Semiotic Analysis of Religious Concepts/Meanings in Semih Kaplanoğlu’s Film Buğday (Grain, 2017)

Abdurrahim Yalçın

Makale detayları

Semiotic Analysis of Religious Concepts/Meanings in Semih Kaplanoğlu’s Film Buğday (Grain, 2017)

Yazarlar:

Abdurrahim Yalçın

Yayıncı:

Yozgat Bozok University

Ana Başlıklar:

Tasavvuf | Çeviri ve Yorum Çalışmaları

Dergi:

Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.27 Issue 27, pp.273-300

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001352263

pISSN:

2458-9934

Anahtar kelimeler:

Özet:

 Cinema is a unique art form that offers a unique narrative language and a multi-layered form of communication. This language is used to convey emotions, thoughts and messages to the audience through visual and auditory signs. Semiotics, inspired by Ferdinand de Saussures linguistic theories, provides an important method for making sense of cinema. Semiotic analysis helps researchers to go beyond the surface meanings literal meaning of a film to reveal its cultural and symbolic contexts connotations. In this context, Semih Kaplanoğlus Buğday Grain, 2017 stands out as a work that deals with the ecological and existential crises of the modern world within the framework of a religiousmystical narrative. The film depicts humanitys detachment from nature in an uncertain time of the future and the disasters brought about by this detachment. However, this depiction is not only an environmental criticism but also a story of a religiousspiritual quest and hope for salvation. The black-and-white aesthetic used in the film creates a religious atmosphere as part of the visual narrative, while emphasizing the opposition between nature and man. On a semiotic level, the black-and-white contrast symbolizes the spiritual darkness that humanity has fallen into in modern life and the need for enlightenment, while the wheat grains represent an agricultural product in a literal sense, and the spiritual salvation and unity of human beings in a secondary sense. Methodologically, the semiotic analysisdecoding method used in this study sheds light on the multi-layered symbolic meanings between the themes, characters and locations used in the film Buğday Grain, 2017. In the film, places such as abandoned nature, magnetic shield and dead lands represent humanitys estrangement from the Creator and thus from its essence, while also pointing to the questioning of a transformation process for spiritual salvation. In this context, the main purpose of the study is to better understand the meanings offered to the audience by the multi-layered narrative structure of the film, which offers the possibility of contemplation on both the ecological and spiritual crisis of modern man through a cinematic language enriched with religiousSufi symbols, through semiotic analysis. Within the scope of the study, it is concluded that Semih Kaplanoğlus film Buğday shares the idea that in todays world, where humanity is experiencing an ecological and spiritual collapse, the most basic need of the audience is to make a deep questioning about what kind of vital purpose they have in their own lives by emphasizing religious and mystical themes.

 Cinema is a unique art form that offers a unique narrative language and a multi-layered form of communication. This language is used to convey emotions, thoughts and messages to the audience through visual and auditory signs. Semiotics, inspired by Ferdinand de Saussures linguistic theories, provides an important method for making sense of cinema. Semiotic analysis helps researchers to go beyond the surface meanings literal meaning of a film to reveal its cultural and symbolic contexts connotations. In this context, Semih Kaplanoğlus Buğday Grain, 2017 stands out as a work that deals with the ecological and existential crises of the modern world within the framework of a religiousmystical narrative. The film depicts humanitys detachment from nature in an uncertain time of the future and the disasters brought about by this detachment. However, this depiction is not only an environmental criticism but also a story of a religiousspiritual quest and hope for salvation. The black-and-white aesthetic used in the film creates a religious atmosphere as part of the visual narrative, while emphasizing the opposition between nature and man. On a semiotic level, the black-and-white contrast symbolizes the spiritual darkness that humanity has fallen into in modern life and the need for enlightenment, while the wheat grains represent an agricultural product in a literal sense, and the spiritual salvation and unity of human beings in a secondary sense. Methodologically, the semiotic analysisdecoding method used in this study sheds light on the multi-layered symbolic meanings between the themes, characters and locations used in the film Buğday Grain, 2017. In the film, places such as abandoned nature, magnetic shield and dead lands represent humanitys estrangement from the Creator and thus from its essence, while also pointing to the questioning of a transformation process for spiritual salvation. In this context, the main purpose of the study is to better understand the meanings offered to the audience by the multi-layered narrative structure of the film, which offers the possibility of contemplation on both the ecological and spiritual crisis of modern man through a cinematic language enriched with religiousSufi symbols, through semiotic analysis. Within the scope of the study, it is concluded that Semih Kaplanoğlus film Buğday shares the idea that in todays world, where humanity is experiencing an ecological and spiritual collapse, the most basic need of the audience is to make a deep questioning about what kind of vital purpose they have in their own lives by emphasizing religious and mystical themes.

