360-Degree Video and Social Change: A Comparative Analysis of the Documentary Films Exiled (2019) and Behind the Fence (2016)

Year 2021, , 66 - 92, 08.03.2021

Önder M. Özdem

https://doi.org/10.18691/kulturveiletisim.830028

Cited By: 1

Abstract

İmge kayıt, işleme ve dağıtım teknolojisindeki gelişmeler, belgesel film yapımcılarına toplumsal amaçlar için eylemi teşvik edebilecekleri yeni olanaklar sunmaktadır. Özellikle, belgesel filmdeki sanal gerçeklik uygulamaları gibi etkileşimli temsil biçimleri, insanları harekete geçmeye teşvik ederek toplumsal değişim için bir potansiyel yarattıkları iddiası ile çok dikkat çekmiştir. Bir belgeselin, geniş bir izleyici kitlesine ulaşmadıkça ve izleyicinin dikkatini çekip, onları harekete geçmeleri için teşvik etmedikçe toplumsal bir etki yaratması beklenmez. Bu bağlamda, 360 derece videoların daha kapsamlı ve cazip etkileşimli belgesel uygulamalarına kıyasla üretim, işlenme ve izlenmesinin daha ulaşılabilir ve kolay olduğu belirtilmektedir. Dolayısıyla 360 derece videolar, belgeselin içeriği ile aktif olarak etkileşimde bulunabilecek daha fazla izleyiciye ulaşıp onları bu konuda teşvik edebilir. Bütün bu tartışmaların ışında bu makale Exiled (2019) ve Behind the Fence (2016) adlı iki belgeselin karşılaştırmalı analizine yer verecektir.

Exiled (2019) and Behind the Fence (2016) Myanmar’daki Rohingya halkının soykırımı ve Bangladeş’e toplu göçüyle ilgili belgesellerdir. Exiled geleneksel anlamda bir belgeselken, Behind the Fence 360 derece çekilmiş bir belgeseldir. Yapılan analiz sonucunda, 360 derece kamera teknolojisinin kurmaca olmayan filmlere sağladığı biricik avantajların yanı sıra hem yapım hem de izlenme süreçlerinde bazı dezavantajlarının da olduğu ortaya çıkmıştır. 360 derece kameralar bazı toplumsal durumların, toplumsal hareketlerin, çatışma ve eylemlerin temsili için sınırsız görüş açısıyla kaydetme ve gösterme kabiliyetleri sebebiyle uygun seçenek olarak düşünülebilir. Ancak kurmaca olmayan filmlerde 360 derece videonun kullanılmış olması bu filmlerin güçlü bir toplumsal etkiye sahip olacağı anlamına gelmemektedir.

Keywords

kurmaca olmayan film, belgesel film, 360 derece kameralar, etkileşimli belgesel, toplumsal değişim, sanal gerçeklik

360-Degree Video and Social Change: A Comparative Analysis of the Documentary Films Exiled (2019) and Behind the Fence (2016)

Abstract

Advances in image recording, processing and distribution technology bring in new opportunities for documentary filmmakers to encourage action for social causes. Interactive forms of representation in documentary films such as virtual reality practices have particularly drawn strong attention due to their claimed potential for social change through encouraging people to take action. It proves difficult to anticipate particular social effects unless a documentary reaches a huge number of viewers, engage and encourage them to take action. In this context, it is argued that the production, processing, and viewing of 360-degree videos are relatively more affordable and easier compared to more immersive and engaging interactive documentary practices. Thus, 360-degree videos can reach and encourage more viewers who are expected to actively interact with documentary content. In the light of all these arguments, this article analyses two documentary films, Exiled (2019) and Behind the Fence (2016), through a comparative perspective.

Exiled (2019) and Behind the Fence (2016) are documentaries both addressing the genocide of Rohingya people in Myanmar and the mass exodus of Rohingya to Bangladesh. While Exiled is a traditional one, Behind the Fence is a 360-degree documentary. By analyzing those two documentaries, this article asserts that besides the unique advantages of 360-degree camera technology for non-fiction films, it has also several disadvantages in terms of production and viewing of documentaries. 360-degree cameras might emerge as the proper option for the representation of particular social situations, social movements, conflicts, and actions due to their capacity to record and show from limitless points of view. However, a powerful social effect should not be expected merely due to the usage of 360 video in non-fiction films.

Keywords

Non-fiction film, documentary film, 360-degree cameras, interactive documentary, social change, virtual reality

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