Tayfun Pirselimoğlu's Cinema in the Universe of Signs: Analysis of Kerr Movie
Abstract
The art of cinema is not the reality itself but rather the imitation of reality. In this imitation art, there exists a delicate line between reality and necessity. Among the recording arts, cinema is the most mimetic one, interpreting and manipulating the universal signs within its own poetics, sometimes enchanting, entertaining, or provoking thoughts in its viewers by generating new meanings. In this context, semiotics, as a part of the semiotic discipline, provides a theoretical framework to understand the functioning and meanings of signs. Semiotics encompasses research on language, sign language, music, art, architecture, fashion, advertising, literature, film, and other symbolic systems. Cinema creates sign sequences using its unique tools and conveys its narratives to the audience through these sequences. These symbolic sequences originate not only from the symbolic signs of language but also from other symbolic signs such as visuals, sounds, colors, camera angles, and lighting. Semiotics offers various theoretical frameworks and methods for decoding the symbolic signs and meanings of cinema. These analyses are important in presenting viewers with different reading and interpretation perspectives and in gaining a deeper understanding of the narratives in films. This study aims to examine Tayfun Pirselimoğlu's independent cinema film, Kerr, through a semiotic analysis method
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