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NIGDE UNIVERSITY
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Papers by Ferhat Kaçar
purchasing intentions. In the marketing discipline, digital media platforms play an importantrole in promoting products to the masses. Thus, marketing opportunities through digital media platforms are expanding. Digital platforms have become important marketing channels for all brands that want to reach large consumer audiences. Companies operating in the ready-made clothing industry use various digital media platforms for product marketing. Clothing companies use online platforms as well as television advertisements. Digital platforms also use
celebrities as advertising faces to create consumer awareness for the fashion industry, provide brand awareness and influence consumers about fashion-based products. This research mainly analyses the indicators used by the "Defacto" clothing brand in its advertisements published on different digital platforms. Because in the world of signs, each sign has a meaning that it evokes and expresses within the relevant culture. There is no doubt that advertisements are the biggest
sign carriers and transmitters in today's world. At the same time, advertisements address people using codes that exist in people or are generated by the system. During this call, certain codes are conveyed to individuals about who they are or who they should be. The samples of the study are "I love me DeFacto", "Add Color to Life!", "The return to the city has begun with DeFacto!", starring Afra Saraçoğlu, who has been used as the advertising face of DeFacto lately. Advertisements have been selected. The visual images used in advertisements were analyzed using the semiotic method. The consumers are encouraged to imagine the advertised product on themselves with the metaphorical expressions and hidden sexual content used in the advertisements in question. In Defacto advertisements, hedonic objects and indicators are
generally highlighted, fantasies and dreams are shaped, social media use is encouraged, and women's sexy appearance is highlighted by conditioning sexuality and love. It was also concluded that emotions reconstruct needs and desires within the scope of consumption activities.
a semi-structured interview form was used to obtain data, and 30 international students studying at Harran University were asked to answer the form prepared through face-to-face interviews. The analysis of the data was subjected to content analysis with the help of Maxqda 20 Package Programme and codes were obtained. According to the data obtained, when the answers given by international students regarding the communication barriers they experience are analysed, it
is stated that the biggest problem is due to language. When the other expressions used are examined; cultural incompatibility / differences, barriers arising from understanding, racial and ethnic-based barriers, economic barriers, prejudice, barriers arising from individual differences, psychological barriers, physical barriers and time-based barriers. In response to the question "What are your suggestions for solutions to communication barriers?", the participants used the following statements. First of all, they stated that the language and understanding barrier should be overcome, and their other suggestions are as follows, respectively: promoting intercultural integration, being patient and empathising, overcoming prejudices, overcoming economic
barriers, providing guidance and psychological support, organising social and cultural
activities, overcoming physical barriers, overcoming time constraints, overcoming racial and ethnic-based barriers.
hayat bulmuştur. Edebiyatta toplumsal yaşamla ilgili eleştiriler,
yapılan düşünsel tasvirler, her dönemde sinemanın da ilgisini
çekmiştir. Bunun için Türk sinema tarihinde, edebiyatta işlenen
yoksulluk ve yoksunluk hâli sinemanın da en sevdiği konular
halini almıştır. Toplumsal adaletsizlik, sınıfsal ayrımlar, kent
ve kırsal yaşamdaki bürokratik ayrışmalar, kent yaşamındaki
yapılaşmanın yarattığı eşitsizlik görünümleri hayatın her noktasında önemli hâle gelmiştir. Toplumdaki eşitsizlik düzeni,
devletin politik ve bürokratik yapısı, bireylerin yaşamındaki
etkisi “Yaşar Ne Yaşar Ne Yaşamaz” eserinde hayat bulmuş ve
daha sonra dönemin sinema filmlerine konu olmuştur. Temelde
bir edebiyat uyarlaması olan “Yaşar Ne Yaşar Ne Yaşamaz”
romanı ve filminin ana teması yoksunluğa bağlı bir yoksulluk
durumudur
Identity has a wide range of concepts, from the product identity of the companies to the post-colonial identity, from personal identities to ethnic, religious, sexual, and social identities. Especially in the modern age, the identity problem is not only decisive at the level of national identity but also at the level of different identities in
cultural life. Therefore, the definition of identity and the discussions about identity have always been the focus of cinema. In this article, concepts such as identity, the other, and the subaltern are first defined to discuss identity in cinema. Later, I tried to analyze the discussions about these concepts based on Akın's films. Akın, in his films,
explained different identities in the social-political world; groups with cultural, religious, linguistic, and racial differences can live together peacefully if desired. It is also shown that people living together can respect all kinds of identities and that it is not a problem for a person to have more than one identity. In this respect, films
such as Short and Painless (1998), In July (2000), Solino (2002), Against the Wall (2004), On the Edge of Life (2007), The Cut (2014), and Shattered (2017); The concepts such as migration, identity, the other, and cultural change were analyzed with the "sociological method" and "discourse analysis" methods. Thus, the theoretical
definitions of identity were tried to be embodied in Akın's films.
