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Publication Metadata only A market on the rise and The Fall: The distribution in the Turkish film industry(Peter Lang AG, 2020) Hepdinçler, Tolga; Tetik, Tuna; Hepdinçler, Tolga, Communication Design Department, Bahçeşehir Üniversitesi, Istanbul, Turkey; Tetik, Tuna, Bahçeşehir Üniversitesi, Istanbul, Turkey[No abstract available]Publication Metadata only Desktop Cinema as a New Aesthetic Style in the Post-Pandemic Era: Watching the Movie through Protagonist’s Computer Screen(Peter Lang AG, 2021) Tetik, Tuna; Tetik, Tuna, Film and Television Department, Bahçeşehir Üniversitesi, Istanbul, TurkeyCinema has evolved with many technological advances, from the Lumiere Brothers’ Arrival of a Train at La Ciotat (1895) to the Russo Brothers’ Avengers: Endgame (2019). Since the inception of cinema, each new technology, such as sound, color, green box, 3-D, CGI, motion capture, virtual reality, and IMAX, has affected both productions and exhibitions of movies. The relation of cinema to technological improvements helps us define cinema’s nature as an evolvable art form. When moviegoers were waiting to experience Hollywood’s latest big-budget spectacle titled Tenet (Christopher Nolan, 2020) on the expanded screens, the world witnessed a pandemic virus that spread worldwide. COVID-19 has changed our way of life. Many new technologies have become our necessities. Undoubtfully, cinema has been affected by COVID-19. The productions of forthcoming movies and all exhibitions have been canceled or postponed to an unknown date. In particular, cinema saloons were closed due to the high possibility of COVID-19 contagion. However, several filmmakers have developed new storytelling ways in the post-pandemic era. Rob Savage’s Host (2020) was produced during the lockdown that reveals six friends’ Zoom meetings. Host’s storytelling could be accepted as the latest installments of a particular film language that the audience can see what happens in the movie through the main characters’ desktops or mobile screens. With this regard, Aneesh Chaganty’s Searching (2018), Stephen Susco’s Unfriended: Dark Web (2018), and Levan Gabriadze’s Unfriended (2014) could be seen as the ancestor examples of Host (2020), which shares similar visual aesthetics with them. I prefer to define this type of film language and narrative aesthetic as desktop cinema. This chapter investigates how desktop cinema could be a new way of storytelling. Specifically, the study focuses on the relation of desktop cinema’s narrative aesthetics to diegetic and non-diegetic elements of movies. For this purpose, these movies are analyzed to reveal the function of applications, programs, and webcams in the film language. In this way, desktop cinema’s visual and narrative aesthetics are described. Hereby, a broad understanding of cinema’s new storytelling way in the post-pandemic era could be gained. © 2022 Elsevier B.V., All rights reserved.Publication Metadata only Extension through Narrative: Spider-Man 4 in the Context of Representation of the Superhero in Video Games(Peter Lang Publishing Group, 2021) Tetik, Tuna; Tetik, Tuna, Bahçeşehir Üniversitesi, Istanbul, TurkeyThis chapter will investigate how Spider-Man 4 (or Marvel’s Spider-Man in PS4) video game re-creates Spider-Man story-world in the gameplay. Specifically, the chapter will focus on Spider-Man 4‘s ways of expanding the narrative world of the game, the representation of the superhero, and the re-creation of the secondary figures in the gameplay. Superheroes have been adapted from comic books to different mediums for seventy years. Since the beginning of the new millennium, adaptations of video games into feature-length movies, and adaptations of the motion pictures into video games have become a new trend. Two different industries feed each other by these encounters between two separate media. This chapter will argue that Spider-Man 4 offers the players to experience a re-created and expanded narrative in a familiar but distinctive story-world. For that purpose, the gameplay of Spider-Man 4 will be analyzed to highlight the rare features of the game. The contemporary novelties, which Spider-Man 4 brought into the superhero video game corpus, will be described. As