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the individual a writing which says “this character is very hardworking”, it is asked
for him/her to interpret the symbolic meanings of the objects the character carries in
addition to the character’s behaviors. The individual is asked to interpret these
symbols, however it is again the symbols which provide direction to the interp-
retation to be made. The read behavior unites with the symbolic meaning and the
desired transmission of meaning is realized.
A B
Visual 1
The character in Visual 1 is the main character from “Spiderman”. In Visual
1A, the form of presentation of the character’s identity before he turned into
Spiderman is seen. The character is presented to the audience with huge bony
spectacles and hardworking, unsocial and shy reflection of identity in his smile.
Whereas in Visual 1B, the same character’s changed version after the spider has
bitten is seen. The character has taken off his spectacles, his muscles have grown,
and the expression on his face has left its place to a sharper look. It is possible to see
the same construction in many (particularly American) movies. These alterations
reflect the hero image the postmodern cinema presents.
The physical appearance of the character constitutes a big portion of his/her
identity intended to be reflected in the movies. The hero image of the American
cinema industry has placed itself to the hero body which the individual has memo-
rized and expects with his/her muscles and angled feature (and a piece of smile).
Formation made in order to reach the presented body sizes is thought within
the formed beauty standards. While fat body is a symbol of wealth in various
societies, exercise and diet are prioritized in societies where culture of consumption
is dominant. While the women type with big breasts and hips, which was dominant
in cinema in 1950s and 60s, was symbolized with Jane Mansfield and Sofhia Loren,
small breast image was formed in the 70s with Brooke Shields (Odabaşı, Y., 1999:
62). Change is reflected not only to the tastes of the character in cinema but also to
the tastes of daily life through cinema.
While the movies present the formed models to the audience, interpreting and
accepting them belong to the recipient; however what direct interpretation are again
the previously formed and taught symbols. The individual sees the symbol and
interprets what is intended to be transferred. The easiest way for this interpretation
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to be made as intended is by presentation of the transmission in the clearest way.
However, reality which is directly presented and put before the eyes may get caught
in the net of questioning. Instead of saying “I am soldier who was in the war”,
presenting the audience with a character in a military uniform with a scar on his/her
face and whose muscles are apparent is for the purpose of ensuring that the audience
sees and reads the meanings of the symbols. Including the audience as the interpreter
of the message, in order to use the audience as the active participant, and using
his/her trust on the meaning of the symbol he/she sees gives more successful results.
The symbols used in order to reflect identities generalize the images of a hero,
doctor, scientist, mother, alien, criminal, psycho, etc. This generalization can not
create an image of a hero who wears spectacles. This is because the hero should be
flawless all the way. On the other hand, spectacles are a flaw on the eyes and there
is not a place for a flaw in the image of a hero.
A B
Visual 2
Some of the main characters in the movie “Transformers” are formed with
computer programs used in the new generation cinema industry. In 2A, the leading
character of the alien team which saves the world from other aliens is seen. Even the
fact that the robot’s chest part is pumped outside is a symbol detail of the hero image,
which is already accustomed to from the American cinema industry. On the other
hand in Visual 2B, the alien scientist character is again in the forefront with his
spectacles.
When the 21
st
century’s life styles are taken into account, the French socio-
logist Baudrillard asserts that the difference between doctors and attorneys in the
movies and the real doctors and attorneys can no longer be seen and that the model
in the movies determines the reality. According to Baudrillard, the reflected images
determine the individual’s happiness and unhappiness, satisfaction and dissatisfa-
ction and in relation to these his/her motivation. This shows that the individual is the
imitation of the universe’s reality which is determined by media or television
(Şaylan, G., 1999:213).
Baudriallard’s view that the model in media determined the reality contains
very sharp statements and sees the person as a photocopy machine which copies what
it sees. Therefore, this view has a form which makes its direct acceptability
disputable. However, the fact that the character presented in the movies are
considered as a model and that the individual customizes parts of this model which