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Mazlum Vesek – R\u00f6portaj<\/strong><\/p>\n <\/p>\n Yazar-Y\u00f6netmen Mesut Kara, dijital \u00e7a\u011f\u0131n insanlar\u0131 derin bir yaln\u0131zl\u0131\u011f\u0131n i\u00e7ine s\u00fcr\u00fckledi\u011fini ifade etti ve salg\u0131n\u0131n bu yaln\u0131zl\u0131\u011f\u0131 daha da derinle\u015ftirdi\u011fini s\u00f6yledi<\/p>\n Mesut Kara, T\u00fcrkiye sinemas\u0131n\u0131n haf\u0131zas\u0131na hakim \u00f6nemli sinemac\u0131lardan biri. Say\u0131s\u0131z belgesele y\u00f6netmenlik ve dan\u0131\u015fmanl\u0131k yapt\u0131. Ye\u015fil\u00e7am sinemas\u0131na oldu\u011fu kadar Ye\u015fil\u00e7am d\u0131\u015f\u0131 sinemaya da yazd\u0131klar\u0131yla ve \u00e7ekti\u011fi belgesellerle \u0131\u015f\u0131k tuttu. Ge\u00e7ti\u011fimiz g\u00fcnlerde \u201cDevlet, Toplum ve Sinema\u201d kitab\u0131yla okuyucu kar\u015f\u0131s\u0131na \u00e7\u0131kan Kara\u2019yla sineman\u0131n son d\u00f6nemdeki halini, sans\u00fcr\u00fc ve sineman\u0131n gelece\u011fini konu\u015ftuk. Kara, sinema sanat\u0131n\u0131n ekonomik ve siyasi \u00e7alkant\u0131lar\u0131n olumsuz etkisinde daha uzun bir s\u00fcre kalaca\u011f\u0131n\u0131 ifade etti.<\/p>\n – Say\u0131n Kara, koronavir\u00fcs g\u00fcnlerindeyiz ve \u201cDevlet, Toplum ve Sinema\u201d kitab\u0131n\u0131za ge\u00e7meden \u00f6nce, salg\u0131n sonras\u0131 d\u00fcnyam\u0131zda sinema sanat\u0131n\u0131 nas\u0131l bir gelecek bekledi\u011fini kendinizce k\u0131saca \u00f6zetler misiniz?<\/strong><\/p>\n – Korona vir\u00fcs salg\u0131n\u0131 genel olarak kolay atlat\u0131lamayacak bir sars\u0131nt\u0131 yaratt\u0131. Beklenmeyen \u00f6ng\u00f6r\u00fclmeyen bir durumdu bu. Ya\u015fanan bu b\u00fcy\u00fck felaket sonras\u0131 hi\u00e7bir \u015feyin eskisi gibi olamayaca\u011f\u0131, eskiye d\u00f6n\u00fclemeyece\u011fi a\u00e7\u0131k. Bundan sonras\u0131 i\u00e7in \u201cyeni normal\u201dden s\u00f6z ediliyor, tedbirlerle, mesafeli, muhtemelen maskeli ya\u015famak… Asl\u0131nda \u201cyeni anormal\u201d demek gerekiyor belki de.<\/p>\n Film ve dizi \u00e7ekimlerinin durmas\u0131 da oyuncusundan, y\u00f6netmenine, set i\u015f\u00e7isine kadar binlerce sekt\u00f6r emek\u00e7isini zor duruma d\u00fc\u015f\u00fcrd\u00fc. Korona ko\u015fullar\u0131 her sekt\u00f6rde \u00e7al\u0131\u015fan\u0131, i\u015f\u00e7iyi, emek\u00e7iyi i\u015fsizli\u011fe, a\u00e7l\u0131\u011fa mahk\u00fbm etmeyi s\u00fcrd\u00fcr\u00fcyor.<\/p>\n Hayat\u0131n her alan\u0131 gibi sinema sanat\u0131 da, sekt\u00f6r de olumsuz etkilendi ve bu olumsuzluk uzun s\u00fcrecek gibi g\u00f6r\u00fcn\u00fcyor. \u00d6ncelikle uzun bir s\u00fcre daha film-dizi \u00e7ekilemeyecek. Salon ve izleyici de olamayacak bu ko\u015fullarda. Bu durumda a\u011f\u0131r bir ekonomik kriz de ya\u015fayacak olan sekt\u00f6r\u00fcn toparlanmas\u0131 korkar\u0131m kolay olmayacak. Umar\u0131m bu s\u00fcreci yeni dalgalar ya\u015fanmadan, hayat daha da a\u011f\u0131rla\u015fmadan k\u0131sa s\u00fcrede atlatabiliriz.<\/p>\n Mesafeli, maskeli, yak\u0131nla\u015fmadan, dokunmadan filmler yap\u0131lamaz. Ayr\u0131ca seyircisiz sinema da olamaz.<\/p>\n Bir ba\u015fka yans\u0131ma da \u015f\u00f6yle olabilir, yeniden filmler, diziler \u00e7ekilmeye ba\u015fland\u0131\u011f\u0131nda baz\u0131lar\u0131nda tema korona ve koronal\u0131 g\u00fcnler olabilir.