many scholars in the field claim that video games could be seen as dramas, this chapter aims to examine the ways of Spider-Man 4 as the re-creation of the dramatic storyline and the expansion of the storyline with several narrative devices to underline the importance of the game among other superhero video games. © 2024 Elsevier B.V., All rights reserved.Publication Metadata only Jumanji Brought into Reality: Game as Drama, Drama as Game(Peter Lang Publishing Group, 2021) Tetik, Tuna; Özgüven, Dilay; Arıhan, Ece; Tetik, Tuna, Bahçeşehir Üniversitesi, Istanbul, Turkey; Özgüven, Dilay, Bahçeşehir Üniversitesi, Istanbul, Turkey; Arıhan, Ece, Bahçeşehir Üniversitesi, Istanbul, TurkeyJumanji is the story of a board game that moves between mediums: It is born as a book, becomes a movie adaptation, and finally a board game. This chapter will explore the dynamics of the actual board game and its relation to the obstacles in the movie. Both the real board game and the one in the movie will be analyzed based on the rules of the game and the movie’s narrative logic. It will become apparent that the game is the main villain, and all the players compete against Jumanji. The outcome of the game is determined by chance. This chapter argues that brings its world of fantasy into the real world. To that aim, it applies Vladimir Propp’s and Tzvetan Todorov’s methods of narrative analysis. Also, it conducts a content analysis of both Jumanji: The Game (1995, as the game) and Jumanji (1995, as the movie). Moreover, it presents the game version as a narrative tool. Finally, it concludes that the game becomes the drama, and the drama becomes the game. © 2024 Elsevier B.V., All rights reserved.Publication Metadata only Transformation of Justice League (2017) to the Snyder Cut (2021) in the Digital Streaming Era: The Case of the Movie’s Re-Release on HBO Max Four Years After the Global Theatrical Release(Peter Lang AG, 2022) Tetik, Tuna; Tetik, Tuna, Film and Television Department, Bahçeşehir Üniversitesi, Istanbul, TurkeyJustice League (2017) movie has a sensational place in the superhero movie genre. The director, Zack Snyder, experienced a family tragedy due to his daughter’s loss during the movie’s post-production. Then, Warner Bros. assigned a new director, Joss Whedon, to the project to complete the production process. However, the movie became a global box office flop alongside negative comments of critics and audience. Fans operated a massive and global social media campaign to led the company to release Snyder’s completed and re-cut version. In 2021, fans achieved to experience Zack Snyder’s Justice League as a four-hour superhero action-adventure on HBO Max. This chapter primarily investigates the narrative and aesthetic differences between two versions of the Justice League movie. Besides, the study covers the power of global social media campaign titled #ReleasetheSnyderCut by the fans, the strategy of WarnerMedia Studios & Networks in streaming major blockbusters, including the Snyder Cut, on HBO Max, and the digital technologies-based authorship of Snyder on the Snyder Cut. Therefore, the study could broaden a new perspective on global content in digital streaming services and the influence of subscribers and fan communities on the companies. Notably, the chapter could contribute to the field of film studies and contemporary researches on film-making and streaming in the era of subscription video-on-demand services. The chapter proposes to provide significant insight into the future of the genre. © 2022 Elsevier B.V., All rights reserved.Publication Metadata only Turkish cinema goes to digital? Reviewing the popular cinema in Turkey on the filmography of Cem Yilmaz from the beginning to Netflix(Peter Lang Publishing Group, 2022) Tetik, Tuna; Tetik, Tuna, Faculty of Communication, Bahçeşehir Üniversitesi, Istanbul, TurkeyThis chapter proposes to review the condition of popular cinema in Turkey through one of the most prominent figures, Cem Yilmaz, whose filmography includes commercially successful mainstream comedies, mostly genre parodies, both made for cinema and digital. The majority of Cem Yilmaz movies have become box office winners, which have gathered genre and parody filmmaking together. Cem Yilmaz is known for