Istanbul Gelisim University Journal of Social Sciences

Abstract

When the concept of culture is considered in a broad perspective, it will be seen that it is not just a result of written or oral products. Other productions draw attention in the inheritance and preservation of culture, apart from oral or written tradition. The most important of these products is the visual object. To base the developmental stages of humanity only on written or some verbal transmissions would mean both injustice to the contextual depth of culture and an incomplete reading of the history of civilization. It is known that visual products have an important place in social memory: especially "cave paintings" that have survived from ancient times to the present are a good example of this situation. In this context, visual objects have a very important place in the sustainability of culture. The fields of activity or abilities of visual objects can be explained under three headings: Expression, Meaning, and Reporting. Expression is an inevitable aspect of human existence, and expression, which is the main theme of communication, is an essential need for human beings. On the other hand, interpretation is inspired by human curiosity and represents the most important stage of culture and civilization. Although reporting comes across as a part of a conscientious obligation, it occupies an important area where the science of History meets the phenomenon of Culture. Poster, which is a medium where these fields of activity are collected and coded, points to the main medium of this study. Therefore, the poster emerges as a cultural object beyond all its abilities. In this study, it will be tried to analyze how the visual and linguistic codes in the poster of the Russian director Andrey Arsenyevich Tarkovsky's movie Solaris (1972) are represented through which indicators and how, using the semiotic analysis method developed by Roland Barthes. In the review, two different levels of the meaning layers of the poster will be touched on and the dimensions of denotation and connotation will be discussed. Denotation includes the universal and objective values in the poster, while connotation is the level of analysis in which subjective and cultural values are kept in the foreground. In the second stage, a general evaluation will be made with the findings obtained from the analysis of the poster and the cultural codes in the poster will be mentioned.