{"id":5094,"date":"2016-10-14T13:08:25","date_gmt":"2016-10-14T10:08:25","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=5094"},"modified":"2017-06-07T03:54:36","modified_gmt":"2017-06-07T00:54:36","slug":"sihirli-kutu-televizyon","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-felsefesi\/sihirli-kutu-televizyon.html","title":{"rendered":"Sihirli Kutu: Televizyon"},"content":{"rendered":"

Sihirli Kutu: Televizyon Nedir?<\/h2>\n

Postmodern bir hazc\u0131n\u0131n robot resmini \u00e7izmek kolayd\u0131r: maksimum \u00fc\u00e7 dakika dikkat s\u00fcresi olan, prototip merkezsiz \u00f6zne. O halde sihirli kutu: Televizyon nedir?<\/strong> Par\u00e7alanm\u0131\u015f \u015fizofrenik bir anlar d\u00fcnyas\u0131nda ya\u015fayan bu \u00f6zne, uzaktan kumandas\u0131n\u0131 z\u0131playarak ve zaman, mek\u00e2n ya da t\u00fcrle ba\u011flant\u0131l\u0131 olmayan kanallar ve programlar aras\u0131nda atlayarak, kullan\u0131m\u0131na haz\u0131r a\u015f\u0131r\u0131 say\u0131da kanalda gezinir. Bu \u00f6zne, anlat\u0131yla, tutarl\u0131l\u0131kla ya da rasyonel anlay\u0131\u015fla ilgilenmez; daha \u00e7ok, yaln\u0131zca s\u0131k\u0131nt\u0131yla ve \u00e7\u0131lg\u0131nca birbirine ba\u011flad\u0131\u011f\u0131 b\u00f6l\u00fck p\u00f6r\u00e7\u00fck televizyon kanallar\u0131ndan b\u00fcy\u00fck \u00f6l\u00e7\u00fcde keyfi bir brikolaj kurar.<\/p>\n

Modern toplum, matbaayla birlikte yaz\u0131 k\u00fclt\u00fcr\u00fcn\u00fcn \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 bir toplumdur. Enformasyon, modern \u00f6ncesinin toplum k\u00fclt\u00fcr\u00fcnde konu\u015fmaya, s\u00f6zl\u00fc k\u00fclt\u00fcr i\u00e7inde akarken, modern toplumda konu\u015fman\u0131n k\u00e2\u011f\u0131da d\u00f6k\u00fclmesiyle yaz\u0131n\u0131n iktidar\u0131 ba\u015flar. \u0130leti\u015fim ara\u00e7lar\u0131ndan gazetenin bas\u0131lmas\u0131, modern toplumda medyan\u0131n ba\u015flang\u0131c\u0131 olmu\u015ftur. K\u0131s\u0131tl\u0131 ileti\u015fim ve seyahat imk\u00e2nlar\u0131, yaz\u0131l\u0131 bas\u0131n\u0131n ilk d\u00f6nemlerinde haberlerin yerelle s\u0131n\u0131rl\u0131 kalmas\u0131na neden olmu\u015ftur. Ama telgraf ve telefonun icad\u0131 enformasyon alan\u0131n\u0131 k\u0131s\u0131tl\u0131 \u00e7evreden kurtaran ilk geli\u015fmeler olmu\u015ftur. Art\u0131k \u201cb\u00fct\u00fcn \u00fclke bir mahalledir.\u201d\u00a0 Ba\u015fka yerlerden gelen haberlerin de\u011feri daha y\u00fcksektir. Telgraf ve telefon ile birlikte mek\u00e2n alg\u0131s\u0131nda de\u011fi\u015fme ba\u015flam\u0131\u015ft\u0131r. Bu ara\u00e7lar, mek\u00e2n \u00fczerinde h\u0131zl\u0131 dola\u015f\u0131m\u0131n enformatik ili\u015fkinin sa\u011flanmas\u0131na olanak tan\u0131yarak, mek\u00e2n\u0131 a\u015f\u0131nd\u0131rd\u0131\u011f\u0131n\u0131 (a\u015ft\u0131\u011f\u0131n\u0131) ileri s\u00fcrebiliriz. Bu geli\u015fmeler, modern toplum k\u00fclt\u00fcr\u00fcne eklenmekte sorun \u00e7\u0131karmam\u0131\u015ft\u0131r.<\/p>\n

