Tik Tok Deneyimi ve Everything Everywhere All At Once: Film Biçiminin Kısa Bir Çözümlemesi

TikTok deneyimi kullanıcının platformu kullanırken değişik video içerikleriyle etkileşimidir. Kullanıcı istediği anda bir TV izleyicisi gibi izlediği şeyi değiştirebilir, ancak buradaki en büyük fark izlenen şeyin platform için yapılmış kısa videolar olmasıdır. Bu videolar tarz ve biçim olarak değişkenlik gösterir ve platforma özel olarak uygulamada izlenmesi üzerine yapılmıştır. Kullanıcının mobil uygulamada izlediği tüm içerik, en sonunda, teorik olarak bitmeyen daha uzun bir video oluşturmaktadır. Bazen bu videolar birbirlerinden tamamen farklı olsalar da, çoğu zaman paylaşılan şakalar, memeler ve görsel filtreler bakımından benzerlik gösterirler. Bu şekilde kısa-biçimli video yapımı, çok şaşırtıcı olmayan bir şekilde, Everything Everywhere All At Once filmini hatırlatmaktadır, çünkü ne de olsa TikTok gibi birçok internet tabanlı kısa-biçim video platformları diğer ortam ve sanat eserleri için ilham kaynağıdır.
Anahtar Kelimeler:

TikTok, Film, kurgu, anlatı, tarz, trope

The TikTok Experience and Everything Everywhere All At Once: A Brief Analysis of Film Form

The TikTok experience refers to a user’s interaction with the platform while scrolling through various videos. The user can change what they are viewing instantly on one screen much like a TV viewer, the only difference being that whatever is being watched is in the form of short videos made specifically for the platform. These videos vary in style and form and are made to be viewed within the platform itself. All the content that a user watches within the mobile application, in the end, forms a longer, theoretically never-ending, video that is sometimes completely unrelated but more often similar through shared jokes, memes, and visual filters. This way of producing and viewing short-form videos as a whole is reminiscent of the way Everything Everywhere All At Once feels to the audience which is no surprise as many other forms of media and artworks are inspired by internet short-form video platforms such as TikTok.

