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Feryal Günal, Zafer Tural
focusing on subconscious mind with connotations. “The use of advertisement, especially
repeating soundtrack of the advertisement or generalizing it to the other ones creates this
impact. The interest level of the brand boosts with repetition of the advertisement. Certain
symbols, words, slogans become elements which boosts the interest level” (Elden 2008).
In this advertisement, it harmonizes the product and woman body in terms of sexism
with the help of public motivators, reproduction and sexuality. The moment of Fox’s
changing, which can be called as the climax of movie, attributes a meaning to it “you may
have the same effect.” Although mature audiences watch it smiling and knowing it is not
going to happen in logical sense, women who are affected by connotations of the scene
internalizes the messages about beauty and sexuality. Apart from this sexism approach, the
advertisement combines elements masterfully in regard to music and editing. It can be said
this advertisement takes the attention of Turkish society and is successful with funny
characters, fruitful editing, show effect with much light and many colors, known and moving
music, perfect performance of actors and actresses.
References
Attali, J. (2005).
From Noise to Music, On Political Economy of Music . İstanbul: Ayr nt
Publishing.
Ayangil, R. (1994).
"Canto" Encyclopedia of Istanbul From Past to Present. Istanbul:
Foundation of Economical and Sociological History of Turkey. Primary Edition.
Berger. (2004).
Semiotic Analysis. Retrieved 2013, from http://www.uk.sagepub.com/upm.
Berger, J. (2006).
Ways of Seeing. İstanbul: Metis Publishing.
Brown, J. D., Steele, J. R., & Childers, K. a. (2008).
Sexual Teens/Sexual Media, Investigating
Media's Influence on Adolescent Sexuality. New Jersey: Lawrence Erlbaum Associates
Publishers.
Canbulat, S. (2013).
Sexist Commercials of "The Broom" .
Retrieved from
http://bianet.org/biamag/yasam/141282-supurgeden-cinsiyetci-reklamlar.
Dürük, E. (2011). Sociological and Musical Factors Setting Up the Combined Structure in the
Turkish Popular Music Production and Products.
Social Sciences Journal, Volume 3, No 1.
Elden, M. (2008).
Learning As a Psychological Factor Affecting the Behaviour of the Target
Audience: Correlation Between Learning and Advertisement. Retrieved 2012, from The
Journal of Communication
Theory and Research;
http://www.irfanerdogan.com/dergiweb2008/18/ELDEN.pdf.
Günal, F. (1999). Motivation Assessment Scale in Piano Education.
Master's Program
Dissertation. Ankara: Gazi University, Graduate School of Natural and Applied Sciences.
Irvine, M. (2005).
Martin Irvine Personal Web Page . Retrieved 2012, from
http://www9.georgetown.edu/faculty/irvinem/
Kalyoncu, N. (2009). A Study On The Preferences of Television and Music Of Adolescents.
Karadeniz Technical University Journal of Communication Studies , Year 1, issue 2.
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Literary Theory and Criticism. Istanbul: İletişim Publishing.
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The Semiotics Analysis Of Film The Commercial “Doritos”
Naskali, E. G. & Altun, H. O. (2010). The Impacts of Beauty Pageants on the Formation of
the Conscience of Fashion.
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Performances.
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Social Sciences . Istanbul: ITU, Institute of Social Sciences.
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Understanding Media Cultures. New Delhi: SAGE Publications.
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Republic of Love, Cultural Clandestine in Turkish Popular Music.
Istanbul: Koç University Publishing.
Yazmas’ Effect On Turkish Painting Art
Mehmet Erim
1. Introduction
Bedri Rahmi Eyuboglu is one of the leading artist, who investigates and evaluates the yazma
works in Turkish painting. Bedri Rahmi Eyuboglu have created his art pieces in Istanbul, after
his education in Academy of Fine Arts and his studies in France and America. Within that
period he has been interested in motives used in yazma works and has used them in his art
pieces and has defended benefiting from motives of folk art.In 1936, Cahit S tk Taranc has
been quoted the following statement of Bedri Rahmi in his article in Tan newspaper,
“European culture is a school, it is read, learned, trained, grown in this school, then is gone to
homeland from school”
(
Taranc , 1936,Tan Newspaper)
Turan Erol, in his book on the subject of this artist, sheds light on the search for the
motives in the art pieces of the artist by saying “The more he respects for the masters of
western art, the more he is fondly attached to local culture and Turkish folk creativity.”
This handcraft, which people have developed the constructions and transformed into
motives as a reflection of people's observations of nature and events affecting their lives,
named yazma works, has been transformed into an industry by being influenced by different
cultures over a long period of time.
In Turkey, the first wood engraving pictures are in books. “There are wood
engraving pictures in the book “Tarihi Hindi” of Ibrahim Muteferrika printed in 1730.” In the
first decade of the Turkish Republic, the artists who went to France and Germany to study arts
came back and made many art pieces. Leopold Levy has been brought from France, the metal
gravure press has been bought to the Gazi Education Institute, but in the first years it has been
seen to be used for high printing from linoleum-engraved blocks mostly. The works of
linoleum engraving, which was started in the Department of Painting at Gazi Education
Institute after 1936, lasted until 1960. Since the linoleum was easy to find at that time, the
wood was not used.
The artists who were known for their unique engraving pictures after their
students at that time are: Ferit Apa, Adnan Turani, Mustafa Aslier, Nevide Gokaydin, Nevzat
Akaral, Muammer Bakir. It was first seen that teaching of wood engraving techniques was
practiced with all means at the State College of Applied Fine Arts in 1957. Mustafa Aslier has
studied in Germany, has been assigned to State College of Applied Fine Arts in 1958, has
concentrated on wood engraving and has printed most of his paintings with wood blocks.
Original printmaking has been developed after 1958-1960. Printmaking has been taught in
Marmara University Faculty of Fine Arts, whose name has been changed from State College
of Applied Fine Arts in 1985.
The history of printmaking in Turkey is very short and new, but meaningful,
impressive and praiseworthy. Since 1951 there have been very few works in this area
personally.
2. Yazma and Engraving Printing