Doğa ve Medeniyet Karşıtlığındaki Sudaki Bıçak (Nóz W Wodzie) Filminde Yapısal Kişilik Modelinden Esintiler
The Traces of Constructional Personality Models in Knife in the Water (Nóż W Wodzie) Under the Contradiction Between Nature and Civilization

Summary/Abstract: Cinema is a multi-dimensional branch of art that is influenced by economic, political and social processes rather than merely an aesthetic tool, but also has the potential to reproduce them. In addition to the characters in the movies and the viewers identified with these characters, the screenwriters and directors who are the creators of the films have been tried to be explained with various theories since the first years of the cinema. Psychoanalytic film analysis, which looks at cinema as a device that regulates psycho-social processes, as well as discussing the impact of films on the axis of viewers, identification, culture, gaze or “magic”, it appears as a theory that tries to uncover the psychic meanings that lie deep in the film image from the very beginning. A study based on Sigmund Freud, who is known as the founder of psychoanalysis, links the film with the psychic processes, and discusses the mental state of both the characters and the director and the audience. In Freudian theory, the structural personality model, which consists of three abstract elements such as id, ego and superego, is thought to be an important building block in the description of the characters in the movies. In this sense, this study, based on psychoanalytic film analysis, tried to find an answer to the question of whether Roman Polanski’s film “Knife in the Water” is a reflection of the structural personality model and that the characters in the film were built on id, ego and superego.

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