CHERNOBYL TV SERIES: DOCUMENTARY DRAMA AND SIMULATION

Ahmet Nafiz Kavi; Onur Akyol; Mehtap Kavi

Makale detayları

CHERNOBYL TV SERIES: DOCUMENTARY DRAMA AND SIMULATION

Yazarlar:

Ahmet Nafiz Kavi | Onur Akyol | Mehtap Kavi

Yayıncı:

Istanbul Aydin University

Ana Başlıklar:

Medya Endüstrisi Çalışmaları | Radyo-Televizyon | İletişim ve Medya Çalışmaları (Diğer)

Dergi:

İletişim Çalışmaları Dergisi Vol.10 Issue 3, pp.265-298

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001328451

pISSN:

2149-486X

Anahtar kelimeler:

Özet:

 The documentary drama series Chernobyl 2019, co-produced by the American broadcaster HBO and the British broadcaster SKY, chose to recreate archive and news footage almost verbatim while covering the nuclear accident on 26 April 1986. When evaluated on the axis of Baudrillards conceptualisation of simulation, it is evaluated that depiction can replace reality and it is discussed that the series can play a role in the construction of collective memory. The aim of the research is to reveal that archive images are imitated and reproduced in the search for a realistic mise-en-scene. As a popular culture product, the Chernobyl series produces the discourse that the Soviet regime during the cold war period and the bureaucracy and strict hierarchy, which is one of the representation mechanisms that ensure the continuity of the regime, pose a great threat to all humanity and the environment. The realistic images obtained through cinematography, production design decor, costumes, etc. and visual effects aim to give legitimacy to the fictionalised plot and dramatisation. Archival footage, on the other hand, will create the image that the series is extremely faithful to reality due to its high degree of similarity with the series when confronted by people who will conduct in-depth research on the subject. Therefore, the imitation of archive footage has a special importance for the production. It was revealed through descriptive analysis that the imitation of archive images was recreated by the producers of the series taken as a case study. The archive images accessible for the analysis were compared with the images in the series and imitation images were identified. Repetitive images were not included considering the scope of the research.

 The documentary drama series Chernobyl 2019, co-produced by the American broadcaster HBO and the British broadcaster SKY, chose to recreate archive and news footage almost verbatim while covering the nuclear accident on 26 April 1986. When evaluated on the axis of Baudrillards conceptualisation of simulation, it is evaluated that depiction can replace reality and it is discussed that the series can play a role in the construction of collective memory. The aim of the research is to reveal that archive images are imitated and reproduced in the search for a realistic mise-en-scene. As a popular culture product, the Chernobyl series produces the discourse that the Soviet regime during the cold war period and the bureaucracy and strict hierarchy, which is one of the representation mechanisms that ensure the continuity of the regime, pose a great threat to all humanity and the environment. The realistic images obtained through cinematography, production design decor, costumes, etc. and visual effects aim to give legitimacy to the fictionalised plot and dramatisation. Archival footage, on the other hand, will create the image that the series is extremely faithful to reality due to its high degree of similarity with the series when confronted by people who will conduct in-depth research on the subject. Therefore, the imitation of archive footage has a special importance for the production. It was revealed through descriptive analysis that the imitation of archive images was recreated by the producers of the series taken as a case study. The archive images accessible for the analysis were compared with the images in the series and imitation images were identified. Repetitive images were not included considering the scope of the research.

 The documentary drama series Chernobyl 2019, co-produced by the American broadcaster HBO and the British broadcaster SKY, chose to recreate archive and news footage almost verbatim while covering the nuclear accident on 26 April 1986. When evaluated on the axis of Baudrillards conceptualisation of simulation, it is evaluated that depiction can replace reality and it is discussed that the series can play a role in the construction of collective memory. The aim of the research is to reveal that archive images are imitated and reproduced in the search for a realistic mise-en-scene. As a popular culture product, the Chernobyl series produces the discourse that the Soviet regime during the cold war period and the bureaucracy and strict hierarchy, which is one of the representation mechanisms that ensure the continuity of the regime, pose a great threat to all humanity and the environment. The realistic images obtained through cinematography, production design decor, costumes, etc. and visual effects aim to give legitimacy to the fictionalised plot and dramatisation. Archival footage, on the other hand, will create the image that the series is extremely faithful to reality due to its high degree of similarity with the series when confronted by people who will conduct in-depth research on the subject. Therefore, the imitation of archive footage has a special importance for the production. It was revealed through descriptive analysis that the imitation of archive images was recreated by the producers of the series taken as a case study. The archive images accessible for the analysis were compared with the images in the series and imitation images were identified. Repetitive images were not included considering the scope of the research.

