got used to it. This also affected the professionals: lots of production firms started to make professional films which used ‘amateur way’ of story telling. This study intends to discuss this new way of telling a story and implications associated with this new approach. The discussion will focus on three selected professional films using this new approach, namely “District 9” (2009), “Cloverfield” (2008) and “Paranormal Activity” (2007). These films use jump-cuts, deficient lighting and grainy pictures, contrasting strongly with traditional way of story telling. Thus, the study will explore the important points of using editing applications, lighting, image composition and camera movements with their relationship to the existing cinematography, trying to find an explanation to this new perception of reality in digitalization.
Teknolojik Gelişmelerin Mimarlık Mesleğine Yansımaları Ve Simülasyon Programları'nın Mekan Tasarımına Etkisi
(The Turkish Online Journal of Design, Art and Communication, 2012-04) Eceoğlu, Arzu
The starting point of the product in the career of architecture, whose main goal is to create liveable sites, is suitability. All designers and architectures from Otto Wagner to Zaha Hadid, labelled the direction of their designs by taking form, function and constructional elements into account. During this labelling of direction, with the developing technology, new materials and visual design values led the way for architectures. The 2 and 3D drawing programmes, nowadays backbones of architectures careers, came out in the 1980s and after, prepared an environment that forced the designers to widen their vision. Besides, the raise of the awareness of the customer mass that we name the user put forth the necessity of the simulation programmes. The main goal of this communiqué is to present how the designs according to the reflection of technological developments to the careers of architecture take form.
Reinterpretation Of Istanbul’s Image Through Light Mapping
(The Turkish Online Journal of Design, Art and Communication, 2012-04) Kutlu, Rana; Manav, Banu; TR59581; TR44251
In the present study, historical and contemporary masterpieces in Istanbul will be discussed and analyzed considering “lighting scheme” as a design tool in the “lighting master plan”. The present image of the city will be analyzed together with the light mapping tool. It was intended to introduce a “conceptual lighting master plan” where a lighting vocabulary is introduced for both educational purpose and as a metaphor in line with the enormous historical background of Istanbul. The scheme can be an overview or road map of how lighting might be used to meet the various program requirements while it also enhances and entegrates with the architecture.Through the effective use of the lighting scheme, the unityand diversity in the history of the old city can be highlighted.
Pelikülden Dijitale Sinemada Seyir Kültürü Ve Seyircinin Değişen Konumu
(The Turkish Online Journal of Design, Art and Communication, 2012-04) Öz - Taş, Perihan; TR111982
In parallel with technological advances, the rapidly changing nature of the motion picture where each new mode of production brings with it a new kind of viewership. Each new kind of viewership leads to the re-definition of the cinema audience. Before digital technology was developed and took over, the relationship between the audience and film was passive; with the passage to digital technology, however, this situation changed, and the audience took on a more active role, becoming “subject”. In the development of digital technology, television, video, 3-D cinema and “interactive cinema” the position of the audience gradually shifted, thus the need for new definitions. Audiences today are no longer “just anyone in the crowd” – which was the case during the film era. Now, they hold a much more active role; they have become an “interactive cinema audience”. However, it is important to reflect on the changed viewership and see how an active audience positiong hasd influence the experience of watching a film. The aim of this study is to look at the changing production structure of cinema and see how digitalization has influenced viewership.
Kurumsal Kimlik Tasarımı Bağlamında Web Tasarımının Dijitalleşme Sürecinde Kimlik Sorunsalı Ve Sürdürülebilirlilik
(The Turkish Online Journal of Design, Art and Communication, 2012-04) SATIR, DİDE AKDAĞ; TR107202
The visual element of the Internet, which can distribute message to the mass, web design, at the end of the interaction it created on the receptive mass should be suitable to the aim and the style of the institution. Web designer and programmer should produce designs and software unique to the identity of the institution. Web sites that are ready made are far from being authentic and professional. Web sites are prepared in accordance with to the visual satisfaction to the institution that demands it, rather than the inclination of the clients or the visitors using them. This is an extremely wrong attitude. A professional web site should be prepared according to its aim. It should be functional, shouldn’t include unnecessary and improper items. An effective web design interface can be recognized clearly and consistently by the target group. The sustainability of the institutional identity design in the process of digitalization can materialize by protecting the factors that form the resource and values that are unique to the design while using them. The reason of being unqualified is not being able to have a good relation between web design interface design and sustainability in the process of visual identity design. The most important supplementary that forms the web design interface, typeface will be shaped with examples on the need of using it appropriate and in place. As a sample research that different aspects of a design can be detected relational screening model has been adapted. In this study, it is aimed that a new model is submitted to digitalization, with sustainability approach and by protecting the values of web design, which is included in visual identity design that is a part of institutional identity design, as the extension of identity in the Internet environment. With the model that is aimed to be submitted steps to solve to the problems of typography concord and identity towards progression are meant to be taken. It also aims to create an integrity by making the design more qualified and with to increase sensibility by schematic and social responsibility.
Dijitalleşme Ve Türk Sineması
(The Turkish Online Journal of Design, Art and Communication, 2012-04) Ormanlı, Okan; TR108048
Until the 1990’s Turkish cinema was considered as a less developed and insufficient cinema in terms of technology. With the rise of private TV channels, the advances in the advertising industry and with the sponsorships and funds of local and foreign foundations, Turkish cinema was able to use the latest technology in the field of cinema. In this context the technical equipments which were used in western cinema were put in to use in the Turkish cinema and with this oppurtunity, even special effects were applied in some big budget movies. Changes in the classical production style led to changes in distribution and viewership trends. This change caused a discussion about how to deal with the old and how to adapt to the new. Now, there is an environment in the cinema industry where analogue technology has nearly completely been replaced by digital technology. Some filmmakers suggest that digital tehnology has led to the democratisation of the Turkish cinema, whereas some cinema critics believe that due to the cheapness of this technology has led to an increase in interest in the film industry and made people believe that anyone could be a filmmaker. The aim of this study is to evaluate the effects of digitalisation in Turkish cinema in terms of production, distribution and spectatorship.

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