Analysis Of Messages And Concepts In The Film The Pianist

Abstract

Cinema is a branch of art that represents the most accurate and clearest reality. However, what is actually reflected on the screen can be different. However, it is possible to say that cinema is an ideological means of discourse. Ideology is an important phenomenon in the world cinema. In movies, ideological discourses are frequently encountered. It is seen that World War II was filmed by ideological origin in the twentieth century. In this study, Roman Polanski's 2002 film Pianist . In the context of the phenomenon of colonialism and racism, the tragic events of the Polish-Polish composer Wladyslaw Szpilman are described. The film was examined in the context of colonialism and racism by using semiotic analysis method. In the film, the oppression and the domination that Germany applied to the Jews was revealed and the socio-economic, socio-political and socio-cultural situation of the period was tried to be conveyed.

Introduction

Films are designed to form the shape of a particular situation through representative elements, and they present a thesis through unified elements and suggest a certain perspective. From this point of view, it is possible to say that there is a difference in perspective between what we see and what we see in real life. Because while the image allows us to see a real-life event in a different way, it can be different than what we feel at the moment we live. Therefore, our thoughts on the event may change.

When analyzing the films, we can see in which aspects of the elements carry the ideological and hegemonic elements by revealing the codes of these films. Cinema has been a great influence in the world since its invention with the merging of verbal and visual fields as a cultural element. But there is an ideological influence structure that is hidden and sheltered within this effect. Art, which is a social expression of opposing power, is opposition. However, when art is transformed into mass culture, it becomes under the control of the dominant discourse and becomes an advocate of its ideology. So, what is ideology? Why is his connection to cinema so important? The ideology that Marx called 'false consciousness' is defined by Gramsci as 'the plaster that holds society together.'

The Factors Underlying the Pianist Film

The most fundamental factor affecting the formation of the Pianist film is colonialism. Colonialism is a political and economic phenomenon that started in the last period of the 15th century and emerged with the aim of discovery, resettlement and conquest of different European countries of the world. In order to better understand this phenomenon, it would be appropriate to refer to colonialism conceptually.

Analysis of the Pianist film

The pianist (Roman Polanski, 2002) is a film that describes the texts of the period in a coherent and predominant manner, with the use of technical codes to increase the realism. These codes interact with each other at the point of creating the desired effect. It is the basic point of this analysis, in which different meanings are generated by constructing the texts rather than appearing. 

Realism is an important factor in determining the emotional effects on film texts. Stage, cinematography, editing, sound and many factors come together to produce a realistic response. Moreover, the fact that all the technical codes have an infinite effect to produce the desired result on the text makes the film's protagonist more realistic as a more realistic result (Bordwell & Thompson, 2005). When we look at the pianist film we see quite impressive scenes in terms of both technical codes and representation codes. Briefly referring to the technical codes of the film, it is necessary to focus on the lighting used. Natural soft light is used throughout the text, but the scenes of the Jewish Ghetto are left out of it. Very little lighting is used in the ghetto, and many gray and brown tones help to create the necessary sensitivity in the viewer to evoke feelings of despair and helplessness. In the film, for example, the circle of one of his friends who helped Szpilman was seen as a very bright natural light. This constitutes a dual opposition to the inner world of our main character. The very natural brightness of the room can be interpreted as the Polish people are satisfied with this situation. In describing Metz's indicator phenomenon it is difficult to explain a film, because it is easy to understand ad is of utmost importance in terms of explaining the meaning of all the technical elements used in the viewer. Because the lighting used here points to a pessimistic feeling in the viewer, it reinforces the feeling of creating a sensation. Therefore, it can be said that the colors are a harmony between the use and the indicated.

Looking at the make-up and costume in the film, we see that the film plays an important role in establishing the realism of the text. At the beginning of the film, each character is well-groomed and healthy, but as the text progresses, the deterioration of the health status of the Jews due to factors such as starvation, exploitation, and violence are very important in terms of explaining the pre-war period. A German officer lending his jacket to Szpilman as he draws closer to the end of the film creates an ironic stylized effect when the Polish police fire him as German. It is possible to see that Nazi racism harms even in the best of intentions. As mentioned earlier, cinema is a language and the director prefers one of an unlimited number of items and displays it. As the audience tries to interpret the indicators it sees, it creates a better balance between the make-up and costume creator used here. Realism plays an important role in a film such as the Pianist, because the Holocaust movement of Jews in the Holocaust period is the attempt to persuade the viewer that millions of Jews have been destroyed and keep this information coming from the past fresh in consciousness. The more realistic the film is, the more convincing it is and contributes greatly to the realization of reality in the viewer's mind. Movement styles within the film text are also important factors in the realization of this realism. A very serious whisper in the film makes an eco effect, which corresponds to gloomy, compressed, unspeakable emotions. Considering that cinema has its own feature of producing cypress, the director has made his own choices. The camera remains stationary or constant, the light shines or is gloomy. The whisper dominates the whole film because the director has tried to convince the audience that something is not going well, not whispering a period when injustice prevails.

