Images on the film posters: The semiotic research of the Saul Bass movie posters

This study, which aims to show some variables in the creation of meaning in movie posters and to utilize poster readings depend on this, includes of three sections. Firstly; What are the circumstances for us to name a work "design" and design a product announce at the final of the design process? From the question; concept of design; Explanation of design and design terms, steps in design process, primary design theories, subject-essence-form-content relationship in design, poster and film poster as graphic design, architectural signals of design in poster design and film poster aspects are considered. In this part, "design components and assumptions and organizational assumptions emphasized which are investigated in the primary design theories are considered in the following part as visual signals. Secondly; from the question of how to read a "design"? The concept of the indicator is elucidated, the distinction between the linguistic sign and the visual sign are utilized by distributing the signs. While the visual signs are organized with regard to model and subject, the concept of code, message, sign science has been elucidated, the headings of showing-shown and code, message, meaning, design, connotation and metaphor are elucidated. Thirdly (and last part of the study); the technical investigation of 10 iconic, iconic and descriptive film posters designed by graphic designer Saul Bass between 1955 and 1993 and selected from 23 film posters on their official site - purposeful sampling - according to Güngör's unifying principles of "design", with regard to Roland Barthes's "three-stage semiotic analysis" provided which grants analysis of poster screens,"subject" analysis has been conducted. As a result of this, it has been depicted that Saul Bass movie posters brought the semantic amount on the basic and basic designs that explicit the subject, which is the major theme of the film it presents, with the help of icons and figures, utilizing at least design components, not only with regard to forms of subject but also in its formal components.