<\/p>\n – Kitab\u0131n\u0131zda, \u201cTelefon, televizyon, bilgisayar, internet, CD-DVD g\u00f6stericiler \u2018psikopati\u2019 ve yaln\u0131zla\u015fma \u00e7a\u011f\u0131n\u0131n da ba\u015flat\u0131c\u0131lar\u0131 olur\u201d ifadesini kullan\u0131yorsunuz. Bir araya gelmenin vir\u00fcs nedeniyle sak\u0131ncal\u0131 hale geldi\u011fi \u015fu g\u00fcnlerde ve sonras\u0131nda bir insani refleks olarak bu ara\u00e7lar\u0131n yaln\u0131zl\u0131\u011f\u0131m\u0131z\u0131 daha da derinle\u015ftirece\u011fi g\u00f6r\u00fc\u015f\u00fcne kat\u0131l\u0131r m\u0131s\u0131n\u0131z?<\/strong><\/p>\n – <\/strong>Evet, kesinlikle. \u201cYeni normal\u201din bizi yeniden getirdi\u011fi, getirece\u011fi durum derin bir kapanma, yaln\u0131zla\u015fma s\u00fcreci olacak gibi g\u00f6r\u00fcn\u00fcyor. \u00c7\u00fcnk\u00fc bu yeni durum insanlarla, kalabal\u0131klarla mesafeli ya\u015famam\u0131z\u0131 gerektiriyor. Bir\u00e7ok sekt\u00f6rde evden \u00e7al\u0131\u015fman\u0131n da m\u00fcmk\u00fcn oldu\u011fu g\u00f6r\u00fcld\u00fc, hayat daha da dijitalle\u015fiyor ve evden, odadan \u00e7\u0131kmadan bir telefon ya da bilgisayar yeterli olacak hayat\u0131 da i\u015f hayat\u0131n\u0131 da s\u00fcrd\u00fcrebilmek i\u00e7in. Yaln\u0131zla\u015fma \u00e7a\u011f\u0131 dedi\u011fim s\u00fcre\u00e7 de b\u00f6yle ba\u015flam\u0131\u015ft\u0131, korkar\u0131m uzun bir s\u00fcre daha b\u00f6yle s\u00fcrecek.<\/p>\n Korona\u2019dan sonra hi\u00e7bir \u015fey eskisi gibi olmayacak deniyor ya, bir tek insanlar aras\u0131 ili\u015fkiler eskisi gibi olmayacak. Korku ve tedirginlik s\u00fcrecek. Kimse kimseye sar\u0131lamayacak, \u00f6pemeyecek, elini s\u0131kamayacak, birbirlerine gidip gelmeyecek. \u0130nsanlar uzun s\u00fcre fiziksel mesafelerini korumay\u0131 s\u00fcrd\u00fcrecekler, bu travma, korku ve tedbir kolay kolay ge\u00e7meyecek.<\/p>\n Onun d\u0131\u015f\u0131nda her \u015fey ne yaz\u0131k ki, benzer bi\u00e7imde eskisi gibi olacak. \u0130\u015f\u00e7i yine i\u015f\u00e7i, yoksul yine yoksul, zengin yine zengin. Kapitalizm d\u00fc\u015ft\u00fc\u011f\u00fc a\u00e7mazdan, ald\u0131\u011f\u0131 yaralar\u0131 onararak \u00e7\u0131kacak, emperyalizm oldu\u011fu s\u00fcrece sava\u015flar yine olacak, s\u0131n\u0131flar oldu\u011fu s\u00fcrece emek-sermaye \u00e7at\u0131\u015fmas\u0131, s\u0131n\u0131f m\u00fccadelesi yine s\u00fcrecek. D\u00fcnya k\u0131sa vadede yeniden bir devrimler \u00e7a\u011f\u0131na giremeyecek ve ne yaz\u0131k ki T\u00fcrkiye\u2019de insanlar aras\u0131 korkulu, fiziksel mesafeli ili\u015fki d\u0131\u015f\u0131nda pek bir \u015fey de\u011fi\u015fmeyecek. Gazeteciler, siyasiler, muhalifler hapiste; katiller, toplumsal vir\u00fcsler d\u0131\u015farda olacak. Bu da \u00e7ok \u00fcz\u00fcc\u00fc ve can yak\u0131c\u0131.<\/p>\n Hasan H\u00fcseyin Korkmazgil \u201c\u00d6yle Bir Yerdeyim Ki\u201d \u015fiirinde \u201cYaprak d\u00f6ker bir yan\u0131m\u0131z\\<\/p>\n Bir yan\u0131m\u0131z bahar bah\u00e7e\u201d demi\u015fti. Hayat hep \u015fairin dedi\u011fi gibi ak\u0131yor. \u00c7ok olumsuz yan\u0131tlar verdim sorulara ama hayat\u0131n di\u011fer yan\u0131 da gelece\u011fin g\u00fczel olaca\u011f\u0131na olan umudumuz. Hayat bir g\u00fcn hepimiz i\u00e7in bahar- bah\u00e7e olacak umudunu ta\u015f\u0131yorum. Yine \u015fiirce s\u00f6ylersek \u201cG\u00fczel g\u00fcnler g\u00f6rece\u011fiz g\u00fcne\u015fli g\u00fcnler<\/p>\n Motorlar\u0131 maviliklere s\u00fcrece\u011fiz.