Üsküdar Üniversitesi Yeni Medya ve İletişim bölümünden Doç. Dr. Yıldız Derya Brincioğlu Vural moderatörlüğünde düzenlenen ‘Sinemada Dönüşümler’ programının konukları Yapımcı- Yönetmen Pirana Film Kurucusu Ekrem Doydu ve Üsküdar Üniversitesi Yeni Medya ve İletişim Bölüm Başkanı Doç. Dr. Feride Zeynep Güder oldu.
Ekrem Doydu: ‘‘People will be a user participant rather than a spectator’’
Ekrem Doydu, speaking about transferred reality; ‘‘People will be a user participant rather than a spectator. We hope to experience the work we have more or less seen in the gaming world, also in the virtual world, with an emphasis on augmented reality, in what we call meta worlds. For this, I am quite excited both on behalf of the industry and myself. The right people are investing in providing the necessary R&D for this. If you have noticed, they have already placed a ‘meta’ logo at the bottom when you enter Instagram, Facebook. If anyone is interested in crypto, meta words coins are also increasing quite popularly. Therefore, since they can easily adapt this crypto world to money, I can say that it will frequently appear in the future world.’’ he stated.
“I don’t think cinema halls will completely disappear”
Doydu, pointing out that platforms offer variety to people and the opportunity to access rich content without leaving their comfort zone, also stated that they create a significant business sector; “The transition period for digital platforms had begun, but with the pandemic, this accelerated significantly and became more qualified. Whether cinema halls will die out or how much digital platforms will affect them is also an important aspect for both the industry and viewers. I don’t think cinema halls will completely disappear. I read an article saying, “we watch the films we watch at home, but we experience the films we watch in the cinema hall”. Frankly, I am on the side that loves the big screen. Platforms are also truly significant. Because, first and foremost, they offer variety to people. They provide the possibility to access quite rich content without leaving our comfort zone. As producers, we are happy with the advent of such platforms. Because they create a serious business sector. Of course, it would not be right to say this only for cinema films; series, documentaries will also be a place where many people will find employment on these platforms,” he said.
Assoc. Prof. Dr. Feride Zeynep Güder; ‘‘VR cinema turns subjects into particles wandering among objects’’
Assoc. Prof. Dr. Feride Zeynep Güder, speaking about what can be done to have a mind independent of space; ‘‘When we look at Cartesian dualism, I am truly bound to the body, but I also need art to have a self or a mind independent of me, independent of my body. There are discussions that within the scope of VR cinema or visual arts, I can progress detached from my real body. In Spinozist thought, regarding the issue of the subject being an extension of the body, thinking and extension are considered as separate substances. At the point where this thought and extension are considered as separate substances, Levinas looks from a very different perspective. He says there is the issue of being compelled by the body. That is, I can only achieve transcendence for my body through my mind or through art. Within our questions of escaping our bodies in art, in the details, at the point of escaping reality, there is VR cinema. When we ask people why cinema, why art, we are also somewhat escaping from existing reality, but we are also escaping from our bodies. In cinema, you can fly, you can become a particle. We are actually freeing ourselves a bit from our bodies. VR cinema turns subjects into particles wandering among objects.’’ she said.
“As a literary scholar, I worked extensively on Shakespeare in Theatre”
Güder, mentioning that the statement made by the US Secretary of Defense in 2002 was interesting; “There are known knowns, things we know we know; there are known unknowns, things we know we don’t know; and there are unknown unknowns.” As a literary scholar, I worked extensively on Shakespeare in Theatre. The audience in his theatre watched standing throughout the entire performance, not comfortably seated. Was an early preparation perhaps made for the interactive scenario we just mentioned in Bertolt Brecht’s epic theatre? When the cold screen of television came into play, the perception of reality somewhat moved beyond the screen. That emotion in theatre was somewhat lost. I want to explain by taking refuge in literature. Novels are narrated, stories are narrated, not from the perspective of all characters, but all characters are narrated by the author. Later, the stream of consciousness theory emerged in literature. While thinking, we can also jump from image to image. From there, we turn to the past, think about the future, get stuck in the present. I watched two or three VR cinemas. It was extremely violent. First, we felt the breath of the characters there. You are truly inside the event, all your perception is open. You are there perceptually, and after a second or two, that character starts to be felt in your body. I felt it enter my body too. They made me feel this. Because I was inside it, I was deeply affected by something I wouldn't normally feel, might be indifferent to, or wouldn't react to on a white screen, but felt very strongly there.” she said.