In this study, a discursive analysis of the films of Mahsun Kırmızıgül, who is one of the
mainstream actors and directors who are often the subject of criticism of Turkish cinema
and won the admiration of large audiences, has been made. Based on the concepts of
stereotype and cliché; The relationship of Kırmızıgül's realism, technical use, personal style, and inner meaning with industrial cinema has been analyzed. In this analysis, the technical and cinematographic creativity of Kırmızıgül's films, the qualities of the film language in terms of the existence of his style, the inner meaning, space, character and thematic qualities he produces in his cinema, and the way his films are reflected are discussed. A discursive analysis of social realism and how stereotypes and stereotypes are used. They are discussed in the samples of the films White Angel, I Saw the Sun, Five Minarets in New York, Miracle 1, Miracle 2: Love, respectively. It can be said that the most fundamental point of this study, which has a discursive approach to Kırmızıgül's films, is the effort to focus on different identities that are the subject of discussion in society. In Kırmızıgül's films, stereotypes about what people from certain groups (racial, sexual, ethnic, religious, professional, etc.) look like and the subject is oversimplified, and a belief or thought is presented by dividing specific identities about people divided into separate categories. The intense use of melodrama, drama, and comedy genres in Kırmızıgül's films, together with the industrialized entertainment understanding of cinema, has transformed the identities and stereotypes of society into commercial objects that are fed by the technical stereotypes and stereotypes of mainstream Turkish cinema.
purchasing intentions. In the marketing discipline, digital media platforms play an importantrole in promoting products to the masses. Thus, marketing opportunities through digital media platforms are expanding. Digital platforms have become important marketing channels for all brands that want to reach large consumer audiences. Companies operating in the ready-made clothing industry use various digital media platforms for product marketing. Clothing companies use online platforms as well as television advertisements. Digital platforms also use
celebrities as advertising faces to create consumer awareness for the fashion industry, provide brand awareness and influence consumers about fashion-based products. This research mainly analyses the indicators used by the "Defacto" clothing brand in its advertisements published on different digital platforms. Because in the world of signs, each sign has a meaning that it evokes and expresses within the relevant culture. There is no doubt that advertisements are the biggest
sign carriers and transmitters in today's world. At the same time, advertisements address people using codes that exist in people or are generated by the system. During this call, certain codes are conveyed to individuals about who they are or who they should be. The samples of the study are "I love me DeFacto", "Add Color to Life!", "The return to the city has begun with DeFacto!", starring Afra Saraçoğlu, who has been used as the advertising face of DeFacto lately. Advertisements have been selected. The visual images used in advertisements were analyzed using the semiotic method. The consumers are encouraged to imagine the advertised product on themselves with the metaphorical expressions and hidden sexual content used in the advertisements in question. In Defacto advertisements, hedonic objects and indicators are
generally highlighted, fantasies and dreams are shaped, social media use is encouraged, and women's sexy appearance is highlighted by conditioning sexuality and love. It was also concluded that emotions reconstruct needs and desires within the scope of consumption activities.
a semi-structured interview form was used to obtain data, and 30 international students studying at Harran University were asked to answer the form prepared through face-to-face interviews. The analysis of the data was subjected to content analysis with the help of Maxqda 20 Package Programme and codes were obtained. According to the data obtained, when the answers given by international students regarding the communication barriers they experience are analysed, it
is stated that the biggest problem is due to language. When the other expressions used are examined; cultural incompatibility / differences, barriers arising from understanding, racial and ethnic-based barriers, economic barriers, prejudice, barriers arising from individual differences, psychological barriers, physical barriers and time-based barriers. In response to the question "What are your suggestions for solutions to communication barriers?", the participants used the following statements. First of all, they stated that the language and understanding barrier should be overcome, and their other suggestions are as follows, respectively: promoting intercultural integration, being patient and empathising, overcoming prejudices, overcoming economic
barriers, providing guidance and psychological support, organising social and cultural
activities, overcoming physical barriers, overcoming time constraints, overcoming racial and ethnic-based barriers.
hayat bulmuştur. Edebiyatta toplumsal yaşamla ilgili eleştiriler,
yapılan düşünsel tasvirler, her dönemde sinemanın da ilgisini
çekmiştir. Bunun için Türk sinema tarihinde, edebiyatta işlenen
yoksulluk ve yoksunluk hâli sinemanın da en sevdiği konular
halini almıştır. Toplumsal adaletsizlik, sınıfsal ayrımlar, kent
ve kırsal yaşamdaki bürokratik ayrışmalar, kent yaşamındaki
yapılaşmanın yarattığı eşitsizlik görünümleri hayatın her noktasında önemli hâle gelmiştir. Toplumdaki eşitsizlik düzeni,
devletin politik ve bürokratik yapısı, bireylerin yaşamındaki
etkisi “Yaşar Ne Yaşar Ne Yaşamaz” eserinde hayat bulmuş ve
daha sonra dönemin sinema filmlerine konu olmuştur. Temelde
bir edebiyat uyarlaması olan “Yaşar Ne Yaşar Ne Yaşamaz”
romanı ve filminin ana teması yoksunluğa bağlı bir yoksulluk
durumudur
Identity has a wide range of concepts, from the product identity of the companies to the post-colonial identity, from personal identities to ethnic, religious, sexual, and social identities. Especially in the modern age, the identity problem is not only decisive at the level of national identity but also at the level of different identities in
cultural life. Therefore, the definition of identity and the discussions about identity have always been the focus of cinema. In this article, concepts such as identity, the other, and the subaltern are first defined to discuss identity in cinema. Later, I tried to analyze the discussions about these concepts based on Akın's films. Akın, in his films,
explained different identities in the social-political world; groups with cultural, religious, linguistic, and racial differences can live together peacefully if desired. It is also shown that people living together can respect all kinds of identities and that it is not a problem for a person to have more than one identity. In this respect, films
such as Short and Painless (1998), In July (2000), Solino (2002), Against the Wall (2004), On the Edge of Life (2007), The Cut (2014), and Shattered (2017); The concepts such as migration, identity, the other, and cultural change were analyzed with the "sociological method" and "discourse analysis" methods. Thus, the theoretical
definitions of identity were tried to be embodied in Akın's films.
