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Reception and Manipulation of Film in Digital Media

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Reception and Manipulation of Film in Digital Media KADIR HAS UNIVERSITY SOCIAL SCIENCES INSTITUTE MASTER PROGRAM IN COMMUNICATIONS STUDIES NEW WAYS OF SEEING: RECEPTION AND MANIPULATION OF FILM IN DIGITAL MEDIA Master Thesis EZGİ ARIDURU Advisor ASSOC. PROF. SELİM EYÜBOĞLU Istanbul, 2010 ABSTRACT NEW WAYS OF SEEING: RECEPTION AND MANIPULATION OF FILM IN DIGITAL MEDIA Ezgi Arıduru M. A. Program in Communications Studies Advisor: Assoc. Prof. Selim Eyüboğlu July 2010 The viewer’s access to film is what defines his or her relation to film. Access to film has never been as available as it is today, since videodisc technologies offer a novel relation to film based on digital computer. It is the computer and the digitized nature of film that re-defines the relation as manipulation. This thesis aims at providing a current account of the change in the relation of film and viewer. Following the introduction of the videodisc technology, the viewer was able to claim and practice an authority over films gained as early as the advent of pre-recorded videocasette. Fan commentaries and fanedited films are two current examples of this novel relation and exhibit significant characteristics for defining what may be the future for film and viewer. Keywords: Digital media, relation of film and viewer, ways of seeing ii ÖZET YENİ GÖRME BİÇİMLERİ: SAYISAL ORTAMDA FİLM ALGISI VE EYLETİM Ezgi Arıduru İletişim Bilimleri Bölümü Yüksek Lisans Programı Danışman: Doç. Dr. Selim Eyüboğlu Temmuz 2010 İzleyicinin film ile olan ilişkisi filme erişimiyle tanımlanır. Videodisk teknolojilerinin sayısal bilgisayara dayalı yeni bir ilişki sunduğu bugünlerde filme erişim daha önce olmadığı denli elverişli hale geldi. İlişkiyi eyletim olarak baştan tanımlayan şeyler bilgisayar ve filmin sayısallaşan yapısıdır. Bu tez izleyicinin filmle olan ilişkisindeki güncel değişimi sunmayı amaçlıyor. Videodisk teknolojisinin ortaya çıkışının ardından izleyici, film üzerinde kaydedilmiş video kasetin çıkışından bu yana sahip olduğu otoriteyi ortaya ve uygulamaya koydu. Hayranlar tarafından kaydedilen yorumlar ve baştan kurgulanan filmler bu yeni ilişkinin film ve izleyici için neler getirebileceğine ışık tutacak belirgin özelliklere sahip iki güncel örnek. Anahtar sözcükler: Sayısal ortam, izleyicinin filmle olan ilişkisi, izleme biçimleri iii To Kiti. iv ACKNOWLEDGMENTS I must begin by saying that this has not been a straightforward journey. The process first expanded, then collapsed onto itself, pulling me first into a catatonic state only to then throw me into a hysterical one. This roller coaster ride would not have been a fruitful one if not for the people who encouraged and tolerated me. It was thanks to my advisor Selim Eyüboğlu, that I believed enough in myself to produce a thesis in the first place, I should also admit, it would have still be impossible without the strict guidance of Melis Behlil and the sweet intimidation of Levent Soysal. I am forever grateful to Ceylan Demir, there are no words to adequately depict why. As for the rest of the Demirs I am thankful for their never-ending support, not only with this thesis but throughout my life. I feel heart-felt appreciation toward Mehmet Coşkun and Zeynep Çağan, some of the most generous people I have ever known, They have literally made it possible for me to continue studying in more ways imaginable. And I cannot thank Bora Işık enough. He has been cheering for me ever since our first games of chess in his living room. For this adventure I am also deeply indebted to Uğur Deveci who dragged me through the first steps and pushed me for the final ones. I would also like to praise Ceren Özpınar for patiently listening to my unpolished ideas and vividly commenting on my endless versions; Işıl Demir for being my beacon in the vast sea of cyberspace; Anita Oğurlu for sharing her insight into the text; and Merve Yağmuroğlu for keeping an eye on me through the long nights. A special thanks to my father, Mehmet A. Arıduru, for his time, which is becoming an ever scarce privilege; and a great big thank you to my mother, Şadiye Sibel Yönet, for always seeing through me and keeping my two feet on the ground. v CONTENTS Page No. LIST OF FIGURES AND TABLES viii INTRODUCTION 1 A) EARLY FILM AND ITS AUDIENCE – INITIATING A RELATION 4 1. Cinema of Attraction 4 2. Cult Value of Cinema 7 3. Exhibition Value of Cinema 10 B) DEVELOPMENTS IN THE CINEMATIC APPARATUS 13 1. Celebrating Sound 14 2. Home Theatre Experiences 16 3. Film to Video Transfer 17 4. Disc Technologies 20 C) DIGITAL FANFARE AND COMPUTERIZING THE RELATION 22 1. Home Video: A Digital Take 22 2. The Menu as Interface 31 D) THE VIEWER TAKES CHARGE 35 1. The Commentary 35 2. The Fan Commentary 40 2.1 Renegade Commentaries 42 2.2 Afterschock 42 2.3 Andrew Cole (tysto.com) 43 vi 2.4 Down in Front 44 2.5 Speakeasy 45 3. The Fanedit: Director on the Cutting Room Floor 47 3.1 Who shot first? – Fan manipulation at its prime 50 3.2 Production, distribution and appreciation cycle of fanedited films 52 3.3 Analysis of related discussion 56 CONCLUSION 62 REFERENCES 64 FILMOGRAPHY 72 vii LIST OF FIGURES AND TABLES Figure 1. Inlay spread of Finding Nemo 2-Disc Collector’s Edition Exclusive DVD 26 Figure 2. Inlay spread of Die Hard 1998 DVD with chapter selections list. 28 Figure 3. The chapters list page from the booklet of Star Wars Trilogy – The Definitive Collection DVD box set. 31 Figure 4. Star Wars: Episode I.II – The Phantom Edit DVD cover designed by another fan, shared online. 