 Cinema is a unique art form that offers a unique narrative language and a multi-layered form of communication. This language is used to convey emotions, thoughts and messages to the audience through visual and auditory signs. Semiotics, inspired by Ferdinand de Saussures linguistic theories, provides an important method for making sense of cinema. Semiotic analysis helps researchers to go beyond the surface meanings literal meaning of a film to reveal its cultural and symbolic contexts connotations. In this context, Semih Kaplanoğlus Buğday Grain, 2017 stands out as a work that deals with the ecological and existential crises of the modern world within the framework of a religiousmystical narrative. The film depicts humanitys detachment from nature in an uncertain time of the future and the disasters brought about by this detachment. However, this depiction is not only an environmental criticism but also a story of a religiousspiritual quest and hope for salvation. The black-and-white aesthetic used in the film creates a religious atmosphere as part of the visual narrative, while emphasizing the opposition between nature and man. On a semiotic level, the black-and-white contrast symbolizes the spiritual darkness that humanity has fallen into in modern life and the need for enlightenment, while the wheat grains represent an agricultural product in a literal sense, and the spiritual salvation and unity of human beings in a secondary sense. Methodologically, the semiotic analysisdecoding method used in this study sheds light on the multi-layered symbolic meanings between the themes, characters and locations used in the film Buğday Grain, 2017. In the film, places such as abandoned nature, magnetic shield and dead lands represent humanitys estrangement from the Creator and thus from its essence, while also pointing to the questioning of a transformation process for spiritual salvation. In this context, the main purpose of the study is to better understand the meanings offered to the audience by the multi-layered narrative structure of the film, which offers the possibility of contemplation on both the ecological and spiritual crisis of modern man through a cinematic language enriched with religiousSufi symbols, through semiotic analysis. Within the scope of the study, it is concluded that Semih Kaplanoğlus film Buğday shares the idea that in todays world, where humanity is experiencing an ecological and spiritual collapse, the most basic need of the audience is to make a deep questioning about what kind of vital purpose they have in their own lives by emphasizing religious and mystical themes.

 Sinema, kendine özgü bir anlatı dili ve çok katmanlı bir iletişim biçimi sunan eşsiz bir sanat dalıdır. Bu dil, görsel ve işitsel göstergeler aracılığıyla izleyicilere duygu, düşünce ve mesaj iletmek için kullanılmaktadır. Ferdinand de Saussureün dilbilimsel teorilerinden esinlenen göstergebilim de sinemayı anlamlandırmak için önemli bir yöntem sağlamaktadır. Göstergebilimsel analiz ise bir filmin yüzeydeki anlamlarının düz anlam ötesine geçerek kültürel ve simgesel bağlamlarını yan anlam açığa çıkarmada araştırmacılara yardımcı olmaktadır. Bu bağlamda Semih Kaplanoğlunun Buğday Grain, 2017 filmi, modern dünyanın ekolojik ve varoluşsal krizlerini, dinitasavvufi bir anlatı çerçevesinde ele alan bir yapıt olarak dikkat çekmektedir. Film, geleceğin belirsiz bir zamanında insanlığın doğadan kopuşunu ve bu kopuşun getirdiği felaketleri betimlemektedir. Ancak bu betimleme, yalnızca çevresel bir eleştiriden ibaret değil aynı zamanda dinimanevi bir arayışın ve kurtuluş umudunun hikâyesini de içermektedir. Filmde kullanılan siyah-beyaz estetik, görsel anlatının bir parçası olarak dini bir atmosfer yaratırken, doğa ve insan arasındaki karşıtlığı da vurgulamaktadır. Filmde göstergebilimsel düzlemde, siyah-beyaz kontrastı, modern yaşam içinde insanlığın ruhsal olarak içine düştüğü karanlığı ve aydınlanmaya duyduğu ihtiyacı simgelerken, buğday taneleri ise düz anlamda bir tarımsal ürün, yan anlamda insanın manevi kurtuluşunu ve tevhidini temsil etmektedir. Bu bağlamda metodolojik olarak çalışmada kullanılan göstergebilimsel analizçözümleme yöntemi, Buğday Grain, 2017 filminde kullanılan temalar, karakterler ve mekânlar arasındaki çok katmanlı sembolik anlamlara da ışık tutmaktadır. Filmde terk edilmiş doğa, manyetik kalkan ve ölü topraklar gibi mekânlar, insanlığın Yaratıcıdan dolayısıyla özünden uzaklaşmasını temsil ederken, manevi kurtuluş için bir dönüşüm sürecini sorgulamayı da işaret etmektedir. Bu bağlamda dinitasavvufi sembollerle zenginleştirilmiş bir sinema dili aracılığıyla modern insanın hem ekolojik hem de manevi krizine dair tefekkür imkânı sunan filmin çok katmanlı anlatı yapısı ile izleyiciye sunduğu anlamların göstergebilimsel analiz aracılığıyla daha iyi anlaşılacağı düşünülmektedir. Çalışma kapsamında incelenen Semih Kaplanoğlunun Buğday isimli filminde insanlığın ekolojik ve manevi bir çöküş yaşadığı günümüz dünyasında, dini ve tasavvufi temaları öne çıkararak izleyicinin kendi yaşamı içinde nasıl bir yaşamsal amaca sahip olduğu hususunda derin bir sorgulama yapması gerekliliğine duyulan ihtiyacın altı çizilmektedir.

Makale detayları

Semiotic Analysis of Religious Concepts/Meanings in Semih Kaplanoğlu’s Film Buğday (Grain, 2017)

Yazarlar:

Abdurrahim Yalçın

Yayıncı:

Yozgat Bozok University

Ana Başlıklar:

Tasavvuf | Çeviri ve Yorum Çalışmaları

Dergi:

Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.27 Issue 27, pp.273-300

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001352263

pISSN:

2458-9934

Sufism

Islam

Buğday (Grain 2017)

Semih Kaplanoğlu

Turkish Cinema

SemioticsTasavvuf

İslam

Buğday (Grain 2017)

Semih Kaplanoğlu

Türk Sineması

Göstergebilim

Sayı

Makale detayları

Yazarlar: Abdurrahim Yalçın

Yayıncı: Yozgat Bozok University

Ana Başlıklar: Tasavvuf | Çeviri ve Yorum Çalışmaları

Dergi: Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.27 Issue 27, pp.273-300

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001352263

pISSN: 2458-9934

Sayı

Yazarlar:

Abdurrahim Yalçın

Yayıncı:

Yozgat Bozok University

Ana Başlıklar:

Tasavvuf | Çeviri ve Yorum Çalışmaları

Dergi:

Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.27 Issue 27, pp.273-300

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001352263

pISSN:

2458-9934