Abstract
In this study, a semiotic reading of the famous Turkish science fantasy film “The Man Who Saves the World” has been made from different aspects. This film which constitutes the research material for this article was made in 1982 and became a cult classic by the end of the nineties because of it’s comprehensive deficencies. The Man Who Saves the World must be considered as a project that can assert social and psychological appearenace of Turkish people not entirely but partially in early eighties who lived in a peripheric country such as today. With this respect the idea of reading Turkish societie’s -especially- geopolitical location, percieving and defining levels of high technology in comparison with western societies in a bi-polar world of cold war period via this production is remarkably interesting and therewithal ironic. As this study is a semiotic analysis of the connections of “signifier-signified” relations of film language, the determined significations are arranged in a matched order within a table. By this analysis the attributes of the feature and the film language are discussed in a structural unity and concluded.
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