Cinematography seems to be effective in creating the desired depression state during the war. The camera draws attention to some very important details when creating the scene, so that the camera can make the characters take the characters out of the picture and into the mind of the audience. In addition, the continuity regulation system is used intensively to match the realism with the world in the story. For example, to convey the expression of Jewish people to the ghettos, they are presented with music and enable the relationships in the story to be rhythmic, spatial and temporal. This is another way to show the audience how the Jewish people are exposed to exploitation and racist movements in the film. Szpilman creates a distracted atmosphere on the viewer and this has a double effect on the audience. That is why the paranoia surrounding the character takes Szpilman's window frames and leads the spectator to the point where he fell, and he feels that the spectator does not see the brutality of Szpilman in his own eyes. This is also an effective representation element of the message to be given, because temporal and spatial integrity has taken the audience into the story, and the spectator has a place in the camera's lens wherever the camera goes. The meaning that the indicators want to tell has reached its goal in the film.

The piano is the key object for Szpilman's survival in the film. His family and life are lost from the palms of his life, his destiny is turning into an unknown direction and his life turns into a goal. We see that Szpilman can not see the piano in the room where he is hiding. He can't play because he can be caught in any sound he makes. Instead he pretends to play his fingers and hear the sound inside his head. The character of the film has made it a goal to survive and has chosen music as the key, the only hope between death and destruction.

There are a lot of scenes with marked indications of racism. For example, speaking and violent scenes among Jewish families whose German soldiers were ransacked during the transfer of Polish Jews to ghettos served the message of the film. The fact that a disabled Jew is killed and killed by the German soldiers against the German soldiers creates an intense effect on the audience and reveals once again the brutality of Nazi racism.

Due to the overwhelming nature of Holocaust genocide, the characters in the film represent a shadow of the story. For this reason, most of the Jewish characters are presented as one of the only unfortunate victims in this terrible historical event. The tragic situation of this event in history becomes more evident than the characters from such films, rather than focusing on the personalities of the Jewish characters. In the film, for example, he witnesses this savagery from the Jewish Ghetto of Szpilman to the streets of Warsaw ruined by the Germans, and shares this slaughter with the viewer through his own window. The message to be presented in many of these indicators is that the Jews were sacrificed, plundered and exploited for the superior racial paranoia, and that a race was intended to be destroyed radically. This idea is reinforced by many elements of representation and speaks to the audience in this way. That's why the images are realistic, not the hero, including the main character.

Towards the end of the film, the piano again appears to be an important factor for survival. Another stage that communicates with the audience as a visual and audio theme is from Szpilman himself.

he would meet with a German officer named Hosenfeld who wanted to play the piano. In this scene, the audience feels that Szpilman plays with his own life. Silence is a powerful technique used to create tension and tension. At this point, it is difficult to know what kind of intention Hosenfeld has against Szpilman. In this high-angle scene, Szpilman struggled with his canned food box before feeding his belly. In spite of the overwhelming things, it can be said that Szpilman survived and embodied his country's music culture.

Conclusion

It is possible to see the codes of cinema which include ideals of many cultural representations and other concepts in the narrative structure of many films. These ideologies based on many ideological ideas. After the World War II, the Nazis showed their racist and colonialist attitudes in European cinema and they had a different importance from the social, cultural and ideological point of view. It is seen that the main problem in such films, which need to be understood very well in terms of representation and ideology, is the source of differentiating and even more racist discourses that create its own other. Ryan and Kellner (2010: 37), Represents man to draw the boundaries between himself and the world and between objects and the world. They are taken over from the culture in the representations and are internalized and become a part of the self. Representations that dominate a culture are, indeed, of crucial political importance.

The cinema, which has taken its place as a discipline within the social sciences and cultural studies, has become both a producer and a demonstrator of the ontological and epistemological distinction between cultures as one of the most important ideological devices with implicit references. While films that were shot in the context of World War II in the context of colonialism, racism and ideology are handled in the other context, hate speech should be handled equally. Hate speech: de Power reproduces violence with the help of the masses, which it defines as the beloved citizen, more precisely, through its complicity, by making it ordinary in the discourses and practices in daily life. In this process, the consciousness structure of the society is structured in a fascist way, and the ordinary person is afraid of those who think differently, those who have different religions and ethnicities, those who have different sexual tendencies, and others, in short, hate the others, and use discursive action violence to fear these elements that the power poses to threaten its own existence. Hate speech can be defined as words that contain and encourage hatred directed at individuals, races, skin colors, ethnic origin, gender, nationalities, religions, sexual preferences, disabilities and other individual forms of discrimination.

In this context, it is possible to say that the Pianist film is important in terms of reflecting the methods used in the creation of hate speech. In the film, the focus of Nazi hatred of the Polish people is seen in almost every frame. Also, the Pianist does not follow the cinematic conventions.

It is also important in terms of being a film that does not deal with typical cinematic experience. The film presents a hard-hitting approach to the story of a Jewish musician of Polish origin who went through the experiences of this journey one by one to the massacre of a people. Focusing on emphasizing the incomprehensible nature of war, the indicators in the film show the audience that one can take terrible decisions to survive and act in terrible ways. One of the messages lying here is that the Jews who did not get their hands during the genocide they were subjected to could make terrible decisions when necessary and act this way. At the same time, the legitimacy of violence in the film is clearly seen.

As you can see, the implicit messages and concepts that underlie many films today are valid in the 2002 Pianist film. However; it is possible to say that the feature that distinguishes this film from other war films is the narrative form. In the film, the character of Szpilman tams inner world, reaching up to a big event with small details, trying to explain the technical codes used in the film reinforces the sense of reality and fully conveys the message the director wants to give.

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