___

  • About Us. (n.d.). Retrieved November 26, 2022, from Bytedance.com website: https://www.bytedance.com/en/
  • Alissa Quart. (2005). Networked: Don Roos and “Happy Endings.” Film Comment, 41(4), 48–51.
  • Anderson, K. E. (2020). Getting acquainted with social networks and apps: It is time to talk about TikTok. Library Hi Tech News, 37(4), 7–12. https://doi.org/10.1108/LHTN-01-2020-0001
  • Aristotle. (1984). Poetics. In J. Barnes (Trans.), The Complete Works of Aristotle (pp. 2316–2340). Princeton: Princeton University Press.
  • Aristotle. (2013). Poetics (A. Kenny, Trans.). Oxford: Oxford University Press.
  • Bajarin, B. (2016, April 18). Apple’s Penchant for Consumer Security. Retrieved November 26, 2022, from Tech. pinions.com website: https://techpinions.com/apples-penchant-for-consumer-security/45122
  • Bakhtin, M. (1981). The Dialogic Imagination: Four Essays (M. Holquist, Ed.; C. Emerson & M. Holquist, Trans.). Austin: University of Texas Press.
  • Banerjee, S. (2019). Elements of Multimedia. CRC Press.
  • Behind The Wiki: Meet TV Tropes Cofounder Fast Eddie. (2010, February 24). Retrieved November 26, 2022, from Gizmodo website: https://gizmodo.com/behind-the-wiki-meet-tv-tropes-cofounder-fast-eddie-5479423
  • Bird, B. (Director). (2007). Ratatouille. Buena Vista Pictures.
  • Bordwell, D., Thompson, K., & Smith, J. (2016). Film Art: An Introduction (11th ed.). New York: McGraw Hill.
  • Campbell, J. (2004a). The Hero with a Thousand Faces (Commemorative). Princeton: Princeton University Press.
  • Campbell, J. (2004b). The Hero With A Thousand Faces, Princeton: Princeton University Press.
  • Carroll, N. (2009). Style. In P. Livingston & C. Plantinga (Eds.), The Routledge Companion to Philosophy and Film (pp. 268–278). London and New York: Routledge.
  • Chapple, C. (2020, April). TikTok Crosses 2 Billion Downloads After Best Quarter For Any App Ever. Retrieved November 26, 2022, from Sensortower.com website: https://sensortower.com/blog/tiktok-downloads-2-billion
  • Charlton, L. T., & Short, C. (2020). A Latin Dictionary. Nigel Gourlay.
  • Creating videos. (n.d.). Retrieved November 26, 2022, from Support.tiktok.com website: https://support.tiktok. com/en/using-tiktok/creating-videos
  • Don Roos (Director). (2005). Happy Endings. Lions Gate Films.
  • Donner, R. (Director). (1985). The Goonies. Warner Bros. Pictures.
  • Egan, K. (1978). What Is a Plot? New Literary History, 9(3), 455–455. https://doi.org/10.2307/468450
  • Ehrat, J. (2005). Cinema & Semiotic: Peirce and Film Aesthetics, Narration, and Representation. Toronto: Univer- sity of Toronto Press.
  • Everything Everywhere All At Once. (2022). Retrieved from https://a24films.com/films/everything-everywhere- all-at-once
  • Everything Everywhere All At Once review: A multiverse epic | Digital Trends. (n.d.). Retrieved from https://www.digitaltrends.com/movies/everything-everywhere-all-at-once-review-a-maximalist-multiverse-epic/
  • ‘Everything Everywhere All at Once’ Review: It’s Messy, and Glorious—The New York Times. (n.d.). Retrieved from https://www.nytimes.com/2022/03/24/movies/everything-everywhere-all-at-once-review.html
  • Everything Everywhere All at Once [Wiki]. (n.d.). Retrieved December 1, 2022, from TV Tropes website: https:// tvtropes.org/pmwiki/pmwiki.php/Film/EverythingEverywhereAllAtOnce
  • Field, S. (2005). Screenplay: The Foundations of Screenwriting (Revised). New York: Bantam Dell.
  • Freytag, G. (1900). Technique of the Drama: An Exposition of Dramatic Composition and Art. Chicago: Scott, Fores- man and Company.
  • Green, N. (2002). On the Move: Technology, Mobility, and the Mediation of Social Time and Space. The Information Society, 18(4), 281–292. https://doi.org/10.1080/01972240290075129
  • Green, S., & Harvey, P. (1999). Scaling place and networks: An ethnography of ICT “innovation” in Manchester.”. Internet and Ethnography Conference. Hull.
  • Herrman, J. (2020, February 24). Vine Changed the Internet Forever. How Much Does the Internet Miss It? Retrieved November 26, 2022, from Nytimes.com website:https://www.nytimes.com/2020/02/22/style/byte-vine- short-video-apps.html
  • How Everything Everywhere All At Once Bridges the Gap Between Summer Blockbusters and Arthouse Cinema. (n.d.). Retrieved from https://movieweb.com/everything-everywhere-all-at-once-bridges-the-gap/
  • I couldn’t find a tiny hat #yeeyeejuice #cowboy #foryou #foryoupage ... | TikTok. (n.d.). Retrieved December 5, 2022, from https://www.tiktok.com/@mytiktokcats/video/6664768627398413574?is_from_webapp=v1&item_ id=6664768627398413574
  • Introducing Instagram Reels. (2020, June 5). Retrieved November 29, 2022, from About.instagram.com website: https://about.instagram.com/blog/announcements/introducing-instagram-reels-announcement
  • Introducing Instagram Stories. (2016, August 2). Retrieved November 26, 2022, from About.instagram.com web- site: https://about.instagram.com/blog/announcements/introducing-instagram-stories
  • Introducing the shorter side of YouTube. (2020). Retrieved November 29, 2022, from Youtube.com website: https://www.youtube.com/creators/shorts/
  • Izay, R. (2022, April 9). Everything Everywhere All At Once Easter Eggs & References. Retrieved November 26, 2022, from ScreenRant website: https://screenrant.com/everything-everywhere-all-at-once-easter-eggs-refer- ences/
  • Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York, London: New York University Press.
  • Jenkins, H., & Thorburn, D. (2003). Introduction: Toward an Aesthetics of Transition. In D. Thorburn & D. Jenkins (Eds.), Rethinking Media Change: The Aesthetics of Transition. The MIT Press.
