Özet:

In Federico Fellini's 1963 film The Eight and a Half 81⁄2 (Federico Fellini's 81⁄2) a famous director tells the story of a film that is his own project. The famous director Guido Anselmi is thinking about his own script. The film team, the actors, prepares the place where the film will be drawn, but cannot decide the story of a kind of film. Rollers cannot decide how many scenes the film will be, the symbols it will use, whether the film will be realistic or surrealistic. In Fellini’s work, we see the traces of Jacques Derrida’s theory of structure. Derrida, the structure theory is divided into subtitles such as incoherence, irresistibility, bilateral contradictions, game. In Fellini's Eight and a Half (Federico Fellini's 81⁄2) film building, unconformity, irresistibility, bilateral contradictions also attract our attention. Because of this connection, the film The Eight and a Half (Federico Fellini's 81⁄2) will be studied at Derrida's center of theory of structure. The first part of the article will focus on Derrida's structure theory. In the second part of the article, Fellini's Eight and a Half (Federico Fellini's 81⁄2) will be drawn up in terms of duality, instability, and incoherence. In the third part of the article, Fellini's 1963 film The Eight and a Half (Federico Fellini's 81⁄2) will be compared to Derrida's theory of structure. Derrida tries to understand how the text was built in my structure theory. They try to resolve how the text is built by dividing the text into pieces. The text first searches and then re-configures. He says there is nothing outside the text. In Derrida theory, he claims that meaning is constantly delayed, meaning is never reachable. It cannot be decided according to him. They are dealing with the contradictions, and they are dealing with the contradictions. Traditional methods are reversed. The hierarchy is out of place. Derrida says the language is not stable. Play with the language. He first scores the word, then scores the top of the word, and addresses both the word and the word's above-carted state. In Fellini's 1963 film The Eight and a Half (Federico Fellini's 81⁄2) also famous director Guido Anselmi begins to dissolve the script he wrote before he has completed. We look at the details of the film that director Guido will take over throughout the film. Everyone around Guido is waiting for a conclusion from him and the film to start. Guido remains locked between his past and the script. It delays filming for fifteen days and thus begins to disappear before the film begins. The director destroys the construction of the shooting ramp that he will use in the film to get rid of the pressure on Guido. But immediately after Guido, “We’re starting the movie.” and say. Guido’s film is over. He is pleased with the two. Fellini's 1963 film The Eight and a Half (Federico Fellini's 81⁄2) shows us Guido's efforts to restore his identity and rebirth. Guido's filming enthusiasm is also part of his rebirth, the desire to find out who he is. The film begins with Guido's cural treatment. During the film, Guido tries to heal himself. The film asks us where the center of the labyrinth is. Guido tries to reach the source, the stomach bond, the center of the labyrinth throughout the film. Their passwords try to solve the labyrinth in which they are following their clues. Guido can’t begin filming in this eternal labyrinth. It disappears in the effort to produce the film. In Federico Fellini's 1963 film The Eight and a Half (Federico Fellini's 81⁄2) it tells the famous director Guido Anselmi.

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