 Amerikan yayıncısı HBO ile İngiliz yayıncı SKY ortak yapımı belgesel drama Çernobil dizisi 2019, 26 Nisan 1986 yılındaki nükleer kazayı konu edinirken, arşiv ve haber görüntülerini neredeyse birebir yeniden oluşturma yolunu tercih etmiştir. Baudrillardın simülasyon kavramsallaştırması ekseninde değerlendirildiğinde, tasvirin gerçeğin yerini alabildiği değerlendirilmiş ve dizinin kolektif belleğin inşasında rol oynayabileceği tartışılmıştır. Araştırmanın amacı, gerçekçi bir mizansen arayışında arşiv görüntülerin taklit edilerek yeniden üretildiğini ortaya koymaktır. Popüler kültür ürünü olan Çernobil dizisi, söylem olarak; soğuk savaş dönemindeki Sovyet rejimi ve rejimin devamlılığını sağlayan temsil mekanizmalarından biri olan bürokrasi ve katı hiyerarşinin tüm insanlık ve çevre için büyük bir tehdit oluşturduğu söylemini üretmektedir. Sinematografi, yapım tasarımı dekor, kostüm vb. ve görsel efektler sayesinde elde edilen gerçekçi görüntüler kurgulanmış olay örgüsü ve dramatizasyona meşruiyet kazandırma amacını taşımaktadır. Arşiv görüntüleri ise; konu ile ilgili derinlemesine araştırma yapacak kişilerin karşısına çıktığında, dizi ile yüksek oranda benzerlik taşıması nedeniyle dizinin gerçeğe son derece sadık olduğu imajını oluşturacaktır. Bu nedenle arşiv görüntülerin taklidi yapım için özel bir öneme sahiptir. Vaka çalışması olarak ele alınan dizinin yapımcıları tarafından arşiv görüntülerin taklidinin yeniden oluşturulduğu betimsel analizle ortaya konmuştur. Analiz için erişilebilen arşiv görüntüleri dizideki görüntüler ile karşılaştırılmış ve taklit görüntüler tespit edilmiştir. Birbirinin tekrarı niteliğindeki görüntüler ise araştırmanın kapsamı göze alınarak dahil edilmemiştir.

Makale detayları

CHERNOBYL TV SERIES: DOCUMENTARY DRAMA AND SIMULATION

Yazarlar:

Ahmet Nafiz Kavi | Onur Akyol | Mehtap Kavi

Yayıncı:

Istanbul Aydin University

Ana Başlıklar:

Medya Endüstrisi Çalışmaları | Radyo-Televizyon | İletişim ve Medya Çalışmaları (Diğer)

Dergi:

İletişim Çalışmaları Dergisi Vol.10 Issue 3, pp.265-298

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001328451

pISSN:

2149-486X

Chernobyl

series

docudrama

collective memory

simulationÇernobil

dizi

belgesel drama

kolektif bellek

simülasyon

Sayı

Makale detayları

Yazarlar: Ahmet Nafiz Kavi | Onur Akyol | Mehtap Kavi

Yayıncı: Istanbul Aydin University

Ana Başlıklar: Medya Endüstrisi Çalışmaları | Radyo-Televizyon | İletişim ve Medya Çalışmaları (Diğer)

Dergi: İletişim Çalışmaları Dergisi Vol.10 Issue 3, pp.265-298

Belge Tipi: Makale

Yayın Tarihi: 9/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001328451

pISSN: 2149-486X

Sayı

Yazarlar:

Ahmet Nafiz Kavi | Onur Akyol | Mehtap Kavi

Yayıncı:

Istanbul Aydin University

Ana Başlıklar:

Medya Endüstrisi Çalışmaları | Radyo-Televizyon | İletişim ve Medya Çalışmaları (Diğer)

Dergi:

İletişim Çalışmaları Dergisi Vol.10 Issue 3, pp.265-298

Belge Tipi:

Makale

Yayın Tarihi:

9/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001328451

pISSN:

2149-486X