Research Article
BibTex RIS Cite

Metaleptik Anlatı Biçimi ve 360 Derece Masallarda Hikâye-Yaşantısı Deneyimi

Year 2024, Volume: 30 Issue: 120, 1029 - 1052, 01.11.2024
https://doi.org/10.22559/folklor.2716

Abstract

Teknolojik yeniliklerin toplumda yarattığı zorunlu ve doğal değişim, insanın
yaşamla kurduğu ilişkiyi yeniden yapılandırmaktadır. Çünkü giderek yaygınlaşan
herhangi bir teknolojinin, insanla ilişki kurmaması ve ondan kopuk bir
biçimde varlık göstermesi neredeyse olanaksızdır. Bu ilişkinin en görünür olduğu
alanlar ise görme ile algılama biçimlerini doğrudan etkileyen sanat ve
iletişim alanlarıdır. Bu çalışma, sanal gerçeklik teknolojilerinin masal anlatısında
yarattığı değişimi konu edinmektedir. Söz konusu değişim, masal içeriğini 360
derece seyirlik bir çevreyle sunan, seyreden kişiyi masal ortamına
dâhil eden ve böylece bir deneyim ortaya koyandır. Çalışmada, sanal gerçeklik
teknolojilerinin masallarda meydana getirdiği değişimleri ve yenilikleri açığa
çıkarmak amaçlanmaktadır. Bu amaç doğrultusunda örneklem olarak belirlenen
The Turning Forest (Oscar Raby - 2016) masalı, metalepsis ve meta-diegetik ses
kavramları üzerinden anlatı bilimsel çözümleme yöntemine göre
analiz edilmiştir. Araştırmadan elde edilen bulgulara göre, sanal gerçeklik
teknolojilerinin mevcut özellikleri, masalı katmanlı bir biçimde yapılandırmış
ve bu yapı metalepsis anlatı biçimini doğal bir biçimde karşımıza çıkarmıştır.
Anlatıyı seyreden katılımcı (seyirci) ise başkarakter olarak belirlenmiş ve olay
örgüsü kaçınılmaz olarak onun etrafında şekillenmiştir. Aynı zamanda, metadiegetik
ses kullanımı, başkarakterin etkileşim kurabilmesiyle ilişkilendirilmiş
ve bu ilişki metalepsis anlatı biçimini güçlendirmiştir.

Ethical Statement

Araştırma ve yayın etiği beyanı: Bu makale tamamıyla özgün bir araştırma olarak planlanmış, yürütülmüş ve sonuçları ile raporlaştırıldıktan sonra ilgili dergiye gönderilmiştir. Araştırma herhangi bir sempozyum, kongre vb. sunulmamış ya da başka bir dergiye değerlendirilmek üzere gönderilmemiştir. Yazarların makaleye katkı oranları: Bu makaledeki birinci yazar %100 düzeyinde çalışmanın hazırlanması, veri toplanması, sonuçların yorumlanması ve makalenin yazılması aşamalarına katkı sağlamıştır. Etik komite onayı: Çalışmada etik kurul iznine gerek yoktur. Finansal destek: Çalışmada finansal destek alınmamıştır. Çıkar çatışması: Çalışmada potansiyel çıkar çatışması bulunmamaktadır.