\u201d<\/p>\n – \u201cSinema ve 12 Eyl\u00fcl\u201d kitab\u0131n\u0131zdan bu yana \u201c\u00d6teki 12 Eyl\u00fcl filmleri\u201d kavram\u0131n\u0131 s\u0131k s\u0131k kullan\u0131yorsunuz. Bu kavram\u0131 biraz a\u00e7ar m\u0131s\u0131n\u0131z ve bu ba\u015fl\u0131k neden hala ayr\u0131 bir kitap olarak \u00f6n\u00fcm\u00fczde de\u011fil?<\/strong><\/p>\n – \u00dczerinde \u00e7al\u0131\u015ft\u0131m fakat kitap olabilecek hacimde bir i\u00e7eri\u011fe sahip olamad\u0131\u011f\u0131 i\u00e7in yay\u0131nlanabilecekler aras\u0131nda bekliyor \u201cSinema ve \u00d6teki 12 Eyl\u00fcl\u201d dosyas\u0131 olarak. Biraz daha geli\u015ftirebilirsem belki \u00f6n\u00fcm\u00fczdeki y\u0131l kitapla\u015fabilir.<\/p>\n A\u00e7al\u0131m; darbe sonras\u0131 olu\u015fturulan se\u00e7ilmi\u015flerin sisteminde, t\u00fcketim toplumunun ve iktidar\u0131n sundu\u011fu nimetlerin cazibesine kap\u0131lan k\u00fc\u00e7\u00fck ayd\u0131nlar, ayd\u0131nlar, muhalif bireyler saf de\u011fi\u015ftirebilmi\u015flerdir. \u00c7\u00fcr\u00fcme toplumun her katman\u0131nda ya\u015fan\u0131r.<\/p>\n Sineman\u0131n bunal\u0131ml\u0131 y\u0131llar\u0131na denk gelen bu ortamda sinema da pay\u0131na d\u00fc\u015feni al\u0131r. 1980 \u00f6ncesinin karga\u015fa ortam\u0131ndan bunalm\u0131\u015f k\u00fclt\u00fcr-sanat ortamlar\u0131 ve sinema, 12 Eyl\u00fcl darbesinin yaratt\u0131\u011f\u0131 korku ve bask\u0131 ortam\u0131nda yeniden \u015fekillenir. Ki\u015fisel filmler, kad\u0131n filmleri, bireyin sorunlar\u0131na y\u00f6nelen, i\u00e7 yolculu\u011funu, bunal\u0131mlar\u0131n\u0131 ve aray\u0131\u015flar\u0131n\u0131 yans\u0131tan filmler bu ortam\u0131n \u00fcr\u00fcnleridir.<\/p>\n Yaln\u0131zca kad\u0131n filmleri, ki\u015fisel ya da bireyin sorunlar\u0131na y\u00f6nelen, bireyin i\u00e7 yolculu\u011funu anlatan filmler ya da arabesk furyas\u0131 olarak yans\u0131maz sinemaya 12 Eyl\u00fcl.<\/p>\n Darbenin yaratt\u0131\u011f\u0131 toplumsal-bireysel d\u00f6n\u00fc\u015f\u00fcmlere, bu d\u00f6n\u00fc\u015f\u00fcmler sonucu olu\u015fan ortama, insan ili\u015fkilerine y\u00f6nelik ele\u015ftiriler i\u00e7eren filmler de yap\u0131l\u0131r, 1980\u2019li y\u0131llarda ve sonras\u0131nda. Apolitikle\u015ftirilmi\u015f ortamda bencille\u015fen bireylerin d\u00fcnyas\u0131n\u0131n yaratt\u0131\u011f\u0131 toplumsal-bireysel y\u0131k\u0131mlar da yans\u0131r sinemaya 12 Eyl\u00fcl\u2019\u00fcn \u00f6teki y\u00fcz\u00fc olarak.<\/p>\n \u00d6rne\u011fin 1980-1990 y\u0131llar\u0131 aras\u0131nda yap\u0131lan toplumsal\/siyasal ele\u015ftiriler i\u00e7eren filmleri \u015f\u00f6yle s\u0131ralayabiliriz: At, Banker Bilo, Z\u00fcb\u00fck, Talihli Amele, Dolap Beygiri, Faize H\u00fccum, Namuslu, Pehlivan, Z\u00fc\u011f\u00fcrt A\u011fa, Bir Avu\u00e7 Cennet, \u00c7\u0131plak Vatanda\u015f, Yoksul, De\u011firmen, Bir Avu\u00e7 G\u00f6ky\u00fcz\u00fc, Umut Soka\u011f\u0131, Selams\u0131z Bandosu, D\u00fctt\u00fcr\u00fc D\u00fcnya, Zengin Mutfa\u011f\u0131, Kar\u0131lar Ko\u011fu\u015fu, vd.<\/p>\n -12 Eyl\u00fcl Darbesi devletin sinema \u00fczerinde etkinli\u011fini en a\u00e7\u0131k hissettirdi\u011fi tarihsel vaka. Sizin de ara\u015ft\u0131rmalar\u0131n\u0131z g\u00f6steriyor ki, 12 Eyl\u00fcl\u2019e daha \u00e7ok sol \u00e7izgiden gelen sinemac\u0131lar de\u011findi. Eksikliklerine ra\u011fmen bunu yapt\u0131lar. Peki, T\u00fcrk sa\u011f\u0131 ve muhafazak\u00e2rlar\u0131 sinemada 12 Eyl\u00fcl\u2019e nas\u0131l yakla\u015ft\u0131? <\/strong><\/p>\n – 12 Eyl\u00fcl Filmleri ba\u015fl\u0131\u011f\u0131 alt\u0131nda toplanan, i\u00e7inden 12 Eyl\u00fcl