Sanal Gerçeklik Anlatısının İzini Sürmek: Trinity VR ve Selyatağı VR Örnekleri

Abstract

Virtual reality is an interactive computer technology that gives users sensory feedback by tracking their positions and actions 360 degrees. Augmented reality is a system in which real images and digitally generated images (CGI) are superimposed. The fact that virtual reality technology, which was cumbersome and expensive at the time it first appeared, became smaller with the development of digital cinema and became cheap for the access of everyday users, and the areas that started to benefit more from the opportunities of this technology increased. Although virtual reality technology, which is basically an interactive narrative tool, uses the digital game sector as the most effective in this context, it will not be wrong to say that cinema narrative has always started to benefit more from the technical possibilities of virtual reality technology as a result of imaginable interaction and alternative narrative searches. The relation of time and space to reality, the quality of cinema time and space and interactive, and the first two of these three main points of departure have a big share in the way that the narrative of the cinema narrates and reaches its purpose. In the point of interactivity, it can be claimed that virtual reality stands at a point beyond all narratives and arts, even cinema. In this context, the answers to the following questions are sought: The intersection and separation of virtual reality technology and cinema? Similarities and differences? Narrative structures and techniques? Perceptions of reality they create? As the main reason why similar questions are becoming more and more common nowadays, the digital transformation experienced by the rapidly adapting cinema technology can be shown. From this point of view, in this study, Trinity VR (Boivin, 2018), which is shown as an example of mainstream and large production productions with emphasis on the similarities and differences of virtual reality technology and cinema, and Selyatağı VR (Tortum, 2018) as an example. by style analyzing virtual reality films, answers will be sought on the structure of cinema narrative changing with virtual reality technology.

Metaverse Awareness of Turkish Generation Z Preservice Teachers

“…Therefore, it can be put forward that the participants could not go beyond experiencing the game, which is the early development stage of the metaverse (Çavuşoğlu & Yalçın, 2021). The first appearance of the metaverse, which has a history of almost 25 years, was in the context of games and entertainment, and its emergence in many fields, including education, have taken place in the last decade (Erkılıç & Dönmez, 2020). Hence, it can be said that Turkish Generation Z preservice teachers differ from their global contemporaries in terms of metaverse experience and being aware of new generation internet technologies.…”

Eği̇ti̇m Fakülteleri̇nde Uygulanan 2018 Li̇sans Programlarinin Öğreti̇m Elemanlarinin Görüşleri̇ne Dayali Olarak Değerlendi̇ri̇lmesi̇

“…In addition, metaversal teaching is time-consuming and can cause communication and some health problems (Tepe, 2019). However, Yeni Eğitim Ekosistemi Olarak Metaversal Öğretim [895] what is really troubling is the fragmentation phenomena that metaversal teaching presents with the second identity in the virtual environment (Erkılıç & Dönmez, 2020), caused by phenomena such as disembodiment, virtual perception, space without distance (Göker, 2017), lack of ground, and dual identity (Alanka & Cezik, 2017). Because their psychological, pedagogical and social consequences are unpredictable.…”

The Key Sanal Gerçeklik Deneyimi Üzerine Bir Analiz

“…Sinematografi başlığı altında yer alan kamera hareketleri ve çekim ölçekleri alt başlıklarının sanal gerçeklik deneyimlerinde dönüştüğü veya var olmadığı (Erkılıç & Dönmez, 2020)…”