his stand-up shows and commercially successful movies from the beginning of the 2000s. In 2022, he made an original comedy series aired on Netflix titled The Life and Movies of Ersan Kuneri (Cem Yilmaz, 2022-), based on the character called Ersan Kuneri, who had his first appearance in Cem Yilmaz's first box office winner movie, G.O.R.A.: A Space Movie (ömer Faruk Sorak, 2004). G.O.R.A. becomes the first installment of a trilogy followed by A.R.O.G (Ali Taner Baltaci and Cem Yilmaz, 2008) and Arif V 216 (Kivanç Baruönü, 2018). After the appearance of the character, Ersan Kuneri, in a short flashback scene (G.O.R.A., 2004), Ersan Kuneri has a more extensive sequence in Arif V 216 (2018). Those movies reached significant box office records that marked them in Turkish Cinema. The last return of the character, Ersan Kuneri, is on Netflix in 2022 with a Turkish original series, which is also the first series of Cem Yilmaz in any medium. The study aims to showcase the current scene in popular Turkish Cinema after the encounter of both national and global video-on-demand services, BluTV, puhutv, Netflix, Exxen, GAIN, Amazon Prime Video, and Disney+, in the market. The first director chairs of Turkish original series and movies on SVODs have mostly given internationally awardwinning independent art-house movie directors. However, the release of T.L.M.E.K (2022-) on Netflix highlights that the prominent figures of popular Turkish Cinema have started to land on digital. Therefore, the study attempts to bring a new perspective on the current state of Turkish Cinema through popular cinema's one of the most well-known names, Cem Yilmaz, his filmography's characteristics, and T.L.M.E.K's (2022-) way of storytelling. © 2024 Elsevier B.V., All rights reserved.Publication Metadata only The VOD scene in Turkey, a.k.a. Haluk Bilginer-Verse: The first years of turkish originals on the global and national VOD services(Peter Lang Publishing Group, 2022) Tetik, Tuna; Tetik, Tuna, Film and Television Department, Bahçeşehir Üniversitesi, Istanbul, TurkeyThis chapter focuses on the first years of global and national video-on-demand services' activities in Turkey. In the late 2010s, Netflix and several national VOD services have begun to produce their own original contents, mostly including series, in Turkey. This study attempts to showcase and scan streaming strategies, structures of catalogs, and features of Turkish original contents of global and national VOD platforms, which service in Turkey. Besides the analysis, recent debates in the field are mentioned to develop a contemporary understanding of the VOD scene in Turkey. Particularly, most of the national VOD services, including BluTV, puhutv, and Exxen, have attempted to cast a worldwide-known Turkish actor for the initial original productions' leading roles, Haluk Bilginer. Moreover, he has been cast in several Turkish Netflix original series and the movie in the early 2020s. While this chapter investigates VOD services' strategies in the production of Turkish originals, the study seeks to connect them to Haluk Bilginer, who is approached as the front face of Turkish casting to globalize and digitalize original contents in this chapter. For this purpose, the study collects all Turkish original dramas, covering series and movies, in VOD services to reveal the market's ways of growing in Turkey. The study's one of the objectives is to demonstrate a detailed list of Turkish original contents on several VODs. Further, the study aims to clarify descriptions of VOD models, which have been serving in Turkey. Therefore, it could contribute to the field by including detailed data, showing the collection of Turkish originals in the early years of VOD services, and revealing the possible patterns and commonalities between Turkish original contents. © 2022 Elsevier B.V., All rights reserved.Publication Metadata only Ways of streaming in Turkey: A structural analysis of the BluTV case and discovery's investment in the Turkish SVOD service(Peter Lang Publishing Group, 2024) Tetik, Tuna; Tetik, Tuna, Film and Television Department, Bahçeşehir Üniversitesi, Istanbul, TurkeyAs the first Turkish subscription video-on-demand service launched in 2015, BluTV got an investment from the American mass