YAŞAM KAVGASI (1978) FİLMİNİN ELEŞTİREL SÖYLEM ANALİZİ: FAİRCLOUGH 3D MODELİ BAĞLAMINDA DEĞERLENDİRİLMESİ

Abstract

The aim of this study is to analyze the tools used as message carriers in the movie "Life Fight/Yaşam Kavgası (1978)" within the framework of Fairclough's (1995) three-dimensional model and to reva the power relations and ideology in the movie. This research shows that Fairclough's framework can be used in multimodal film discourse studies. Findings, while a criticism made during the release period of the movie in the consumption phase, it was reported that the film director made a lower level of film than expected, while the comments of audiences on the virtual sites (2008-2020) were generally positive. In the movie "Life Fight/Yaşam Kavgası (1978)", it was seen that the mining situations were limited in terms of time and space. In the presentation of old age through the character of Vehip, the existing stereotypes of the period about old age were reinforced. Various behavioral definitions of Emine's character; contrary to the presentation of “woman” in the context of “gender”, it contained vocabulary, sound, mood and transitivity. On the other hand, in the choice of style of social actors, an ideological stance was displayed regarding the task of providing the unity of the family to women and the fact that women had no place in social life without a family/wife. In the scene of Şükran, Emine's departure with two or three men made an intertextual reference to "female-male witnessing" in Islam. In the main theme, the only home of the "family" was reminded in the world where there were cruelties and difficulties. It was seen that the greatest responsibility of the family in ensuring the continuity in social relations and maintaining its protection was given to the woman through the character of Emine in the movie. Keywords: Critical Discourse Analysis, Turkish Cinema, Fairclough 3D Model, Ideology