References

  • Abbott, H. P. (2008). Narrative and emergent behavior. Poetics Today, 29(2), 227-244.
  • Aylett, R. (2000). Emergent narrative, social immersion and “storification”. In Proceedings of the 1st International Workshop on Narrative and Interactive Learning Environments, 35-44.
  • Aylett, R. S., Louchart, S., Dias, J., Paiva, A., & Vala, M. (2005). FearNot!–an experiment in emergent narrative. In Intelligent Virtual Agents: 5th International Working Conference, IVA Kos, Greece, September 12-14, Proceedings 5 (pp. 305-316). Springer Berlin Heidelberg.
  • Bacchilega, C. (1997). Postmodern fairy tales: Gender and narrative strategies. University of Pennsylvania Press.
  • Barkholt-Spangsbo, T., & Arbjørn, J. H. (2021). Emergent storıes and directed narratives. Koljonen J, Stenros J, Grove AS, et al. (Eds.) Larp Design: Creating Role-Play Experiences. Copenhagen: Bifrost. 121-129.
  • Bell, A. (2016). Interactional metalepsis and unnatural narratology. Narrative, 24(3), 294-310.
  • Bell, A., & Alber, J. (2012). Ontological metalepsis and unnatural narratology. Journal of narrative theory, 42(2), 166-192.
  • Biocca, F. (1992). Virtual reality technology: A tutorial. Journal of Communication, 42(4), 23-72.
  • Bottigheimer, R. B. (1989). Fairy tales, folk narrative research and history. Social History, 14(3), 343-357.
  • Bottigheimer, R. B. (2006). Fairy-tale origins, fairy-tale dissemination, and folk narrative theory. Fabula, 47( 3-4), 211-221.
  • Bryce, J., & Rutter, J. (2002). Spectacle of the deathmatch: Character and narrative in first-person shooters. ScreenPlay: Cinema/videogames/interfaces, 66-80.
  • Cavazza, M., Charles, F., & Mead, S. J. (2002). Emergent situations in interactive storytelling. In Proceedings of the 2002 ACM symposium on Applied computing. 1080-1085.
  • Coelho, C., Tichon, J., Hine, T. J., Wallis, G., & Riva, G. (2006). Media presence and inner presence: the sense of presence in virtual reality technologies. From communication to presence: Cognition, emotions and culture towards the ultimate communicative experience, 11, 25-45.
  • Cummings, B. (2010). Metalepsis: the boundaries of metaphor. In Renaissance figures of speech (pp. 217-234). Cambridge University Press.
  • Currie, G. (2009). Narrative and the psychology of character. The Journal of Aesthetics and Art Criticism, 67(1), 61-71.
  • Dunnigan, B. (2004). Storytelling and film: Fairy tales, myth, and happy endings. POV, (18), 1-4.
  • Effe, A. (2017). JM coetzee and the ethics of narrative transgression: A reconsideration of metalepsis. Palgrave Macmillan.
  • Feilitzen, C. & Linné, O. (1975). Identifying with television characters, Journal of Communication, 25(4), 51–55, https://doi.org/10.1111/j.1460-2466.1975.tb00638.x
  • Felski, R. (2019). Identifying with characters. Character: Three inquiries in literary studies, 77-126.
  • Feyersinger, E. (2010). Diegetic short circuits: Metalepsis in animation. Animation, 5(3), 279-294.
  • Gorbman, C. (1980). Narrative film music. Yale French Studies, (60), 183-203.
  • Görne, T. (2019). The emotional impact of sound: A short theory of film sound design. EPiC Series in Technology, (1), 17-30.
  • Masia, B., Camon, J., Gutierrez, D., & Serrano, A. (2021). Influence of directional sound cues on users’ exploration across 360° movie cuts. IEEE Computer Graphics and Applications, 41(4), 64-75.
  • Mateer, J. (2017). Directing for cinematic virtual reality: How the traditional film director’s craft applies to immersive environments and notions of presence. Journal of Media Practice, 18(1), 14-25.
  • Milicevic, M. (2013). Altered states of consciousness in narrative cinema: Subjective film sound. International Journal of Humanities and Social Sciences, 7(12), 3216-3220.
  • Molo, Ü. (2021). Sanal gerçeklik ve 360 derece film (Virtual reality and 360-degree film). Nobel.
  • Nielsen, H. S., Alber, J., & Richardson, B. (2013). A poetics of unnatural narrative. The Ohio State University Press.
  • Percheron, D., & Butzel, M. (1980). Sound in cinema and its relationship to image and diegesis. Yale French Studies, (60), 16-23.
  • Pier, J. (2016). Metalepsis. Handbook of narratology, (1), 326-343.
  • Riedl, M. O., & Young, R. M. (2003). Character-focused narrative generation for execution in virtual worlds. In International conference on virtual storytelling (pp. 47-56). Berlin, Heidelberg: Springer Berlin Heidelberg.
  • Röhrich, L. (2014). Introduction. Bottigheimer, R. B. (Ed.). In Fairy tales and society: Illusion, allusion, and paradigm. University of Pennsylvania Press. 1-9.
  • Rothe, S., & Hußmann, H. (2018). Guiding the viewer in cinematic virtual reality by diegetic cues. In International Conference on augmented reality, virtual reality and computer Graphics (pp. 101- 117). Springer, Cham.
  • Ryan, M. L. (2006). Avatars of story (17). University of Minnesota Press.
  • Ryan M. L. (2017). Narrative. In Szeman I., Blacker S., Sully J. (Eds.) A companion to critical and cultural theory (pp. 517–530). Wiley Blackwell.
  • Schuemie, M. J., Van Der Straaten, P., Krijn, M., & Van Der Mast, C. A. (2001). Research on presence in virtual reality: A survey. CyberPsychology & Behavior, 4(2), 183-201.
  • Schwabe, C. (2016). The fairy tale and its uses in contemporary new media and popular culture introduction. Humanities, 5(4), 81. doi:10.3390/h5040081
  • Slater, M. (2018). Immersion and the illusion of presence in virtual reality. British Journal of Psychology, 109(3), 431-433.
  • Smith, J. (2009). Bridging the gap: Reconsidering the border between diegetic and nondiegetic music. Music and the Moving Image, 2(1), 1-25.
  • Smith, K. P. (2007). The postmodern fairytale: Folkloric intertexts in contemporary fiction. Palgrave Macmillan.
  • Stilwell, R. J. (2007). The fantastical gap between diegetic and nondiegetic. In Beyond the Soundtrack: Representing Music in Cinema, 184-202.
  • Swartjes, I. M. T. (2010). Whose story is it anyway? How improv informs agency and authorship of emergent narrative. Ph.D. thesis.
  • Tiffin, J. (2009). Marvellous geometry: narrative and metafiction in modern fairy tale. Wayne State University Press.
  • Walsh, R. (2011). Emergent narrative in interactive media. Narrative, 19(1), 72-85.
  • Walther-Hansen, M. (2015). Sound events, spatiality and diegesis–the creation of sonic narratives in music productions. Danish Musicology Online, 29-46.
  • Wingstedt, J., Brändström, S., & Berg, J. (2010). Narrative music, visuals and meaning in film. Visual Communication, 9(2), 193-210.
  • Zipes, J. (2015). The Oxford companion to fairy tales. Oxford University Press.