G\u00f6r\u00fcnt\u00fc \u00c7a\u011f\u0131<\/h3>\n

Foto\u011fraf ve sonra sinema ile etkin olmaya ba\u015flayan g\u00f6r\u00fcnt\u00fc \u00e7a\u011f\u0131 diyebilece\u011fimiz zamanda, insan bu etkinliklerin i\u00e7inde tamamen pasif bir konuma hen\u00fcz d\u00fc\u015fmemi\u015ftir. \u00c7\u00fcnk\u00fc sinemaya gitme d\u00fc\u015f\u00fcncesi bile insana bir eylem alan\u0131 b\u0131rakmaktad\u0131r. As\u0131l nokta, g\u00f6r\u00fcnt\u00fcn\u00fcn bir kutu i\u00e7inde gelip evlere yerle\u015fmesidir. Farkl\u0131l\u0131k yaratan ya da postmodern bir geli\u015fme olarak televizyon, ileti\u015fimde (konu\u015fmada) s\u00f6zc\u00fcklerin yerine g\u00f6r\u00fcnt\u00fcy\u00fc, g\u00f6rsel imajlar\u0131, \u00fcst\u00fcn k\u0131lan bir \u00f6zelliktedir ve insan bu ili\u015fkide di\u011fer ara\u00e7lara oranla daha edilgen bir konumdad\u0131r. S\u00f6z\u00fcn veya yaz\u0131n\u0131n h\u00fckm\u00fc kalmam\u0131\u015ft\u0131r, g\u00f6r\u00fcnt\u00fc kar\u015f\u0131s\u0131nda. Ger\u00e7eklik bu anlamda, televizyonda olan olarak yeniden kurulmu\u015ftur diyebiliriz. Zira; d\u00fcnya g\u00f6steri d\u00fcnyas\u0131d\u0131r (show business) art\u0131k ve ger\u00e7eklik bu g\u00f6steride sergilenen bir \u015feydir.<\/p>\n

\"kitle-silahi-televizyon\"<\/a><\/p>\n

\u0130lk ba\u015flarda etkili olmayan televizyonun, 1970\u2019lerden itibaren hem bir e\u011flence arac\u0131 hem de t\u00fcketim bi\u00e7imlerini belirleyen bir unsur olarak postmodernitenin sahnesi olmaya ba\u015flam\u0131\u015ft\u0131r. Bireyi edilgen bir ileti\u015fim ya da ili\u015fkinin (ili\u015fkisizlik) i\u00e7ine sokan televizyon, toplumun ekonomik tabakas\u0131n\u0131n en alt kesimindeki evde ba\u015fk\u00f6\u015feyi kapt\u0131\u011f\u0131ndan beri postmodern k\u00fclt\u00fcr\u00fcn temeli olan t\u00fcketici ve amorf (ya da daha \u00e7ok bi\u00e7imlenebilir) insan\u0131n\u0131 b\u00fcy\u00fcten bir ebeveyn rol\u00fc \u00fcstlenmi\u015ftir. Dahas\u0131 k\u00fcreselle\u015fmenin de ilk \u00f6rne\u011fi bu ekranda ba\u015flar diyebiliriz. Nitekim \u201cd\u00fcnyay\u0131 eve getiren\u201d televizyonda k\u00fcresel bir nokta bulunurken, ayn\u0131 zamanda da postmodern evsizli\u011fi (mek\u00e2ns\u0131zl\u0131\u011f\u0131) de yaratm\u0131\u015ft\u0131r: D\u00fcnya evimizdeyse evimiz nerede?\u00a0 Her yerde ve hi\u00e7bir yerdedir. A\u00e7\u0131k\u00e7as\u0131 ger\u00e7e\u011fin imaja d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc yerdir televizyon.<\/p>\n