ge\u00e7en filmleri B\u00fclent G\u00f6r\u00fcc\u00fc \u015f\u00f6yle tan\u0131mlam\u0131\u015ft\u0131 \u201c12 Eyl\u00fcl\u2019\u00fc Anlatmak\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131nda: \u201c\u00d6yle veya b\u00f6yle 12 Eyl\u00fcl\u2019\u00fc, 12 Eyl\u00fcl\u2019e giden s\u00fcreci ve sonras\u0131n\u0131 ele alan, kahramanlar\u0131n\u0131, 12 Eyl\u00fcl s\u00fcreci ile konumland\u0131rmaya \u00e7al\u0131\u015fan, 12 Eyl\u00fcl\u2019\u00fcn kahramanlar \u00fczerindeki etkilerini ele alan filmler…\u201d (Yeni Film, Say\u0131 13, s. 28)<\/p>\n \u201c12 Eyl\u00fcl Filmleri\u201d ba\u015fl\u0131\u011f\u0131yla tan\u0131mlanan filmler 1986 y\u0131l\u0131nda \u015eerif G\u00f6ren\u2019in \u00e7ekti\u011fi\u00a0 \u201cSen T\u00fcrk\u00fclerini S\u00f6yle\u201d filmiyle ba\u015flat\u0131lsa da yine \u015eerif G\u00f6ren\u2019in y\u00f6netti\u011fi Y\u0131lmaz G\u00fcney filmi \u201cYol\u201d (1981) 12 Eyl\u00fcl ko\u015fullar\u0131nda bask\u0131lar alt\u0131nda yap\u0131l\u0131r. Bu ko\u015fullar filme de yans\u0131t\u0131l\u0131r. \u201cYol\u201d, darbe ko\u015fullar\u0131nda T\u00fcrkiye\u2019de, \u201cDuvar\u201d da darbe y\u0131llar\u0131nda Y\u0131lmaz G\u00fcney yurt d\u0131\u015f\u0131na ka\u00e7mak zorunda b\u0131rak\u0131ld\u0131\u011f\u0131ndan Fransa\u2019da \u00e7ekilir. Sonra uzun bir suskunluk d\u00f6nemi ya\u015fan\u0131r sinemada. Toplumun her kesimindeki korku, bozgun ve \u015fa\u015fk\u0131nl\u0131k bir geri \u00e7ekilme olarak sinemaya da yans\u0131r.<\/p>\n Darbenin, sinema alan\u0131nda ilk zarar verdi\u011fi kesim sinema \u00f6rg\u00fctleri ve siyasal bir duru\u015fu olan sinemac\u0131lard\u0131r. 12 Eyl\u00fcl iktidar\u0131 bir\u00e7ok i\u015f\u00e7i \u00f6rg\u00fct\u00fc, kitle \u00f6rg\u00fct\u00fc gibi D\u0130SK\u2019e ba\u011fl\u0131 Sine-Sen\u2019i kapat\u0131r. Sendikan\u0131n 25 y\u00f6neticisi idamla yarg\u0131lan\u0131r, 6 aydan 2,5 y\u0131la kadar hapis yatar, i\u015fkence g\u00f6r\u00fcr. \u015eerif G\u00f6ren, Necmettin \u00c7obano\u011flu, Gani Turanl\u0131 i\u015fkence g\u00f6ren sinemac\u0131lardan yaln\u0131zca birka\u00e7\u0131d\u0131r.<\/p>\n 12 Eyl\u00fcl darbesinin yaratt\u0131\u011f\u0131 \u2018yeni durum\u2019u ilk dillendiren, perdeye yans\u0131tan \u201cSen T\u00fcrk\u00fclerini S\u00f6yle\u201d (1986) filmiyle \u015eerif G\u00f6ren olur. Zeki \u00d6kten\u2019in \u201cSes\u201d (1986) ve Zeki Alasya\u2019n\u0131n \u201cDikenli Yol\u201d (1986) filmlerinin eklenmesiyle 12 Eyl\u00fcl Filmleri tan\u0131mlamas\u0131 yap\u0131l\u0131r. Sonraki y\u0131llarda \u00e7ekilen ba\u015fka filmler de bu s\u0131n\u0131fland\u0131rman\u0131n i\u00e7ine yerle\u015ftirilir.<\/p>\n \u015eerif G\u00f6ren, duru\u015fuyla, d\u00fc\u015f\u00fcnceleriyle ve yapt\u0131\u011f\u0131 \u00e7al\u0131\u015fmalarla sol muhalif bir sinemac\u0131 olarak tan\u0131n\u0131yor. 12 Eyl\u00fcl darbe s\u00fcrecinde de bu filmleri yapmas\u0131 \u015fa\u015f\u0131rt\u0131c\u0131 de\u011fil. Evet, 12 Eyl\u00fcl\u2019e daha \u00e7ok sol muhalif sinemac\u0131lar de\u011findi. Fakat bir elin parmaklar\u0131n\u0131 ge\u00e7meyecek say\u0131da solda olmayan, hatta \u00fclk\u00fcc\u00fc-sa\u011fc\u0131, \u0130slamc\u0131 kesimden gelen sinemac\u0131lar da filmler yapt\u0131lar.