HAUNTED MEDIA AND FEAR OF REAL-TIME SCREEN: A STUDY ON SCREENLIFE HORROR FILMS

Batu Anadolu

Makale detayları

HAUNTED MEDIA AND FEAR OF REAL-TIME SCREEN: A STUDY ON SCREENLIFE HORROR FILMS

Yazarlar:

Batu Anadolu

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Ekran ve Dijital Medya (Diğer)

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.18 Issue 51, pp.1671-1690

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001359066

pISSN:

1308-4445

Anahtar kelimeler:

Özet:

 In todays relationship with the media, screens serve as both a connection and a meeting point, as well as an entry into the realm of the psychological and psychic through real-time screens. The concept of haunted media refers to the role of electronic media as an intermediary in the instantaneous transmission of societal and cultural fears. In this context, there is a growing presence of self-reflexive approaches in the art of cinema, which has transformed its existence in accordance with new developments. In recent years, cinema has expressed the fears and anxieties of society through desktop horror films, manifesting them through threats to its own existence. The increase in screenlife horror films is closely related to the normalization of the use of technological tools. While media are directly and continuously incorporated into our lives, the inhuman qualities of technology are equally debated, presenting a contradictory situation. The purpose of this study is to assess how screenlife horror films reflect the aforementioned contradiction through the narrative tools of cinema. Within the scope of the study, the concepts of real-time screens and haunted media are discussed, and the paradigm shift in our relationship with technology and screens is examined. The characteristics of horror films, which serve as carriers of cultural changes through the desktop film technique, are identified. As a sample, the desktop horror films Unfriended and Host are selected. In the context of qualitative content analysis, elements ensuring the unity of space, time, and sound are categorized and discussed through stylistic analysis. The study concludes that screenlife horror films dramatize the failures of technological development, such as cyberbullying and communication breakdowns. These films are found to instrumentalize supernatural elements through the inhuman form of media, offering a realistic experience through the unity of space, time, and sound, while attempting to strengthen the audiences ability to empathize with the discussed issues.

 In todays relationship with the media, screens serve as both a connection and a meeting point, as well as an entry into the realm of the psychological and psychic through real-time screens. The concept of haunted media refers to the role of electronic media as an intermediary in the instantaneous transmission of societal and cultural fears. In this context, there is a growing presence of self-reflexive approaches in the art of cinema, which has transformed its existence in accordance with new developments. In recent years, cinema has expressed the fears and anxieties of society through desktop horror films, manifesting them through threats to its own existence. The increase in screenlife horror films is closely related to the normalization of the use of technological tools. While media are directly and continuously incorporated into our lives, the inhuman qualities of technology are equally debated, presenting a contradictory situation. The purpose of this study is to assess how screenlife horror films reflect the aforementioned contradiction through the narrative tools of cinema. Within the scope of the study, the concepts of real-time screens and haunted media are discussed, and the paradigm shift in our relationship with technology and screens is examined. The characteristics of horror films, which serve as carriers of cultural changes through the desktop film technique, are identified. As a sample, the desktop horror films Unfriended and Host are selected. In the context of qualitative content analysis, elements ensuring the unity of space, time, and sound are categorized and discussed through stylistic analysis. The study concludes that screenlife horror films dramatize the failures of technological development, such as cyberbullying and communication breakdowns. These films are found to instrumentalize supernatural elements through the inhuman form of media, offering a realistic experience through the unity of space, time, and sound, while attempting to strengthen the audiences ability to empathize with the discussed issues.

 In todays relationship with the media, screens serve as both a connection and a meeting point, as well as an entry into the realm of the psychological and psychic through real-time screens. The concept of haunted media refers to the role of electronic media as an intermediary in the instantaneous transmission of societal and cultural fears. In this context, there is a growing presence of self-reflexive approaches in the art of cinema, which has transformed its existence in accordance with new developments. In recent years, cinema has expressed the fears and anxieties of society through desktop horror films, manifesting them through threats to its own existence. The increase in screenlife horror films is closely related to the normalization of the use of technological tools. While media are directly and continuously incorporated into our lives, the inhuman qualities of technology are equally debated, presenting a contradictory situation. The purpose of this study is to assess how screenlife horror films reflect the aforementioned contradiction through the narrative tools of cinema. Within the scope of the study, the concepts of real-time screens and haunted media are discussed, and the paradigm shift in our relationship with technology and screens is examined. The characteristics of horror films, which serve as carriers of cultural changes through the desktop film technique, are identified. As a sample, the desktop horror films Unfriended and Host are selected. In the context of qualitative content analysis, elements ensuring the unity of space, time, and sound are categorized and discussed through stylistic analysis. The study concludes that screenlife horror films dramatize the failures of technological development, such as cyberbullying and communication breakdowns. These films are found to instrumentalize supernatural elements through the inhuman form of media, offering a realistic experience through the unity of space, time, and sound, while attempting to strengthen the audiences ability to empathize with the discussed issues.

