An analysis of cyberpunk film and series posters in the context of postmodern graphic design

The cyberpunk genre draws attention with its themes that question the impact of technology on human life; it centers on the human-machine relationship through narratives in which advanced technology transforms the bodily and mental integrity of the individual. Through elements such as cybernetic implants, artificial intelligence and digital consciousness, narratives are presented in which the individual becomes distanced from their own identity and the ontological boundaries are blurred. In this context, the cyberpunk aesthetic adopts a critical perspective toward the rationality and progress-oriented understanding of the modernist approach; it presents a narrative form that aligns with the postmodern structure of thought, which is multi-layered, open to contradictions and distanced from certainty. Modernism is based on a belief in progress shaped by rationality. In graphic design, this understanding is reflected in clear forms, systematic compositions and the use of universal typography to convey the message clearly to the target audience. However, this rationalist understanding has gradually been questioned, and postmodern thought emerged as a reaction that critiques the boundaries of modernist principles. Postmodernism, rather than rejecting modernism, acts as its continuation and opens space for multiple meanings, cultural diversity and formal freedoms. In the field of graphic design, this understanding manifests itself in designs where different styles are used together, the old and the new are intertwined, oppositions are emphasized in the compositions and ironic expression is employed. Postmodern designs, rather than conveying the message in a single and definite way, offer open-ended meanings to the audience. This thesis examines how film and television posters from the cyberpunk genre are shaped within the framework of postmodern graphic design principles. The aim of the study is to reveal how postmodern graphic design principles are reflected through the visual structures of these posters. Within this scope, six film posters: Blade Runner (1982), RoboCop (1987), Akira (1988), Johnny Mnemonic (1995), Ghost in the Shell (1995), The Matrix (1999) and two anime series posters: Cyberpunk: Edgerunners (2022) and Tron: Uprising (2012) are analyzed. The posters are examined using the descriptive analysis method in terms of typography, composition, color usage, symbolic elements and aesthetic preferences.