Özet:

The main suggestion of this study is to deal with the ideological criticism in the cinema beyond the concept of "fake consciousness" and to focus on the potential of the cinema to confront the audience with its own reality. To be able to do the research in accordance with this proposal, the approach of Slavoj Žižek on the social essence of ideology's founding role was based. In this framework, Žižek incorporates the Lacan psychoanalysis into the conception of Marxist ideology and emphasizes the role of the ideology as “approaching the traumatic truth”: the self-righteous can only multiply the distance between it and its own reality, only through the “ideological fantasy”. In the form of criticism that takes this approach into the field of film criticism and is led by film theorists such as Todd McGowan, the experience of filming is seen as a field of fantasy that allows the ideological distance to be cut off. In this context, the more the ideological structure in the film imposes itself, the vacancies it holds, the more it makes visible and the possibilities of murder increases. In order to concrete this approach in the study, Skyfall (Sam Mendes, 2012), a film in which the authoritarian speech is clearly imposed, has been subjected to ideological criticism. In this criticism the audience text was treated drunk, so the ideological relationship between the film and the audience could be studied by focusing on the film text. As a result, through the Skyfall film, the audience could be observed the possibilities of shaking the ideology.

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