Metaleptic Narrative Form and Storyliving Experience in 360-Degree Fairy Tales

Year 2024, Volume: 30 Issue: 120, 1029 - 1052, 01.11.2024
https://doi.org/10.22559/folklor.2716

Abstract

The inevitable and natural changes brought about by technological innovations
in society are restructuring the relationship between humans and life itself. This
is because it is nearly impossible for any technology that becomes increasingly
widespread not to engage with humans and exist disconnected from them. The
most visible areas where this relationship manifests are in art and communication,
which directly influence the ways in which perception occurs, especially in terms
of vision. This study focuses on the changes brought about by virtual reality
technologies in storytelling. This change involves presenting the content of fairy
tales within a 360-degree immersive environment, involving the viewer within the
fairy tale’s setting, thus creating an experience. The aim of this study is to reveal
the changes and innovations brought about by virtual reality technologies in fairy
tales. In line with this aim, the fairy tale The Turning Forest (Oscar Raby - 2016),
selected as a sample, has been analyzed using narrative analysis method based
on the concepts of metalepsis and meta-diegetic sound. According to the findings
obtained from the research, the existing features of virtual reality technologies
structure the fairy tale in a layered manner and this structure naturally reveals the
metaleptic narrative form. The participant (audience) of the narrative is identified
as the protagonist and the plot inevitably revolves around them. Furthermore, the
use of meta-diegetic sound is associated with the protagonist’s ability to interact,
thereby strengthening the relationship with the metaleptic narrative form.

Ethical Statement

Research and publication ethics statement: This is a research article, containing original data, and it has not been previously published or submitted to any other outlet for publication. The author followed ethical principles and rules during the research process. In the study, informed consent was obtained from the volunteer participants and the privacy of the participants was protected. Contribution rates of authors to the article: The first author in this article contributed to the 100% level of preparation of the study, data collection, and interpretation of the results and writing of the article. Financial support: The study received no financial support from any institution or project. Conflict of interest: The author declares no conflict of interest.