48 Table 1. Finding Nemo 2-Disc Collector’s Edition Exclusive DVD Bonus Features 24 viii Besides, what film is truly definitive? By the time you see the film it may very well be sub-titled, re-edited, shortened, even censored, and every film is viewed at the discretion of the projectionist, the cinema manager, the architect of the cinema, the comfort of your seat and the attention of your neighbor. (Greenaway 1986) People like to think that there are those films, which they can watch over and over again, be satisfied with their easygoing familiarity, stability, and stamina to resist change; their permanent presence in various time and space. However, in fact, each and every viewing creates its exclusive experience, and the build up of these unique experiences over time and space is what gives the feeling of synonymity to the viewer. Accordingly, one can suggest that the viewer’s access to film is what defines his or her relation to film. Film is not a definitive form because its interaction with the viewer is heavily mediated. Each different medium has its characteristics, influencing different action/behavior patterns in the viewer. Viewing a film in a prime theatre is a different experience than viewing it on an iPod screen, which is also different than seeing a VHS copy of it. Although they are representations of the same film, each format and condition provide a different perception of the film generating multiple definitions. However, it is not simply a discussion of nostalgia. It is neither a clash between the old and the new. Evidently, film has never been a truly definitive form and our conception of a constant film is a limited one, if not a total miss. Yet the 21st Century viewer is bombarded with ever changing access routes to films; hence, finding 1 himself or herself constantly adjusting to a new and sublimated encounter. Access to film has never been as available as it is today in multitudes of formats, and simultaneously. In this respect, it can be suggested that 21st Century may prove to be a turning point for the relation of film and viewer. First, unlike its predecessors, videodisc technologies have offered a novel relation to film on digital computer as digitized cinematic data; film as digits. Later, the Internet provides further access to information on, about and related to film, it’s production and manipulation. Internet also becomes the primary medium of distribution. The computer, with all the connotations of the word, provides the tools to manipulate, as well as the arena to display the manipulated. Therefore, it is important to note that it is the computer and the digitized nature of film that re-defines the relation as manipulation. This thesis aims at providing a current account of the change in the relation of film and viewer. Following the introduction of the videodisc technology, the viewer has become able to claim and practice an authority over films, which was actually gained as early as the advent of pre-recorded videocassette. This issue of authority will be presented and discussed within the context of works of fans. Fan commentaries and fan-edited films are two current examples of this novel relation and exhibit significant characteristics for defining what may be the future for film and viewer. In order to provide a progressive narrative depicting similarities as well as differences in the relation of film and viewer the thesis will develop chronologically. The first chapter deals with the early film, its presentation, and perception; building a bridge to more current viewing experiences. The following chapter deals with 2 screening methods and analyzes the effects they had on the relation of film and viewer. The third chapter is devoted to the latest videodisc formats, with an emphasis on the DVD, discussing the features provided by them, and their correlation with computer technologies. The final chapter of this thesis will discuss how the digital technologies available as format and medium has facilitated the examples of fan commentary and fanedit; looking for its roots in the apparatus and habitus, alike. 3 Early Film and its Audience – Initiating a Relation The film when it was introduced to masses in late 19th Century was projected by the very same device, which was used to capture the images it reproduces on a screen usually set up in a café or a similar venue of non-specific purpose.
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