The representation of food and table: Fatih Akın films

Eating behavior, which is one of the most basic necessities for human survival; It is beyond being a physiological phenomenon by differentiating during food production, presentation and consumption. Food has an important place in the development of societies in creating and advancing their own cultures in history, and it is one of the fundamental points in the formation of cultural identity. Throughout history, the development of the dining table in the consumption dimension and the shaping of the rules of the dining table have also been a concrete reflection of social progress. To establish a relationship between dining and dining table and concepts such as gender, socialization and communication, class, religion, national identity, pleasure, demonstration; it serves an important function to make sense of its social aspect. However, Cinema is one of the basic arts that can be used to understand the society and xpress the culture of a society.It also makes use of various indicators to strengthen its expression. Food displays are one of the basic representation objects of cinema, as they can be easily understood and analyzed by the audience. In this study, the films of the director Fatih Akın, which has made progress in the last 20 years, has an international success and has an intercultural identity, have been examined. The scenes with food and dinning table themes were analyzed in accordance with Roland Barthes' semiotic analysis method. The food and dinner table representations through Fatih Akın films are evaluated in a sociological context. Basically, the importance of food in social, artistic and cultural contexts is emphasized by establishing a relationship between cinema, gastronomy and sociology.In the study, considering that the place of food in the cinema is increasing day by day and a new genre called Food Cinema has emerged, various suggestions have been made to increase the studies of cinema and food that can be considered limited. Key Words: Table, Cinema, Semiology, Fatih Akın, Turkish Cinema