References

  • Abbott, H. P. (2008). Narrative and emergent behavior. Poetics Today, 29(2), 227-244.
  • Aylett, R. (2000). Emergent narrative, social immersion and “storification”. In Proceedings of the 1st International Workshop on Narrative and Interactive Learning Environments, 35-44.
  • Aylett, R. S., Louchart, S., Dias, J., Paiva, A., & Vala, M. (2005). FearNot!–an experiment in emergent narrative. In Intelligent Virtual Agents: 5th International Working Conference, IVA Kos, Greece, September 12-14, Proceedings 5 (pp. 305-316). Springer Berlin Heidelberg.
  • Bacchilega, C. (1997). Postmodern fairy tales: Gender and narrative strategies. University of Pennsylvania Press.
  • Barkholt-Spangsbo, T., & Arbjørn, J. H. (2021). Emergent storıes and directed narratives. Koljonen J, Stenros J, Grove AS, et al. (Eds.) Larp Design: Creating Role-Play Experiences. Copenhagen: Bifrost. 121-129.
  • Bell, A. (2016). Interactional metalepsis and unnatural narratology. Narrative, 24(3), 294-310.
  • Bell, A., & Alber, J. (2012). Ontological metalepsis and unnatural narratology. Journal of narrative theory, 42(2), 166-192.
  • Biocca, F. (1992). Virtual reality technology: A tutorial. Journal of Communication, 42(4), 23-72.
  • Bottigheimer, R. B. (1989). Fairy tales, folk narrative research and history. Social History, 14(3), 343-357.
  • Bottigheimer, R. B. (2006). Fairy-tale origins, fairy-tale dissemination, and folk narrative theory. Fabula, 47( 3-4), 211-221.
  • Bryce, J., & Rutter, J. (2002). Spectacle of the deathmatch: Character and narrative in first-person shooters. ScreenPlay: Cinema/videogames/interfaces, 66-80.
  • Cavazza, M., Charles, F., & Mead, S. J. (2002). Emergent situations in interactive storytelling. In Proceedings of the 2002 ACM symposium on Applied computing. 1080-1085.
  • Coelho, C., Tichon, J., Hine, T. J., Wallis, G., & Riva, G. (2006). Media presence and inner presence: the sense of presence in virtual reality technologies. From communication to presence: Cognition, emotions and culture towards the ultimate communicative experience, 11, 25-45.
  • Cummings, B. (2010). Metalepsis: the boundaries of metaphor. In Renaissance figures of speech (pp. 217-234). Cambridge University Press.
  • Currie, G. (2009). Narrative and the psychology of character. The Journal of Aesthetics and Art Criticism, 67(1), 61-71.
  • Dunnigan, B. (2004). Storytelling and film: Fairy tales, myth, and happy endings. POV, (18), 1-4.
  • Effe, A. (2017). JM coetzee and the ethics of narrative transgression: A reconsideration of metalepsis. Palgrave Macmillan.
  • Feilitzen, C. & Linné, O. (1975). Identifying with television characters, Journal of Communication, 25(4), 51–55, https://doi.org/10.1111/j.1460-2466.1975.tb00638.x
  • Felski, R. (2019). Identifying with characters. Character: Three inquiries in literary studies, 77-126.
  • Feyersinger, E. (2010). Diegetic short circuits: Metalepsis in animation. Animation, 5(3), 279-294.
  • Gorbman, C. (1980). Narrative film music. Yale French Studies, (60), 183-203.
  • Görne, T. (2019). The emotional impact of sound: A short theory of film sound design. EPiC Series in Technology, (1), 17-30.
  • Masia, B., Camon, J., Gutierrez, D., & Serrano, A. (2021). Influence of directional sound cues on users’ exploration across 360° movie cuts. IEEE Computer Graphics and Applications, 41(4), 64-75.
  • Mateer, J. (2017). Directing for cinematic virtual reality: How the traditional film director’s craft applies to immersive environments and notions of presence. Journal of Media Practice, 18(1), 14-25.
  • Milicevic, M. (2013). Altered states of consciousness in narrative cinema: Subjective film sound. International Journal of Humanities and Social Sciences, 7(12), 3216-3220.
  • Molo, Ü. (2021). Sanal gerçeklik ve 360 derece film (Virtual reality and 360-degree film). Nobel.
  • Nielsen, H. S., Alber, J., & Richardson, B. (2013). A poetics of unnatural narrative. The Ohio State University Press.
  • Percheron, D., & Butzel, M. (1980). Sound in cinema and its relationship to image and diegesis. Yale French Studies, (60), 16-23.
  • Pier, J. (2016). Metalepsis. Handbook of narratology, (1), 326-343.
  • Riedl, M. O., & Young, R. M. (2003). Character-focused narrative generation for execution in virtual worlds. In International conference on virtual storytelling (pp. 47-56). Berlin, Heidelberg: Springer Berlin Heidelberg.
  • Röhrich, L. (2014). Introduction. Bottigheimer, R. B. (Ed.). In Fairy tales and society: Illusion, allusion, and paradigm. University of Pennsylvania Press. 1-9.
  • Rothe, S., & Hußmann, H. (2018). Guiding the viewer in cinematic virtual reality by diegetic cues. In International Conference on augmented reality, virtual reality and computer Graphics (pp. 101- 117). Springer, Cham.
  • Ryan, M. L. (2006). Avatars of story (17). University of Minnesota Press.
  • Ryan M. L. (2017). Narrative. In Szeman I., Blacker S., Sully J. (Eds.) A companion to critical and cultural theory (pp. 517–530). Wiley Blackwell.
  • Schuemie, M. J., Van Der Straaten, P., Krijn, M., & Van Der Mast, C. A. (2001). Research on presence in virtual reality: A survey. CyberPsychology & Behavior, 4(2), 183-201.
  • Schwabe, C. (2016). The fairy tale and its uses in contemporary new media and popular culture introduction. Humanities, 5(4), 81. doi:10.3390/h5040081
  • Slater, M. (2018). Immersion and the illusion of presence in virtual reality. British Journal of Psychology, 109(3), 431-433.
  • Smith, J. (2009). Bridging the gap: Reconsidering the border between diegetic and nondiegetic music. Music and the Moving Image, 2(1), 1-25.
  • Smith, K. P. (2007). The postmodern fairytale: Folkloric intertexts in contemporary fiction. Palgrave Macmillan.
  • Stilwell, R. J. (2007). The fantastical gap between diegetic and nondiegetic. In Beyond the Soundtrack: Representing Music in Cinema, 184-202.
  • Swartjes, I. M. T. (2010). Whose story is it anyway? How improv informs agency and authorship of emergent narrative. Ph.D. thesis.
  • Tiffin, J. (2009). Marvellous geometry: narrative and metafiction in modern fairy tale. Wayne State University Press.
  • Walsh, R. (2011). Emergent narrative in interactive media. Narrative, 19(1), 72-85.
  • Walther-Hansen, M. (2015). Sound events, spatiality and diegesis–the creation of sonic narratives in music productions. Danish Musicology Online, 29-46.
  • Wingstedt, J., Brändström, S., & Berg, J. (2010). Narrative music, visuals and meaning in film. Visual Communication, 9(2), 193-210.
  • Zipes, J. (2015). The Oxford companion to fairy tales. Oxford University Press.
There are 46 citations in total.