 Günümüzde medya ile kurduğumuz ilişkide ekranlar; bir bağlantı ve buluşma noktası olduğu kadar, gerçek zamanlı ekranlar aracılığıyla ruhsal ve psişik olanın alanına girmektedir. Hayaletli medya kavramı; elektronik medyanın toplumsal ve kültürel korkuların anlık aktarımında aracılık görevi üstlenmesini ifade etmektedir. Bu bağlamda, varlığını yeni gelişmeler doğrultusunda dönüştüren sinema sanatında özdüşünümsel yaklaşımlar artmaktadır. Sinema son yıllarda toplumun korku ve endişelerini, kendi varlığına yönelik tehditler üzerinden masaüstü korku filmleriyle dışa vurmaktadır. Masaüstü korku filmlerinin artış göstermesi, teknolojik araçların kullanımının bir norma dönüşmesi ile yakından ilişkilidir. Medyaların hayatımıza dolaysız ve kesintisiz biçimde dâhil olması söz konusuyken teknolojinin gayri insani özelliklerinin de aynı ölçüde tartışılması çelişkili bir durumu ortaya koymaktadır. Çalışmanın amacı; masaüstü korku filmlerinin söz edilen çelişkiyi sinemanın anlatım araçlarıyla nasıl yansıttığını değerlendirmektir. Çalışma kapsamında gerçek zamanlı ekran ve hayaletli medya kavramlarına değinilerek, teknolojiyle ve ekranlarla olan ilişkimizdeki paradigma değişimi incelenmiştir. Masaüstü film tekniği aracılığıyla kültürel değişimlerin taşıyıcısı korku filmlerinin özellikleri saptanmıştır. Örneklem olarak masaüstü korku filmi formatındaki Unfriended ve Host filmleri seçilmiştir. Nitel içerik analizi bağlamında biçem analizi yöntemiyle mekân, zaman ve ses birliğini sağlayan unsurlar kategorize edilerek tartışılmıştır. Çalışmanın sonucunda; masaüstü korku filmlerinin, teknolojinin gelişimini siber zorbalık, iletişimin kesintiye uğraması gibi problemler üzerinden başarısızlıkları ile dramatize ettiği görülmektedir. Bu filmlerin medyaların gayri insani bir biçim alarak doğaüstü unsurların araçsallaştırılması yoluna gittiği ve mekân, zaman ve ses birliği unsurları üzerinden gerçekçi bir deneyim sunarak izleyicinin bahsi geçen sorunlarla empati kurma yetisinin güçlendirilmeye çalışıldığı tespit edilmiştir.

Makale detayları

HAUNTED MEDIA AND FEAR OF REAL-TIME SCREEN: A STUDY ON SCREENLIFE HORROR FILMS

Yazarlar:

Batu Anadolu

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Ekran ve Dijital Medya (Diğer)

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.18 Issue 51, pp.1671-1690

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001359066

pISSN:

1308-4445

Haunted Media

Desktop Film

Screenlife

Real Time Screen

Style AnalysisHayaletli Medya

Masaüstü Film

Masaüstü Korku Filmi

Gerçek Zamanlı Ekran

Biçem Analizi

Sayı

Makale detayları

Yazarlar: Batu Anadolu

Yayıncı: Motif Yayıncılık

Ana Başlıklar: Ekran ve Dijital Medya (Diğer)

Dergi: Motif Akademi Halkbilimi Dergisi Vol.18 Issue 51, pp.1671-1690

Belge Tipi: Makale

Yayın Tarihi: 9/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001359066

pISSN: 1308-4445

Sayı

Yazarlar:

Batu Anadolu

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

Ekran ve Dijital Medya (Diğer)

Dergi:

Motif Akademi Halkbilimi Dergisi Vol.18 Issue 51, pp.1671-1690

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001359066

pISSN:

1308-4445