<\/p>\n Bunlardan ilki \u201c\u00d6\u00e7\u201d adl\u0131 1984 yap\u0131m\u0131 filmiyle \u201cmilli sinema\u201dn\u0131n temsilcilerinden Mesut U\u00e7akan\u2019d\u0131r. Bir di\u011feri sinemada, tiyatroda sistem ele\u015ftirisi i\u00e7eren i\u015fler yapsa da kendini sol muhalif olarak tan\u0131mlamayan, sistem i\u00e7i bir yerde duran 1986 yap\u0131m\u0131 \u201cDikenli Yol\u201d filmiyle Zeki Alasya olur. Soldan sa\u011fa d\u00f6n\u00fc\u015fs\u00fcz ve y\u00fczs\u00fcz bir ge\u00e7i\u015f yapan Sinan \u00c7etin de izlerken beynime, mideme kramplar giren \u201cPrenses\u201d filmini yapar 1987 y\u0131l\u0131nda. Bu filmden sonra kendisini anti-kom\u00fcnist olarak tan\u0131mlar ve \u201cben kendime ihanet edece\u011fime kom\u00fcnizme ihanet ettim\u2019 diyerek yeni belirler.<\/p>\n Klasik Ye\u015fil\u00e7am y\u00f6netmenlerinden, C\u00fcneyt Ark\u0131n\u2019l\u0131 \u201cCemil\u201d, \u201cCemil D\u00f6n\u00fcyor\u201d, \u201cAdalet\u201d gibi ulusalc\u0131 filmleri de \u00e7eken Melih G\u00fclgen, Ha\u015fmet Zeybek\u2019in senaryosundan \u201cKimlik\u201d adl\u0131 filmi \u00e7eker 1988\u2019de. Yine Ye\u015fil\u00e7am y\u00f6netmenlerinden Memduh \u00dcn, 1990 yap\u0131m\u0131 \u201cB\u00fct\u00fcn Kap\u0131lar Kapal\u0131yd\u0131\u201d adl\u0131 filmi y\u00f6netir. \u00dcmit Efekan da Bekir Y\u0131ld\u0131z ve Ha\u015fmet Zeybek Senaryosuyla \u201cDarbe\u201dyi \u00e7eker 1990\u2019da.<\/p>\n 1991\u2019de O\u011fuzhan Tercan \u201cUzla\u015fma\u201dy\u0131, Tomris Giritlio\u011flu \u201cSuyun \u00d6te Yan\u0131\u201dn\u0131 (1991), Canan Evcimen \u0130\u00e7\u00f6z \u201cHo\u015f\u00e7a Kal Umut\u201du (1993),\u00a0 \u201c\u00f6teki u\u00e7tan\u201d,\u00a0 \u00fclk\u00fcc\u00fc sa\u011f k\u00f6kenden gelen \u0130smail G\u00fcne\u015f de 1999 yap\u0131m\u0131 C\u00fcneyt Ark\u0131n\u2019l\u0131 \u201cG\u00fcl\u00fcn Bitti\u011fi Yer\u201di \u00e7eker.<\/p>\n Bunlara \u00c7a\u011fan Irmak\u2019\u0131n Babam ve O\u011flum (2005), \u00a0Selma K\u00f6ksal\u2019\u0131n Fikret Bey (2007), At\u0131l \u0130nan\u00e7\u2019\u0131n Zincir Bozan (2007) filmleri de eklenebilir.<\/p>\n – Yine kitapta, \u201c\u0130\u00e7-d\u0131\u015f g\u00f6\u00e7, \u00e7ocuk gelinler, namus cinayeti, y\u00fczeysel de olsa K\u00fcrt meselesi, Rumlara dayat\u0131lan zorunlu g\u00f6\u00e7 az say\u0131da da olsa filmlere yans\u0131yabilmi\u015fti\u201d diyorsunuz. Biz, T\u00fcrkiye sinemas\u0131n\u0131n eksikliklerine de\u011finiyoruz; ama a\u00e7\u0131k\u00e7as\u0131 \u015funu s\u00f6ylemeden de ge\u00e7emiyorum: Diyelim ki y\u00fczeysel de\u011fil, k\u0131lcal damarlar\u0131na kadar de\u011finildi. Bu eserlerin yayg\u0131nl\u0131\u011f\u0131 da etkisini belirlemiyor mu? Topluma ula\u015facak kanallar ve cesaret olmad\u0131ktan sonra \u00e7ekilse ne olur? <\/strong><\/p>\n – \u00d6nemli olan biraz cesaret ve bunu do\u011furacak bir duru\u015fa sahip olmak. Yoksa topluma ula\u015facak kanallar bulunabilir, zorlanabilir, yarat\u0131labilir. En zorlu ko\u015fullarda bile bu kanallar\u0131 zorlayan, filmini omuzlay\u0131p \u015fehir \u015fehir, k\u00f6y k\u00f6y dola\u015f\u0131p g\u00f6sterimini yapan, topluma-seyirciye ula\u015ft\u0131ran sinemac\u0131lar oldu.<\/p>\n – Kitab\u0131n\u0131zda diziler ba\u015fl\u0131\u011f\u0131 da dikkat \u00e7ekiyor. Bana g\u00f6re post-Ye\u015fil\u00e7am d\u00f6nemi say\u0131lan diziler toplumun en ucuz e\u011flence arac\u0131 olan televizyon arac\u0131l\u0131\u011f\u0131yla kendine alan buldu. Bu \u00f6zelli\u011fine ra\u011fmen dizilerin k\u00fclt\u00fcrel ve d\u00fc\u015f\u00fcnsel hayat\u0131m\u0131za ilerici bir katk\u0131s\u0131 olmu\u015f mudur? Tabii benim g\u00f6r\u00fc\u015f\u00fcme kat\u0131l\u0131yorsan\u0131z\u2026<\/strong><\/p>\n – \u0130lk bask\u0131s\u0131 1999 y\u0131l\u0131nda Parantez Yay\u0131nlar\u0131\u2019ndan yap\u0131lan \u201cYe\u015fil\u00e7am’da Unutulmayan Y\u00fczler\u201d kitab\u0131mda yapm\u0131\u015ft\u0131m \u201cYe\u015fil\u00e7am dizilerle televizyonda devam ediyor\u201d tespitini.