media company Discovery in 2021. Discovery announced the details of the investment that it acquired a 35% stake in BluTV. Between BluTV's launch (2015) and the strategic partnership with Discovery (2021), BluTV has managed several collaborations with other global brands on original content releases. In this regard, the first season of BluTV's detective drama, Alef (Aleph), was simultaneously released on BluTV and the American pay television channel FX in 2020. In another case, BluTV aired the original comedy series, Dogu (2021) simultaneously with Vodafone TV. Besides, several originals of BluTV are located in the Netflix catalog, while they are still aired on BluTV, such as Masum (Innocent, 2017), Insanlar Ikiye Ayrilir (Two Types of People, Tunç Şahin, 2020), and Börü 2039 ( Wolf2039, 2021-2022). Compared to sharing licensing issues and releasing rights between BluTV and other streamers, the acquisition of Discovery could be examined from different perspectives. In one way, it shows the entrance of Discovery into the Turkish market, in another, it could be seen as an attempt of BluTV to be global. Along with the partnership, the platform's structure has changed, while the number of productions has dramatically increased. Meanwhile, Discovery had grand access to BluTV's catalog and an extensive portfolio of Turkish content. This chapter approaches BluTV as a particular case to be analyzed in terms of the changed structure of the platform after Discovery's acquisition. The study develops an argument to question the collaboration between two brands from the globalization perspective. The SVOD market in Turkey is at the edge of completing its first decade. Even Amazon Prime released its first Turkish original and Prime Video-branded movie titled Rüyanda Görürsün (In Your Dreams, Cemal Kaplan, 2023) two and a half years after Amazon Prime's entrance into the Turkish market. Netflix, Disney+, and beIN Connect continue to give service in Turkey and produce Turkish originals. In this scene, the partnership between BluTV and Discovery gains more importance to broaden an understanding of the global brands' operations in the Turkish market. That is why this chapter aims to scope the structure of BluTV, the features of the platform regarding its ways of streaming, and the expanded catalog due to the shared library with Discovery. Therefore, the study could put a new complexion on the first Turkish SVOD service, BluTV, which attempts to be global. © 2024 Elsevier B.V., All rights reserved.Publication Metadata only Preface(Peter Lang Publishing Group, 2024) Tetik, Tuna; Vatanartiran, Ömer; Tetik, Tuna, Film and Television Department, Bahçeşehir Üniversitesi, Istanbul, Turkey; Vatanartiran, Ömer, Bahçeşehir Üniversitesi, Istanbul, Turkey[No abstract available]Publication Metadata only Horror meets the superhero: The shyamalan effect in horror(Peter Lang Publishing Group, 2024) Tetik, Tuna; Tetik, Tuna, Film and Television Department, Bahçeşehir Üniversitesi, Istanbul, TurkeyThis study aims to scan the filmography of M. Night Shyamalan-especially his early works to interstate the meaning of horror, fear, and death in his movies. Therefore, seminal arguments are collected to address themes and narrative commonalities in Shyamalan's horror. In 1999, his third feature-length movie, The Sixth Sense, influenced the genre, especially with the plot twist ending. Subsequent movies covered conventions from several genres like science fiction, drama, and melodrama under the tone of horror based on personal or public fear. Moreover, this study also presents a periodization of Shyamalan's filmography to inspect the unconventional ones. Notably, this chapter proposes an examination of Unbreakable (2000), Split (2016), and Glass (2019) to trace Shyamalan's universe of horror constructed on the generic characterization and narrative structure of the superhero genre. In this regard, Shyamalan's storytelling in horror and thriller is discussed, then, the relation of his trilogy-labeled in this chapter as No Ordinary Man trilogy-to Shyamalan's storyworld is questioned. Hence, the portrayal of extraordinary-superheroic or supervillainish-characters in the storyworld of horror and fear is illustrated. © 2024 Elsevier B.V., All rights reserved.