Evimize D\u00fc\u015fen G\u00f6r\u00fcnt\u00fcler<\/h3>\n

Ekrandan evimize d\u00fc\u015fen g\u00f6r\u00fcnt\u00fcler ile yediklerimiz, giydiklerimiz, dilimiz, ili\u015fkilerimiz de\u011fi\u015fmi\u015ftir art\u0131k. T\u00fcketim al\u0131\u015fkanl\u0131klar\u0131m\u0131z\u0131 belirleyen reklamlar veya imgelemimize yerle\u015fen cama vuran karakterlerdir. Kimi yak\u0131n bulursak onun gibi ya\u015famaya, t\u00fcketmeye ba\u015flad\u0131\u011f\u0131m\u0131zda ger\u00e7ek kimlik, yerini imajlara b\u0131rak\u0131r. Televizyon bu anlamda modalar\u0131 \u00fcreten ve bunlar\u0131n yerle\u015fmesini sa\u011flayan bir ara\u00e7 olarak, insanlara nas\u0131l bir kiloda veya boyda olunaca\u011f\u0131n\u0131 bile dayatarak, ki\u015fileri b\u00fcy\u00fcs\u00fcne alabilmektedir. \u00d6rne\u011fin; politik liderlerin televizyondaki g\u00f6r\u00fcn\u00fcmleri ve e\u011flenceli (dikkat \u00e7eken olmas\u0131 bak\u0131m\u0131ndan) olmalar\u0131, se\u00e7imlerde onlar\u0131n puanlar\u0131n\u0131 art\u0131ran bir unsurdur. Ayn\u0131 ba\u011flamda ger\u00e7e\u011fin yitirildi\u011fi ve kurgunun egemen oldu\u011fu postmodern k\u00fclt\u00fcre bir \u00f6rnek vermek gerekirse:<\/p>\n

Ger\u00e7ek ile imaj d\u00fcnyas\u0131 aras\u0131ndaki s\u0131n\u0131r\u0131n belirsizle\u015fme sine \u00f6rnek olarak 1989 y\u0131l\u0131 yaz\u0131nda Nijmegen \u015fehrinde ya\u015fanan bir olay\u0131 aktarmak ilgin\u00e7 olacakt\u0131r. Burada, cafe\u2019nin teras\u0131nda i\u00e7eceklerini yudumlayan b\u00fcy\u00fck bir grubun g\u00f6zleri \u00f6n\u00fcnde bir adam \u00f6ld\u00fcr\u00fcl\u00fcr. Katil, olaydan hi\u00e7 etkilenmemi\u015f olacak ki, i\u015fi bitirdikten sonra cafe\u2019ye y\u00f6nelir ve bir cola \u0131smarlar. Tam bu s\u0131rada, bunun ger\u00e7ek olmaktan ziyade senaryo gere\u011fi bir oyun sahnesi oldu\u011funu zanneden grup katili alk\u0131\u015flamaya ba\u015flar…<\/p>\n

D\u00fcnyan\u0131n televizyon ya da sinema i\u00e7in bir sahne olmas\u0131 ve ger\u00e7ekli\u011fin ancak ekranda g\u00f6r\u00fclebilecek bir \u015fey oldu\u011fu d\u00fc\u015f\u00fcncesinin yerle\u015fmesiyle, insan\u0131n sokakta ger\u00e7ekle\u015fen, bilfiil ya\u015fanan olaylara g\u00f6zlerinin kapanmas\u0131na ve duyarl\u0131l\u0131\u011f\u0131n kaybolmas\u0131na yol a\u00e7m\u0131\u015ft\u0131r. Duygular\u0131m\u0131z ancak ekrandan uyar\u0131l\u0131rsa harekete ge\u00e7iyor, televizyonda senaryoya g\u00f6re, ayr\u0131lan \u00e2\u015f\u0131k bir \u00e7ift (fonda h\u00fcz\u00fcnl\u00fc bir m\u00fczik e\u015fli\u011finde) izleyicilerin g\u00f6zlerinde biber gaz\u0131 etkisi yaparken; sokakta bir insan\u0131n \u00f6l\u00fcm\u00fc ayn\u0131 insana ancak i\u011fren\u00e7 gelebiliyor ya da g\u00f6rmezden gelinebilece\u011fi, umursanmaz bir olay olarak g\u00f6r\u00fclebiliyor. \u00d6zellikle erken ya\u015flarda televizyonla fazla zaman ge\u00e7iren \u00e7ocuklar\u0131n, \u00f6rne\u011fin \u201cg\u00fcnde ortalama iki il\u00e2 d\u00f6rt saat televizyon izliyorsa ilkokulu bitirdi\u011finde toplam sekiz binden fazla cinayete tan\u0131k olmu\u015f\u201d olaca\u011f\u0131ndan, cinayeti kan\u0131ksayarak normal bir davran\u0131\u015fm\u0131\u015f gibi alg\u0131lamaya ba\u015flayaca\u011f\u0131 s\u00f6ylenebilir.\u00a0\u00a0\u00a0 \u00d6te yandan televizyon kanallar\u0131n\u0131n \u00e7o\u011falmas\u0131 ve yirmi d\u00f6rt saat yay\u0131nda olmas\u0131, onu s\u00fcrekli a\u00e7\u0131k b\u0131rak\u0131lmas\u0131\/tutulmas\u0131 gereken elzem bir konuma getirmi\u015ftir. Neredeyse insanlar, \u00f6zellikle \u00e7ocuk ve gen\u00e7ler, televizyonun \u00fcst\u00fcndeki kapatma d\u00fc\u011fmesinden habersizlerdir. \u00c7ok yak\u0131nda kumandadaki kapatma d\u00fc\u011fmesinin fonksiyonunu yitirecek olmas\u0131ndan, yeni nesil \u00fcr\u00fcnlerde olmayaca\u011f\u0131n\u0131 bile d\u00fc\u015f\u00fcnebiliriz. K\u0131saca insan televizyon kar\u015f\u0131s\u0131nda bu kadar edilgenle\u015f(tiril)mi\u015ftir.\u201c<\/p>\n

