Modernlik-Postmodernlik Ekseninde Serseri Âşıklar ve Mavi Kadife Filmlerinin Göstergebilimsel Karşılaştırılması

Abstract

Along with the modernity embedded in mind, language and life, postmodernity, which is associated with contrast for some and with modernity in the context of continuity for the others, constitutes the axis of this study. Postmodernism which draws attention with its different point of views in cultural, social, economic and political fields, may not be explained in a single structure. It is therefore necessary to explain both the era of enlightenment and modernity so as to understand postmodernism. The Renaissance, Reform and Enlightenment Age, which are effective in the emergence of modernism, are considered as paralel developing and complementary facts.Modernism created by political, social and cultural transformations promises individuals of a variety of possibilities. Modernism has adopted patterns based on uniformity and standards. These patterns have thus led to the development of views which are against modernism and modernity. There is no definitive definition of postmodernism which is tried to be explained on the axis of modernism. By changing the meaning of a narrative, postmodernism, which both questions the old and produces alternatives with a new perspective, has adopted different principles from modernism. Postmodernism advocates pluralism, difference, locality, as well as liberation of the individual through becoming independent from the modern one.In the study, the relationship between modernity and postmodernity or the contrast between them were discussed in the sample of Jean-LucGodard's "A bout de Souffle" and David Lynch's "Blue Velvet" films through the semiotic analysis. In this way, the views that have gained meaning in the context of modernity-postmodernism, have been evaluated through the films in question.Consequently; it does not seem very possible to distinguish modernism from postmodernism with certain boundaries. These two terms can be evaluated as the perspective of interpreting the same whole in different ways, which are both fed from each other and are separated from one another at the extreme points.

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“…Şekil 2. Roland Barthes'ın Anlamlandırma Şeması (Fiske, 2003, s.120) Çalışmalarında ayrıca göstergebilimi üstdil olarak da betimleyen Barthes, incelenen gösterge sistemini birinci dil olduğunu belirterek göstergebilimin onu üstlendiğini açıklar (Dumlu & Çağlar, 2019(Dumlu & Çağlar, :1052.…”

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“…Modernizm, Rönesans ve Reform hareketleri ile ortaya çıkan resim, edebiyat, mimari gibi farklı alanları etkileyen bir dönemi kapsamaktadır (Çağlar & Dumlu, 2019(Çağlar & Dumlu, : 1048(Çağlar & Dumlu, -1049. Sanat tarihi açısından özel bir adlandırma olan modernist hareketin 19. yüzyıl ortalarında Fransa'da ortaya çıktığı kabul edilir.…”