BİZİM İÇİN REKLAM DEĞER ÜRETİRKEN HESAP VEREBİLMEKTİR...

’Our father Nietzsche is our home‘

 

 

 

In every presentation of television, which is a cultural storm, the coding of the strings in terms of the audience is a problem that is discussed in the consciousness and subconscious. While the level of perception of the message of the viewer is related to the quality of the presentation, it is enough condition to present it. Although the nature of advertising is a necessity for brands to carry a commercial self, the desire of brands to reach more effective results leads advertisers to different paths. As a result of these efforts, product placement is not a new phenomenon. Product placement (Ing, product placement, Alm, Produktplatzierung): is an advertising activity to ensure that the brand takes part in films, series or television programs. In Surprise advertising (Überraschungswerbung), the aim is to attract brands' interest in movies and TV series. This contributes to film and series budgets. What is dangerous here is the excessive use of this tool. Surprise is unique by nature. Excessive use leads to negative attitudes in the viewer. Product placement has been legalized and defined by the Regulation on the Principles and Procedures of Publication Services published in the Official Gazette on November 02, 2011 in our country. Product placement here: Describes any commercial communication in which a product, service, or trade mark is included in the program, with reference to wages or a similar response to the program or referring to them. The relevant regulation also defines the publication framework. In general, product placement should not compromise the integrity of the program. In product placement; excessive emphasis on products placed within the program is not allowed. Presentation or presentation of products and services placed in the program; praising the features of the product or service, or declaring preference for a particular product according to other products or services, direct promotion of the rental or purchase of products or services by giving specific promotional references to products or services, giving detailed information on the product, and planing is prohibited. In addition, product placement is not allowed in news bulletins, children's programs and religious ceremonies.

 

 

When we look at the history of product placement, Chevrolet is the first example. In the 1973 American Graffiti movie, the 1960 Chevrolet One-Fifty and the 1958 Chevrolet Impala, Richard Dreyfuss, Ron Howard and Harrison Ford made the best film in their careers, and with this product placement, these cars led the automobile culture of the 1960s. That created Chevrolet cult still continues. Another example is the Matrix's sequel, The Matrix Reloaded (2003), a sequel of the 20th century's most successful blockbuster films, used by the Cadillac CTS Trinity, Neo and Morpheus. This study, which is the beginning of successful product placement, is still a source of inspiration for other brands. The secret here is the use of real bullets on film scenes. In this context, reality is always everything.

 

 

 

SOME CHARACTERIZATION ANALYSIS

 

 

Good Man-Calmness

 

The youngest son of Idris Koçovalı, the founder and ruler of Çukur, is forced to return to the Pit with the murder of his eldest brother. He rebels against his father many years ago with his rebellious and rebellious spirit. A rock artist is also a talent in the slope field. Zama who uses his intelligence both in music and in social relations; is the most beautiful girl from the bar to take the handsome and mysterious. It is the symbolic expression of good and compassion. Placing the racona to the head of the family, the Slope wins his respect not only with fear but with love and mind in a short time. Good Adamdır Yamaç Koçovalı with his traits of traumatic thinking and his wife (Sena Koçovalı-Dilan Çiçek Deniz). The serenity in Çukur where dark works and relationships are experienced is an unknown concept until it arrives. With its calm attitudes and result-oriented solutions, Yamaç continues its respectability.

 

 

 

Good Man's Loyalty-Loyalty

 

Their relationship with the authority of these men to give up their own lives and help İdris Koçovalı'ya loyalty to us. In any case, the indisputability of decisions is above their will. Devotion not only surrounds their own lives, but also sets an example for young people in their orders. Knowledge and wisdom in their lives are not only reflected in their behavior and state, but also as a basis for transferring to future generations. Emmi (Kadir Çermik) and Paşa (Çetin Kemal Sarıkartal) are the heavy brothers of Çukur. These guys, who are fateful companions of İdris Koçovalı, do not hesitate to swear allegiance to racon. These men have never lived their minds in a safe harbor. They also set an example for the youth of Çukur with their lives and behaviors. They are next to the Koçova family with their loyalty and unquestionable authority.

 

 

 

Bad Guy-Movement

 

The bad guy of the series, Sadirtin with his mysterious past, is trying to settle in Çukur. The man of the opposite works of the pit is trying to produce and sell drugs in Cukur with the dark relations. The reason why he is so interested in Çukurtedirla is that the references to Vartoluarts tragic past, which will appear in the following chapters, lead him to a different position with the audience. His humor in English duels and his different point of view made him a lover of spectators. The relationship between the villain and the movement has a separate message string in terms of fiction. Where, when and what conditions to face the unknown villain can rely on people with the metal is also needed. A good weapon is her essential. The car replaces the horse, giving him freedom and individuality in the field. The car, which has become a symbol of power and movement, is no longer a means of going from one place to another, and different meanings have become a whole. Fast and efficient results are identified with movement and automobile. The precondition of being there on time, the car is now a loyal assistant for both the bad guy and the good guys. The most important tool in the loss of good men, the automobile malfunctioned when the audience to set up the next scene and the disappointing series of moments in the movies / movies is a significant break. The power of goodness ultimately results in victory, but the exploding wheel scene is unforgettable. For Vartolu, being there at that moment / ending and influencing the result gives him power; It attracts the attention of the audience with its legendary smile. In this way, the accumulation in the underground world is happening.

 

 

Bad Man's Man-Loyalty

 

The loyal right hand of Vartolu, Medet, with his unquestioned acceptance, appears as a different personality in the series. With his confused and pure gaze, Medet describes the unconditionality and causality of attachment and attachment. The common destiny between them and the rootless past of Medet, as well as all the helplessness and loneliness of Vartolu'nın along with him was dragged into a master-slave stalemate. This master-slave relationship is repeated in each scene. Even though the admiration of the slave to the master is eliminated in hot dialogues, the feeling is always reflected in the screen.

 

Curiosity Note:

 

Pith Series:

 

 

Production: Ay Yapım

Producer: Kerem Çatay, Pelin Diştaş Yaşaroğlu

Director: Sinan Öztürk, Özgür Cute

Screenplay: Gökhan Horzum

 

Aras Bulut Iyemli (Yamaç Koçovalı) / Dilan Çiçek Deniz (Sena Koçovalı) / Ercan Kesal (İdris Koçovalı) Perihan Savaş (Sultan Koçovalı) / Mustafa Üstündağ (Kahraman Koçovalı) / Öner Erkan (Selim Koçovalı)

Erkan Kolçak Köstengil (Vartolu) / Rıza Kocaoğlu (Aliço) / Kubilay Aka (Celasun) / Nebil Sayın (Muhittin)

Burak Sergen (Baykal) / Alperen Duymaz (Commander Emrah) / Ahmet Tansu Taşanlar (Attorney Nazım)

Cetin Sarikartal (Pasha) / Kadir Cermik (Emmi) / Irem Altug (Ayse) / Zeynep Kumral (Nedret)

Boncuk Yılmaz (Saadet) / Cem Uslu (Text) / Uğur Yıldıran (Kemal) / Aytaç Uşun (Meke)

İlayda Alişan (Akşın) / Ece Yaşar (Karaca) / Mustafa Kırantepe (Medet) / Doğancan Sarıkaya (Acar)