In this study, a discursive analysis of the films of Mahsun Kırmızıgül, who is one of the
mainstream actors and directors who are often the subject of criticism of Turkish cinema
and won the admiration of large audiences, has been made. Based on the concepts of
stereotype and cliché; The relationship of Kırmızıgül's realism, technical use, personal style, and inner meaning with industrial cinema has been analyzed. In this analysis, the technical and cinematographic creativity of Kırmızıgül's films, the qualities of the film language in terms of the existence of his style, the inner meaning, space, character and thematic qualities he produces in his cinema, and the way his films are reflected are discussed. A discursive analysis of social realism and how stereotypes and stereotypes are used. They are discussed in the samples of the films White Angel, I Saw the Sun, Five Minarets in New York, Miracle 1, Miracle 2: Love, respectively. It can be said that the most fundamental point of this study, which has a discursive approach to Kırmızıgül's films, is the effort to focus on different identities that are the subject of discussion in society. In Kırmızıgül's films, stereotypes about what people from certain groups (racial, sexual, ethnic, religious, professional, etc.) look like and the subject is oversimplified, and a belief or thought is presented by dividing specific identities about people divided into separate categories. The intense use of melodrama, drama, and comedy genres in Kırmızıgül's films, together with the industrialized entertainment understanding of cinema, has transformed the identities and stereotypes of society into commercial objects that are fed by the technical stereotypes and stereotypes of mainstream Turkish cinema.
analysis of social realism and how stereotypes and stereotypes are used. They are discussed in the samples of the films White Angel, I Saw the Sun, Five Minarets in New York, Miracle 1, Miracle 2: Love, respectively. It can be said that the most fundamental point of this study, which has a discursive approach to Kırmızıgül's films, is the effort to focus on different
identities that are the subject of discussion in society. In Kırmızıgül's films, stereotypes about what people from certain groups (racial, sexual, ethnic, religious, professional, etc.) look like and the subject is oversimplified, and a belief or thought is presented by dividing specific identities about people divided into separate categories. The intense use of melodrama, drama, and comedy genres in Kırmızıgül's films, together with the industrialized entertainment understanding of cinema, has transformed the identities and stereotypes of society into commercial objects that are fed by the technical stereotypes and stereotypes of mainstream Turkish cinema.
With contemporary life, icons have become the tools of mass industries such as cinema, television and advertising. With each passing day, symbols and icons are produced, marketed and consumed by the masses. Therefore, icons produced by the consumer industry are popularized by cinema, television, stadiums, runways, billboards, and other media. The people iconized by the industrial media and the jewelry, badges, t-shirts, cars, photographs, trinkets and dresses that symbolize them are transformed into iconic objects. Artistic elements that started to change with modern life, sentimental cinema spread by the mass press, and the influence of the entertainment industry have passed into the era of secular popular iconologies. In the contemporary sense, new iconologies have become commodity fetishistic tools by adapting them to the entertainment understanding of the new mass society, apart from religious meanings.
In this study, it was pointed out that how movie stars and objects are transformed into commercial icons by focusing on the changing structure and meaning of icons. It is important to focus on the underlying meaning of the iconography method used in non-cinema arts for the iconization of stars, symbols, and masks that are integrated with cinema. The structure and meaning of icons began to change with the influence of mass media that developed with modernism and gained a commercial character. In this direction, an icon industry was formed. In popular cinema, the secular meanings of the icons rather than their sacred meanings began to come to the fore. In this study, a general theme of the icons that developed with the cinema was created and focused on the changing structure of the icons. Cinema is a versatile mass media and therefore it is important to use iconography to focus on the meaning of icons in cinema. The use of the iconography method as an analysis method in cinema makes this study unique. As a result of this study, it has been determined that popular cinema has created an icon industry and divided the films into certain iconic genres in order to perpetuate this. Popular commercial cinema iconizes stars and objects, involving the audience in the cycle of continuous consumption. This is a problem for cinema art that has an artistic purpose. In order to get to the root of this problem, it has been concretized with examples of popular commercial cinema and art cinema films.