<\/p>\n \u0130smail Cem\u2019in TRT Genel M\u00fcd\u00fcr\u00fc oldu\u011fu o unutulmaz y\u0131llar\u0131 (1974 -1975) bizim ku\u015fak \u00e7ok iyi an\u0131msar. Toplumsal, siyasi, k\u00fclt\u00fcrel ve e\u011fitimsel yay\u0131nlara a\u011f\u0131rl\u0131k verilen \u0130smail Cem d\u00f6neminde, unutulmaz klasik edebiyat eserlerinin dizi uyarlamalar\u0131 yay\u0131nlanm\u0131\u015f, \u00e7ok \u00f6nemli belgesellere, sinema filmlerine, k\u00fclt\u00fcr programlar\u0131na yer verilmi\u015fti. Ne yaz\u0131k ki tekrar benzer bir d\u00f6nem ya\u015fanamad\u0131 ne TRT kanallar\u0131nda ne de \u00f6zel kanallarda. K\u0131sa s\u00fcren o d\u00f6nemin hepimiz \u00fczerinde, toplum \u00fczerinde, k\u00fclt\u00fcrel ve d\u00fc\u015f\u00fcnsel hayat\u0131m\u0131za ilerici bir katk\u0131s\u0131 olmu\u015ftu.<\/p>\n – \u201cDevlet ve teferruat ve diziler\u201d ba\u015fl\u0131\u011f\u0131 \u00f6nemli. \u201cKurtlar Vadisi\u201d gibi diziler ve t\u00fcrevleri kitlesel anlamda \u00e7ok etkili oldu. Diziler bir devlet gelene\u011finin kendini s\u00fcreklile\u015ftirmesine nas\u0131l bir katk\u0131 sundu?<\/strong><\/p>\n – Ye\u015fil\u00e7am sinemas\u0131 da sistemin-devletin, iktidarlar\u0131n kitleleri do\u011frudan ya da dolayl\u0131 olarak etkilemek, y\u00f6nlendirmek i\u00e7in kulland\u0131klar\u0131 bir ara\u00e7t\u0131. Bu pop\u00fcler Ye\u015fil\u00e7am filmlerinde, melodramlarda a\u00e7\u0131ktan olabildi\u011fi gibi dolayl\u0131 ve izleyicinin bilin\u00e7alt\u0131n\u0131 hedefleyerek mesajlar\u0131n iletilmesiyle de olabiliyordu. Bu s\u00fcre\u00e7 televizyon dizilerinde de b\u00f6yle s\u00fcrd\u00fc. Fakat Ye\u015fil\u00e7am sonras\u0131 yeni d\u00f6nem sinemas\u0131nda ya\u015fanan, \u00f6zellikle 90\u2019larda ba\u015flay\u0131p 2000\u2019lerde s\u00fcren, \u015fekillenen de\u011fi\u015fim televizyona, dizilere de yans\u0131d\u0131.<\/p>\n 1980\u2019den bu yana ya\u015fanan toplumsal s\u00fcreci ve sinemaya yans\u0131mas\u0131n\u0131, ekonomik, siyasal, toplumsal ve bireysel de\u011fi\u015fimler ba\u015fl\u0131klar\u0131 alt\u0131nda tan\u0131mlayabiliriz.<\/p>\n Toplumsal bilin\u00e7alt\u0131nda yer eden, silinmesi, yok edilmesi m\u00fcmk\u00fcn olmayan, ya\u015fanm\u0131\u015fl\u0131klar, toplumsal sanc\u0131lar, devletin\/toplumun tabu sayd\u0131\u011f\u0131 konular yeni d\u00f6nem T\u00fcrkiye sinemas\u0131nda ele al\u0131n\u0131yor, beyazperdeye yans\u0131yabiliyor. Bu diziler i\u00e7in de ge\u00e7erli.<\/p>\n -Kitab\u0131n\u0131zda sans\u00fcr\u00fcn etkilerine ve uygulan\u0131\u015f\u0131na \u00f6rnekler veriyorsunuz. Peki, bizim sinemac\u0131lar\u0131m\u0131z\u0131n sans\u00fcr\u00fc delme konusunda sanatsal zek\u00e2 g\u00f6sterebilmesi s\u00f6z konusu olmu\u015f mudur? <\/strong><\/p>\n – Elbette oluyordu. Yarat\u0131c\u0131 bir sinema ortam\u0131yd\u0131 asl\u0131nda, Ye\u015fil\u00e7am. \u201cOlmayandan yaratma, var etme\u201d konusunda \u00e7ok ba\u015far\u0131l\u0131 ve yarat\u0131c\u0131yd\u0131. O \u00e7ok sevilen filmler de yokluklar i\u00e7inde, b\u00fcy\u00fck \u00f6zverilerle zek\u00e2 ve emekle