Semiotic analysis of the film Masumi̇yet by Zeki̇ Demi̇rkubuz

Zeki Demirkubuzis one of the significant directors of the "independent film-maker" school in Turkish cinema after 80s. Writing the scripts of his films himself; not benefitting from financial resources based on productions relations of market; and preferring to stay out of the sense of box office based cinematography, Demirkubuz mentions the mankind cases such as crime, conscience, badness, will-weakness of will, arbitrariness, guiltiness, loyalty and the human psychology as a general category in his films. Zeki Demirkubuz has shot 9 cinema films which are C Blok (1994), Innocence (Masumiyet) (1997), The Third Page (Üçüncü Sayfa) (1999), Confession (İtiraf) (2001), Fate (Yazgı) (2001), The Waiting Room (Bekleme Odası) (2003), Destiny (Kader) (2006), Envy (Kıskanmak) (2009), and The Underground (Yeraltı) (2012). It is the Masumiyet that received awards the most and that has enabled Zeki Demirkubuz to be known by international area and critics. This thesis focuses on the film Masumiyet that is the primary work taking an important place in Zeki Demirkubuz's filmography and enabling him to be known. The main axis of the thesis is the door and window images in the Masumiyet. Usage of the doors and windows as to form movement image in the film composes the main subject of the study. The film has been divided into 12 sections, and the frames, in which doors and windows enabling transition from stability to mobility exist in in symbolic sense, have been dealt with and analysed in semiotic perspective. In this analysis, Semiotic approach of the Linguist and Semiotician Algirdas Julien Greimas, from Paris Semiotics School, has been discussed, and the frames in each section have been resolved through levels from surface to deeper, and Discursive – Narrative – Logical – Semantic levels have been combined in each frame, and connections from structure to deep have been made, and the Semiotic analysis has been reached. Designed as a descriptive research, this thesis aims to describe how ontologically stable objects will be used as to create motion and movement and to enable transition from stability to mobility in semiotic sense in terms of cinema technique and aims to make this cinema technique understandable. In this theis, information on beginner level on main semiotic analysis techniques are presented and Short biography of Zeki Demirkubuz is also presented, and his cinematographic approach is brought in the cinema analysis literature. Key Words: Zeki Demirkubuz, the film Masumiyet, A.J. Greimas, Semiotics.