Semiotic analysis of “Festival” and “Box Office” posters in independent films in Turkish Cinema

Abstract

Introduction: Semiotics is the study of signs, sign systems, codes, and symbols. Posters serve as visual communication tools that convey messages by combining multiple sign systems through signs. Methodology: This research employs a semiotic analysis model to identify similarities and differences among signs by categorizing posters created for independent Turkish films into two groups based on their purpose: “festival” and “box office.” The study applies Peirce’s second triad classification—“icon, index, and symbol”—as its analytical framework. The sample, selected through purposive sampling, comprises international and national film festival posters, as well as box office posters, specifically for the films Noah Land (2019), directed by Cenk Ertürk, and Burning Days (2022), directed by Emin Alper. Results: The analysis revealed consistent and significant patterns within the designs of the six posters, divided into festival and box office categories. Discussion and Conclusions: The findings indicate that narrative symbols in both international and national film festival posters are prominently placed at the center, emphasizing their importance, with language being the only notable difference between them. In contrast, box office posters prioritize symbols associated with well-known Turkish actors, positioning these prominently at the center to attract audiences. Moreover, narrative signs and symbols in box office posters tend to be less prominent, often receding into the background compared to those in festival posters.