yap\u0131l\u0131yordu. \u00d6rne\u011fin de\u011ferli sinemac\u0131 ve \u015fair Orhon Murat Ar\u0131burnu \u015faryo yerine ayaklar\u0131na sabun ba\u011flad\u0131\u011f\u0131 masa kullan\u0131yormu\u015f. Efekt yap\u0131lam\u0131yorken, sis makinesi yokken sorunu o anda orada \u201cpratik zek\u00e2-\u00e7\u00f6z\u00fcm\u201d yoluyla \u00e7\u00f6z\u00fcyorlarm\u0131\u015f. Sanat y\u00f6netmeni Sohban Kolo\u011flu bir an\u0131s\u0131n\u0131 \u015f\u00f6yle aktar\u0131r: \u201cBir mezarl\u0131k sahnesinde sise ihtiyac\u0131m\u0131z vard\u0131. Zemine \u00e7\u00f6km\u00fc\u015f ve arkadan \u0131\u015f\u0131kland\u0131r\u0131lm\u0131\u015f duman bulutu yapmak zorundayd\u0131k. Ama bunu sa\u011flayacak donan\u0131mdan yoksunduk. Peki, bu bulutu nas\u0131l sa\u011flad\u0131k? Ekipten otuz k\u0131rk ki\u015fi, her birinin a\u011fz\u0131nda \u00fc\u00e7er d\u00f6rder sigara, g\u00f6r\u00fcnt\u00fcye girmeyecek bi\u00e7imde yere uzand\u0131lar ve \u00e7ekim boyunca durmaks\u0131z\u0131n sigara duman\u0131 \u00fcflediler!\u201d<\/p>\n Dolay\u0131s\u0131yla Ye\u015fil\u00e7am \u00e7ok a\u011f\u0131r sans\u00fcr ko\u015fullar\u0131nda farkl\u0131 \u00e7\u00f6z\u00fcmler \u00fcreterek, sans\u00fcr\u00fc delmeyi ba\u015faracak zek\u00e2y\u0131 da g\u00f6stermi\u015ftir. \u00d6rne\u011fin biri sans\u00fcrden ge\u00e7ebilecek bi\u00e7imde montajlanan iki g\u00f6sterim kopyas\u0131 haz\u0131rlay\u0131p, ge\u00e7ecek kopyayla onaylat\u0131p, izin al\u0131p g\u00f6sterime di\u011fer kopyay\u0131 sokmak bunlardan biridir.<\/p>\n – \u00d6zcan Alper\u2019in \u201cGelecek Uzun S\u00fcrer\u201d filmi ba\u011flam\u0131nda konu\u015facak olursak, kamera G\u00fcneydo\u011fu\u2019ya d\u00f6nd\u00fc\u011f\u00fcnde ilk neyle kar\u015f\u0131la\u015f\u0131yoruz ve y\u00f6netmeni bekleyen zorluk ne \u015fekilde zuhur ediyor?<\/strong><\/p>\n – Yap\u0131m ve \u00e7ekim a\u015famalar\u0131nda s\u0131k\u0131nt\u0131lar ya\u015fanabilir. \u00d6zcan Alper\u2019in \u201cGelecek Uzun S\u00fcrer\u201d filminde de bildi\u011fim kadar\u0131yla yap\u0131m s\u00fcrecinde, \u201c\u00e7ekimler \u00fc\u00e7 d\u00f6rt \u015fehirde yap\u0131ld\u0131\u011f\u0131 i\u00e7in yap\u0131m ve \u00e7ekim s\u00fcrecinde zorluk\u201d ya\u015fanm\u0131\u015f. Sonbahar’\u0131n ba\u015far\u0131s\u0131 filme kaynak bulmakta etkili olmu\u015f. \u00d6zcan Alper de bir s\u00f6yle\u015fisinde \u201cT\u00fcrkiye\u2019de belirleyici olan unsurun finans oldu\u011funu d\u00fc\u015f\u00fcnm\u00fcyorum. Daha zor olan \u015feyler filmin estetik baz\u0131 s\u00fcre\u00e7leri i\u00e7in gerekli olan \u015feyler.\u201d demi\u015fti.<\/p>\n B\u00f6lge d\u0131\u015f\u0131ndan giden bir y\u00f6netmen i\u00e7in b\u00f6lgede film \u00e7ekmenin zorluklar\u0131ndan biri de y\u00f6reyi, y\u00f6renin k\u00fclt\u00fcr\u00fcn\u00fc, orada konu\u015fulan dili bilmemek, y\u00f6renin insan\u0131n\u0131 tan\u0131mamak olabilir. Bu tan\u0131mama, bilmeme eksikli\u011fi 68 gen\u00e7li\u011finin b\u00f6lgeye ilk dostluk ve dayan\u0131\u015fma elini uzatt\u0131\u011f\u0131, Zap Suyu\u2019na k\u00f6pr\u00fc yapmak i\u00e7in Hakk\u00e2ri\u2019ye gitti\u011fi 1969 y\u0131l\u0131ndan bu yana s\u00fcr\u00fcyor.