Publication: Gösteri toplumu ve dijitalleşme bağlamında mahremiyet
Abstract
Gösteri toplumu ve dijitalleşme bağlamında mahremiyetin metalaşması Dijital çağ, toplumsal yaşamın her unsurunu değişim ve dönüşüme soktuğu gibi mahremiyet kavramını da köklü bir dönüşüme uğratmıştır. Bu dönüşüm, Guy Debord’un “Gösteri Toplumu” kuramındaki öngörüyü doğrulamakta ve dijitalleşme ile birlikte yaşamın ve ilişkilerin birer gösteriye ve metaya indirgenmesi bu süreçle paralellik göstermektedir. Bu çalışma, dijital platformlarda popülerlik kazanan ‘Konuşanlar’ programını örnek alarak, gösteri toplumunda bireylerin mahremiyetinin kültür endüstrisi için nasıl bir metaya indirgendiğini analiz etmeyi amaçlamaktadır. Araştırma kapsamında, ünlü konuklarında program konuğu olduğu ve konsept olarak diğer bölümlerden ayrılan ikinci sezonundaki beş bölüm seçildi ve nitel içerik analizi yöntemiyle bu beş program (1.sezon,2.bölüm,27.bölüm, 2.sezon.8.bölüm, 3.sezon.7 bölüm ve 4.sezon 3.bölüm) incelendi. Analiz edilen bu beş bölüm beş ana mahremiyet başlığı altında ele alındı başlıklar şöyledir: Bedensel ve Fiziksel Mahremiyet, Aile ve Özel İlişkiler, Duygusal Mahremiyet, Sosyal ve Toplumsal Mahremiyet, Ekonomik Mahremiyettir. Bulgular, ‘Konuşanlar’ programının, bireylerin en mahrem ve travmatik deneyimlerini (aldatma, cinsel fanteziler, aile içi sırlar, ekonomik zorluklar) gönüllülük esasına dayalı ve ‘’travmalarımızla dalga geçiyoruz’’ sloganıyla ifşa ettiğini ve bireylerin mahrem bilgilerini ‘gösteri metasına’ dönüştürdüğünü ortaya koymaktadır. Katılımcıların, dijital ortamda ‘görünür olma’ arzusuyla gönüllü olarak mahremiyetlerini bir sermaye olarak kullandığını ve programın da bu süreci mizah adı altında normalleştirerek meşrulaştırdığı tespit edilmiştir. Sonuç olarak bu çalışma, Debord’un teorisinin dijital çağdaki geçerliliğini popüler bir içerik üzerinden somutlaştırmakta ve mahremiyeti gözetim toplumunun ötesine geçirerek bireylerin gönüllü katıldığı bir gösteri ekonomisinin parçası haline geldiğini göstermektedir. Araştırma, Türkiye'deki dijital medya içeriklerinin mahremiyet algısı üzerindeki etkisini anlamak ve gösteri toplumunun güncel dinamiklerini ortaya koymak açısından özgün bir katkı sunmaktadır.
The commodification of privacy in the context of the society Of the spectacle and digitalization The digital age has not only transformed every element of social life but has also radically reshaped the concept of privacy. This transformation confirms the foresight in Guy Debord's theory of The Society of the Spectacle, paralleling the process by which life and relationships are reduced to a spectacle and a commodity through digitalization. This study aims to analyze how the privacy of individuals is reduced to a commodity for the culture industry, taking the popular digital program 'Konuşanlar' (The Talkers) as a case study. Within the scope of the research, five episodes from the second season, which featured famous guests and differed conceptually from other seasons, were selected (specifically, Season 1, Episode 2; Season 1, Episode 27; Season 2, Episode 8; Season 3, Episode 7; and Season 4, Episode 3). These episodes were examined using the qualitative content analysis method. The analysis was conducted under five main themes of privacy: Bodily and Physical Privacy, Family and Private Relationships, Emotional Privacy, Social and Societal Privacy, and Economic Privacy. The findings reveal that the 'Konuşanlar' program discloses individuals' most intimate and traumatic experiences (such as infidelity, sexual fantasies, family secrets, and economic hardships) on a voluntary basis, guided by the slogan we make fun of our traumas. The study demonstrates that the program transforms the private information of individuals into a 'spectacle commodity.' It was determined that participants voluntarily use their privacy as capital, driven by the desire to be 'visible' in the digital environment, and that the program normalizes and legitimizes this process under the guise of humor. In conclusion, this study substantiates the validity of Debord's theory in the digital age through a popular media content. It shows that privacy has moved beyond the surveillance society to become part of a spectacle economy in which individuals voluntarily participate. The research offers an original contribution to understanding the impact of digital media content in Turkey on the perception of privacy and to revealing the current dynamics of the society of the spectacle.
The commodification of privacy in the context of the society Of the spectacle and digitalization The digital age has not only transformed every element of social life but has also radically reshaped the concept of privacy. This transformation confirms the foresight in Guy Debord's theory of The Society of the Spectacle, paralleling the process by which life and relationships are reduced to a spectacle and a commodity through digitalization. This study aims to analyze how the privacy of individuals is reduced to a commodity for the culture industry, taking the popular digital program 'Konuşanlar' (The Talkers) as a case study. Within the scope of the research, five episodes from the second season, which featured famous guests and differed conceptually from other seasons, were selected (specifically, Season 1, Episode 2; Season 1, Episode 27; Season 2, Episode 8; Season 3, Episode 7; and Season 4, Episode 3). These episodes were examined using the qualitative content analysis method. The analysis was conducted under five main themes of privacy: Bodily and Physical Privacy, Family and Private Relationships, Emotional Privacy, Social and Societal Privacy, and Economic Privacy. The findings reveal that the 'Konuşanlar' program discloses individuals' most intimate and traumatic experiences (such as infidelity, sexual fantasies, family secrets, and economic hardships) on a voluntary basis, guided by the slogan we make fun of our traumas. The study demonstrates that the program transforms the private information of individuals into a 'spectacle commodity.' It was determined that participants voluntarily use their privacy as capital, driven by the desire to be 'visible' in the digital environment, and that the program normalizes and legitimizes this process under the guise of humor. In conclusion, this study substantiates the validity of Debord's theory in the digital age through a popular media content. It shows that privacy has moved beyond the surveillance society to become part of a spectacle economy in which individuals voluntarily participate. The research offers an original contribution to understanding the impact of digital media content in Turkey on the perception of privacy and to revealing the current dynamics of the society of the spectacle.