  • Junee, R. (2009, May 20). Zoinks! 20 Hours of Video Uploaded Every Minute! Retrieved November 26, 2022, from Blog.youtube website: https://blog.youtube/news-and-events/zoinks-20-hours-of-video-uploaded-every_20/
  • Kaye, D. B. V., Chen, X., & Zeng, J. (2021). The co-evolution of two Chinese mobile short video apps: Par- allel platformization of Douyin and TikTok. Mobile Media & Communication, 9(2), 229–253. https://doi. org/10.1177/2050157920952120
  • Keaton, B. (Director). (1924). Sherlock Jr. Metro-Goldwyn Pictures.
  • Kon, S. (Director). (2006). Paprika. Sony Pictures Entertainment Japan.
  • Kretzschmar, L. (2018). Is Cinema Renewing Itself? Https://Doi.Org/10.3366/Film.2002.0015, 6(1). https://doi. org/10.3366/FILM.2002.0015
  • Kubrick, S. (Director). (1968). 2001: A Space Odyssey. Metro-Goldwyn Meyer.
  • Kwan, D., & Scheinert, D. (Directors). (2022). Everything Everywhere All At Once. A24.
  • Lee, D. (2018, August 2). The popular Musical.ly app has been rebranded as TikTok. Retrieved November 26, 2022, from Theverge.com website: https://www.theverge.com/2018/8/2/17644260/musically-rebrand-tik- tok-bytedance-douyin
  • Lembke, D. A. (2021). Dopamine Nation: Finding Balance in the Age of Indulgence. New York, New York: Dutton.
  • Liddell, H. G., Scott, R., Jones, H. S., & McKenzie, R. (1889). A Greek-English Lexicon. Oxford: Clarendon Press.
  • Marone, V. (2017). Looping out loud: A multimodal analysis of humour on Vine. The European Journal of Humour Research, 4(4), 50–66. https://doi.org/10.7592/EJHR2016.4.4.marone
  • Meng, K. S., & Leung, L. (2021). Factors influencing TikTok engagement behaviors in China: An examination of gratifications sought, narcissism, and the Big Five personality traits. Telecommunications Policy, 45(7), 102172. https://doi.org/10.1016/j.telpol.2021.102172
  • Microsoft Canada, Consumer Insights. (2015). Attention spans.
  • Mik on TikTok. (n.d.). Retrieved December 5, 2022, from TikTok website: https://www.tiktok.com/@mpry/vid- eo/6810905853521153286
  • Old Town Road | Know Your Meme. (n.d.). Retrieved December 5, 2022, from https://knowyourmeme.com/ memes/old-town-road
  • Our Mission. (n.d.). Retrieved November 26, 2022, from Tiktok.com website: https://www.tiktok.com/about
  • Piwek, L., & Joinson, A. (2016). “What do they snapchat about?” Patterns of use in time-limited instant messaging service. Computers in Human Behavior, 54, 358–367. https://doi.org/10.1016/j.chb.2015.08.026
  • Policy Institute and Centre for Attention Studies at King’s College London. (2022). Do we have your attention? How people focus and live in the modern information environment. London.
  • Rettberg, J. W. (2017). Hand Signs for Lip-syncing: The Emergence of a Gestural Language on Musical. ly as a Video-Based Equivalent to Emoji. Social Media + Society, 3(4), 205630511773575. https://doi. org/10.1177/2056305117735751
  • Roesner, F., Gill, B. T., & Kohno, T. (2014). Sex, Lies, or Kittens? Investigating the Use of Snapchat’s Self-Destructing Messages.
  • Roiland, J., & Harmon, D. (Directors). (2013a). Rick and Morty. Adult Swim.
  • Roiland, J., & Harmon, D. (Directors). (2013b). Rick and Morty. In A Rickle in Time. Adult Swim.
  • Rotman, D., Golbeck, J., & Preece, J. (2009). The community is where the rapport is—On sense and structure in the youtube community. Proceedings of the Fourth International Conference on Communities and Technologies - C&T ’09, 41. New York, New York, USA: ACM Press. https://doi.org/10.1145/1556460.1556467
  • Rotman, D., & Preece, J. (2010). The “WeTube” in YouTube: Creating an online community through video sharing. International Journal of Web Based Communities, 6(3), 317. https://doi.org/10.1504/IJWBC.2010.033755
  • Rubin, R. (2022). “Everything Everywhere All at Once” Grosses $100 Million Globally—Variety. Retrieved from Variety.com website: https://variety.com/2022/film/box-office/everything-everywhere-all-at-once-box-office- milestone-1235325126/
  • Stump, D. (2014). Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows. CRC Press.
  • Suvattanadilok, M. (2021). Social media activities impact on the decision of watching films in cinema. Cogent Business & Management, 8(1), 1920558. https://doi.org/10.1080/23311975.2021.1920558
  • Tarantino, Q. (Director). (2003). Kill BIll: Volume 1. Miramax Films.
  • Thompson, K. (2020). Breaking the Glass Armor. Princeton University Press. https://doi.org/10.2307/J.CTVZXX93S
  • Tran, K. (2017, November 13). Social video app Musical.ly acquired for up to $1 billion. Retrieved November 26, 2022, from Businessinsider.com website: https://www.businessinsider.com/social-video-app-musically-acquired- for-up-to-1-billion-2017-11?r=US&IR=T
  • TV Tropes. (n.d.). Retrieved November 26, 2022, from TV Tropes website: https://tvtropes.org/
  • USATODAY.com—Video websites pop up, invite postings. (n.d.). Retrieved December 5, 2022, from https://usato- day30.usatoday.com/tech/news/techinnovations/2005-11-21-video-websites_x.htm
  • Zhang, T. (2020). A Brief Study on Short Video Platform and Education. Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press. https://doi. org/10.2991/assehr.k.201215.494
  • Zhou, J. (2022). How “Everything Everywhere All at Once” wields science fiction in a new, empowering way. Re- trieved from Inverse.com website: https://www.inverse.com/entertainment/everything-everywhere-all-at-once- science-fiction-asian-diaspora-queer-futures
  • Zufelt, S. (2022, April 4). Review: ‘Everything Everywhere All at Once’ offers maximalist madness—Washington Square News. Retrieved November 26, 2022, from https://nyunews.com/arts/film/2022/04/04/everything- everywhere-all-at-once-review/