Details

Primary Language English
Subjects Turkish Folklore in the Türkiye Field
Journal Section Article
Authors

Ümmühan Molo 0000-0002-3651-4818

Publication Date November 1, 2024
Submission Date May 28, 2024
Acceptance Date October 4, 2024
Published in Issue Year 2024 Volume: 30 Issue: 120

Cite

APA Molo, Ü. (2024). Metaleptic Narrative Form and Storyliving Experience in 360-Degree Fairy Tales. Folklor/Edebiyat, 30(120), 1029-1052. https://doi.org/10.22559/folklor.2716

Journal website: https://folkloredebiyat.org
The journal’s publication languages are both English and Turkish. Also despite articles in Turkish, the title, abstract, and keywords are also in English. Turkish articles approved by the reviewers are required to submit an extended summary (750-1000 words) in English.
The journal is indexed by TR-Dizin, Web of Science (ESCI), DOAJ, and many other indexes and datebases.
Within the scope of TR DIZIN 2020 Ethical Criteria and as of the year 2020, studies requiring ethics committee approval must indicate Ethics Committee Approval details (committe-date-issue) in the article’s methods section. With this in mind, we request from our author candidates to edit their article accordingly before sending it to the journal.

Field EdItors

Folklore:
Prof.Dr. Hande Birkalan-Gedik
(Frankfurt University- birkalan-gedik@em.uni.frankfurt.de)
Prof. Dr. Arzu Öztürkmen
(Bosphorus University- ozturkme@boun.edu.tr)
Edebiyat-Literature
Prof. Dr. G. Gonca Gökalp Alpaslan (Hacettepe University - ggonca@
hacettepe.edu.tr)
Prof. Dr. Ramazan Korkmaz
(President, Caucasus University Association- r_korkmaz@hotmail.com)
Antropoloji-Anthropology
Prof. Dr. Akile Gürsoy
(Beykent University - gursoyakile@gmail.com)
Prof.Dr. Serpil Aygün Cengiz
(Ankara University - serpilayguncengiz@gmail.com)
Dil-Dilbilim/Linguistics
Prof.Dr. Aysu Erden
(Maltepe University - aysuerden777@gmail.com)
Prof. Dr. V. Doğan Günay
(Dokuz Eylul University- dogan.gunay@deu.edu.tr)