Post-modern perspective in psyschological thrillers

Postmodernism has resisted the idea of 'grand narratives' positioned as a universal truth. It can be said that the central focus of postmodernism is to prioritize subjective and diverse experiences, and it opposes the assumptions of traditional ways of representing the world. The principles of postmodernism have been shaped by the work of philosophers, writers and artists in the twentieth century. As discussed in the scientific literature and included in the film reviews in the text, it can be stated that post-modern cinema is based on deep-rooted foundations. This cinema also integrates with the director's unique identity and other requirements in the context of Auteur theory. For example; famous artist and director David Lynch is regarded as one of the significant directors of "Post-Modern" cinema, which has gained global fame with his many films. Post-modern cinema is not only associated with Lynch cinema. Although there are some important post-modern productions especially in the musical genre, the post-modern narrative structure in psychological thrillers has been analyzed in the thesis. In line with the mentioned themes, the study is aimed at performing semiotic analysis of certain films of three directors from different schools within the framework of postmodern narratives. In this context, starting from the concept of art and the place of art in human life, the relationship between art and postmodernism has been discussed, post-modern themes in cinema have been processed, and then related psychological thrillers have been analyzed within the framework of the post-modern narrative structure and semiotic analysis. In this context, semiotic analysis constitutes the method of the study concerned. The data within the framework of post-modern elements constitute the conceptual framework. The scene-sequences of the films concerned are examined through the concept sets of signifier-shown in semiotic analysis and from the perspective of post-modern elements. Allegorical narrative situations in movies are also frequently discussed in the context of the relevant literature. As a result, in this context, an inquiry was made on the films in the sample regarding the turning points (new forms) where post-modern cinema differed from previous periods and thus classical schools, and it was concluded that contemporary narrative is in a reflexive (self-reflective) and interactive structure, unlike traditional narratives.