Publication: Reklam fotoğraflarında göstergeler ve faşist estetik
Abstract
Fotoğraf var olmaya başladığı günden bugüne kadar birçok tarihi olaya tanıklık etmiş ve tarihin en eşsiz görsel kanıtı olmuştur. Fotoğraf insanların gerçek görüntüyü direkt olarak kâğıt üzerine aktarma isteklerinden dolayı ortaya çıkmış ve bugünlere kadar etkisini, gücünü kaybetmeden güncel kalabilmiştir. Reklam ise kitleleri etkilemek, onları yönlendirmek için kullanılan bir yöntem olmuş ve sektör haline gelmiştir. Reklamlar için kurgulanarak çekilen fotoğraflar ise, kendi içinde yeni bir mesleki yaklaşımı, sektörü oluşturarak reklam fotoğrafçılığının kaynağını oluşturmuştur. Reklam fotoğrafları, reklamlar içinde kelimelerden daha güçlü bir anlatıma sahip olduğundan, farklı bakış açıları taşıdığından dolayı, anlatım olarak başkalaşım içine girmiş ve çeşitli kimliklere sahip olmuştur. Bu kimlik çatışması içinde estetik kavram kimi zaman değerini yitirmiş kimi zamanda çok daha önemli tartışmalara yol açmıştır. Reklam fotoğrafları içinde ki faşist estetik kavramı da bu tartışmalar çerçevesinde ortaya çıkmış olan bir bakış açısıdır ve yeni gelişmekte olan göstergebilimin kuramları ile değerlendirilerek ele alınmış ve faşist estetik kavramı irdelenmiştir. Reklamın, toplumlar üzerinde ki etkilerinin, ele alındığı “reklam fotoğraflarında ki göstergebilim ve faşist estetik” konulu bu tezde reklam fotoğrafları içinde var olan nesneler, göstergeler yardımı ile ve aynı zamanda faşist estetik kavramına karşı duruş sergileyen reklam fotoğrafçılarını da ele alarak incelenmiştir.
The photograph is one of the most efficient witnesses to many historical events and it is known as a unique, strong, visual evidence in history. Photograph has been appeared together with the human passion to enroll the real image of objects on paper and has been progressed efficiently and sharply, to date. Nowadays advertisement is used as a perfect, powerful method to influence the public general idea so it becomes a powerful business sector in the market. Speculative advertising photography has a new professional approach to advertisement sector however it is a source for a new branch in photography as: “advertising photography”. Having stated that, advertising photographs are more impressive and have a high level of impact to the viewer, rather than the words or the advertorial texts. These kind of photographs have different points of view and convey their messages through a metamorphosis way. Within this identity conflict, the issue of aesthetic has turned out to play a significant role in this sector. In advertising photography, fascist aesthetic concept is also an outcome of aesthetic argues and appears as a new point of view to aesthetic concept. In addition, fascist aesthetic is also examined and evaluated with just improved semiology theory. The main subject of this thesis is based on: “Semiology Theory in advertising photography and Fascist Aesthetic.” Here the impacts and influences of advertisement on different levels of society, the signs and positions of objects in advertising photography, are discussed. Evaluating the position of advertising photographers against fascist aesthetic concept is another theme of this thesis.
The photograph is one of the most efficient witnesses to many historical events and it is known as a unique, strong, visual evidence in history. Photograph has been appeared together with the human passion to enroll the real image of objects on paper and has been progressed efficiently and sharply, to date. Nowadays advertisement is used as a perfect, powerful method to influence the public general idea so it becomes a powerful business sector in the market. Speculative advertising photography has a new professional approach to advertisement sector however it is a source for a new branch in photography as: “advertising photography”. Having stated that, advertising photographs are more impressive and have a high level of impact to the viewer, rather than the words or the advertorial texts. These kind of photographs have different points of view and convey their messages through a metamorphosis way. Within this identity conflict, the issue of aesthetic has turned out to play a significant role in this sector. In advertising photography, fascist aesthetic concept is also an outcome of aesthetic argues and appears as a new point of view to aesthetic concept. In addition, fascist aesthetic is also examined and evaluated with just improved semiology theory. The main subject of this thesis is based on: “Semiology Theory in advertising photography and Fascist Aesthetic.” Here the impacts and influences of advertisement on different levels of society, the signs and positions of objects in advertising photography, are discussed. Evaluating the position of advertising photographers against fascist aesthetic concept is another theme of this thesis.