Radyo Sinema ve Televizyon Bölümü Koleksiyonuhttps://hdl.handle.net/20.500.12440/1212024-03-28T08:58:28Z2024-03-28T08:58:28ZThe Culture of Living on Screen and the Audience-Human as ScreenshotDemir, Sertac Timurhttps://hdl.handle.net/20.500.12440/59892023-07-21T10:46:04Z2023-01-01T00:00:00ZThe Culture of Living on Screen and the Audience-Human as Screenshot
Demir, Sertac Timur
This paper asserts the idea that everyday life is screened while screens are humanised. As a matter of fact, the screens, which once consisted of detached mechanisms limited to certain places and positioned "in front" of the audience, at this point, "surround" the spaces and people. Televisions, mobile phones, tablets, laptops, desktop computers, automobile screens, smart technologies, and flashing billboards are reshaping the connections of modern individuals with the space they live in, the time they feel, the relationships they develop, and their own beings. So much so that the screens that are connected to almost all devices and organize daily life entirely cease to be a platform for viewing images and turn into a kind of spectator's eye. In this regulation, the modern human performs many vital acts from working to having fun, from learning to experiencing, from adapting to resisting not "through the screen" as it once was, but now "as the screen". This "screen culture", which basically imitates and perhaps targets the eye, has become one of the norms of digital life. The theoretical framework of this research, which tries to see both the premises of the rapid transformation in question and to trace the ambiguous course, consists of the works of pioneering thinkers such as Gunther Anders, Jean Baudrillard and Byung-Chul Han. For this purpose, in this qualitative study, sociological film analysis is carried out through the episode of Fifteen Million Merits (2011) of the series Black Mirror, one of the Sci-Fi examples that have become very popular in recent years. This episode is notable in terms both of embodying and of nurturing discussions about the screen society.
2023-01-01T00:00:00ZA Sociological Criticism of the Global Health Discourse: The Pandemic as a Metaphor of Contemporary CultureDemir, Sertaç Timurhttps://hdl.handle.net/20.500.12440/57092023-02-01T12:22:45Z2021-01-01T00:00:00ZA Sociological Criticism of the Global Health Discourse: The Pandemic as a Metaphor of Contemporary Culture
Demir, Sertaç Timur
This article argues that a clear correlation exists between disease and the prevailing social functioning. In this respect, every disease can be seen as a metaphor for the age and society in which it emerges. In other words, every period carries a form of disease that bears traces of the dominant lifestyle. This study approaches the epidemic as a kind of sociological projection in the context of studying modern culture and continues the discussion along the lines critically opened by Susan Sontag (2005). lust as Sontag examined disease as a metaphor, this article debates the discourses on masks, social distancing, and hygiene within the scope of COVID-19 along a specific sociological axis around the concepts of speed, control, information, hyper-medicalization, and death as the dominant indicators of contemporary culture. For this purpose, the study seeks answers to the following questions through the leading social theorists of the field such as Bauman, Baudrillard, Turner, Furedi and Chul-Han: How does the global epidemic and the current health discourse embodied in it appear within the sociological context? What thoughts and tendencies emerge when examining the pandemic portrait as a social metaphor? For example, what kind of relationship exists between hygiene and cultural fears; among distance, social isolation, and avoidance; and between masks and the superficial idea of death concealed behind quantification? Undoubtedly, the pandemic is a critical breaking point in the history of modern medicine and has forced not only global health practices but also many value judgments to both paradoxically be accepted and questioned.
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