Sonu\u00e7<\/h3>\n

Sonu\u00e7ta; televizyonun t\u00fcm evlere girmesi ile beraber hayata dair her \u015fey ekranla bulu\u015ftu\u011funda anlam(s\u0131zl\u0131k)a kavu\u015fur bir mahiyete b\u00fcr\u00fcnm\u00fc\u015ft\u00fcr. Ekran\u0131n g\u00f6r\u00fcnen y\u00fczleri seyircilere de\u011fi\u015fen rol modeller ve bunlar\u0131n al\u0131\u015fkanl\u0131klar\u0131n\u0131 sunarken, ger\u00e7eklik bu anlamda objektifin kar\u015f\u0131s\u0131nda yakalanan bir durumdur. Herhangi bir konu, e\u011fer televizyonda bahsi ge\u00e7iyorsa ve bunu sunan ki\u015fi a\u015fina olunan veya etiketi olan biriyse ger\u00e7eklik ya da do\u011fruluk daha kolay \u00fcretilebiliyor. Televizyondan izleyicilere sunulan yemekler, daha lezzetli; mek\u00e2nlar, daha g\u00fczel; insanlar, daha cezbedici olabiliyor.<\/p>\n

Modernite, Postmodernite ve Bauman, Mehmet E. \u015eim\u015fek, Belge Yay\u0131nlar\u0131<\/p>\n","protected":false},"excerpt":{"rendered":"

Sihirli Kutu: Televizyon Nedir? Postmodern bir hazc\u0131n\u0131n robot resmini \u00e7izmek kolayd\u0131r: maksimum \u00fc\u00e7 dakika dikkat s\u00fcresi olan, prototip merkezsiz \u00f6zne. O halde sihirli kutu: Televizyon nedir? Par\u00e7alanm\u0131\u015f \u015fizofrenik bir anlar d\u00fcnyas\u0131nda ya\u015fayan bu \u00f6zne, uzaktan kumandas\u0131n\u0131 z\u0131playarak ve zaman, mek\u00e2n ya da t\u00fcrle ba\u011flant\u0131l\u0131 olmayan kanallar ve programlar aras\u0131nda atlayarak, kullan\u0131m\u0131na haz\u0131r a\u015f\u0131r\u0131 say\u0131da kanalda […]<\/p>\n","protected":false},"author":1,"featured_media":5096,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[266],"tags":[],"class_list":["post-5094","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-felsefesi"],"yoast_head":"\nSihirli Kutu: Televizyon - Arthipo<\/title>\n<meta name=\"description\" content=\"Postmodern bir hazc\u0131n\u0131n robot resmini \u00e7izmek kolayd\u0131r: maksimum \u00fc\u00e7 dakika dikkat s\u00fcresi olan, prototip merkezsiz \u00f6zne. televizyon izleyicilere\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arthipo.com\/artblog\/sanat-felsefesi\/sihirli-kutu-televizyon.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sihirli Kutu: Televizyon - 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