<\/p>\n – \u0130\u015f\u00e7i filmleri a\u00e7\u0131s\u0131ndan sinemam\u0131z\u0131n fakir oldu\u011funu san\u0131r\u0131m siz de kabul edeceksiniz. Bu \u00fclkenin kurulu\u015funda da kurtulu\u015funda da cephe sava\u015f\u0131 veren i\u015f\u00e7i s\u0131n\u0131f\u0131na ve onu anlatan filmlere kar\u015f\u0131 devletin sert refleksini nas\u0131l yorumlamak gerekir. (Bu soru 1951-1980 ba\u011flam\u0131nda soruluyor)<\/strong><\/p>\n – Vedat T\u00fcrkali senaryosundan Ertem G\u00f6re\u00e7\u2019in \u00e7ekti\u011fi ilk i\u015f\u00e7i-sendika-grev filmi \u201cKaranl\u0131kta Uyananlar\u201d 1964 y\u0131l\u0131nda \u00e7ekilmi\u015f olsa da o tarihten g\u00fcn\u00fcm\u00fcze \u00e7ekilen i\u015f\u00e7i filmlerinin say\u0131s\u0131n\u0131n \u00e7ok oldu\u011funu s\u00f6yleyemiyoruz. Y\u0131lmaz G\u00fcney\u2019in a\u00e7t\u0131\u011f\u0131 yoldan filmler yapan d\u00f6nemin gen\u00e7 y\u00f6netmenleri 70\u2019lerin ikinci yar\u0131s\u0131nda yapt\u0131klar\u0131 \u00f6nemli toplumsal ger\u00e7ek\u00e7i filmlerle seyirciye, geni\u015f halk y\u0131\u011f\u0131nlar\u0131na ula\u015fmay\u0131 ba\u015farm\u0131\u015flard\u0131 fakat sineman\u0131n bu \u00f6nemli damar\u0131n\u0131n yolu 12 Eyl\u00fcl darbesiyle kesilir. Bu s\u00fcre\u00e7te Yavuz \u00d6zkan\u2019\u0131n \u201cMaden\u201d (1978) ve \u201cDemiryol\u201d (1979) gibi bug\u00fcnden bakt\u0131\u011f\u0131m\u0131zda da \u00f6nemli iki film yap\u0131l\u0131r.<\/p>\n Karanl\u0131kta Uyananlar, g\u00f6sterime girdikten iki ay sonra, 1965 Temmuz\u2019unda \u0130\u00e7i\u015fleri Bakanl\u0131\u011f\u0131 taraf\u0131ndan, filmin g\u00f6sterildi\u011fi illerde \u00e7\u0131kan baz\u0131 olaylar bahane edilerek, yasaklan\u0131r.<\/p>\n Karanl\u0131kta Uyananlar\u2019dan bu yana \u00e7ekilen \u201ci\u015f\u00e7i filmleri\u201d: Umut (Y\u0131lmaz G\u00fcney, 1970), Diyet (\u00d6mer L\u00fctfi Akad, 1974), Endi\u015fe (Y\u0131lmaz G\u00fcney, \u015eerif G\u00f6ren; 1974), Otob\u00fcs (Tun\u00e7 Okan, 1974), Bir G\u00fcn Mutlaka (Bilge Olga\u00e7, 1975), G\u00fcne\u015fli Batakl\u0131k (S\u00fcreyya Duru, 1977), S\u00fcr\u00fc (Zeki \u00d6kten, 1978), D\u00fc\u015fman (Zeki \u00d6kten, 1979), Bereketli Topraklar \u00dczerinde (Erden K\u0131ral, 1979), \u00c7ark (Muzaffer Hi\u00e7durmaz, 1987), \u0130\u015f (Faik Ahmet Ak\u0131nc\u0131, 1994), Ekmek (Faik Ahmet Ak\u0131nc\u0131, 1996), Zerre (Erdem Tepeg\u00f6z, 2012), Toz Bezi (Ahu \u00d6zt\u00fcrk, 2015) ve Babam\u0131n Kanatlar\u0131 (K\u0131van\u00e7 Sezer, 2016).<\/p>\n Devletin bu filmlere tepkisi y\u0131llarca \u00e7o\u011fu zaman sans\u00fcrlemek, yasaklamak gibi sert oldu. Film sans\u00fcr\u00fc konusunda, 1990\u2019lardan ba\u015flayarak daha \u00f6zg\u00fcrl\u00fck\u00e7\u00fc bir ortam\u0131n varl\u0131\u011f\u0131ndan s\u00f6z edebiliyor olsak da \u201cmerkez\u00ee ya da yerel resm\u00ee kurum ya da ki\u015filerin m\u00fcdahaleleri sonucunda \u00f6zellikle politik konulardaki baz\u0131 filmlerin yasaklanmas\u0131 durumu h\u00e2l\u00e2 s\u00f6z konusu.\u201d<\/p>\n Sinemac\u0131lar\u0131n korkulu r\u00fcyas\u0131 sans\u00fcr y\u0131llard\u0131r dillere destan ve \u00e7o\u011fu neredeyse komik uygulamalar\u0131yla Cumhuriyet\u2019in ilk y\u0131llar\u0131ndan ba\u015flayarak g\u00fcn\u00fcm\u00fcze kadar s\u00fcregeldi. \u00c7o\u011fu zaman keyfi kararlarla yasaklanan filmler hatta yak\u0131lan filmler izleyicilere ula\u015famad\u0131 ya da film bir\u00e7ok sahnenin \u00e7\u0131kar\u0131lmas\u0131yla izleyiciye ula\u015fabildi.<\/p>\n Sonu\u00e7 olarak devlet sadece \u201cBu \u00fclkenin kurulu\u015funda da kurtulu\u015funda da cephe sava\u015f\u0131 veren i\u015f\u00e7i s\u0131n\u0131f\u0131na ve onu anlatan filmlere kar\u015f\u0131\u201d sert tepkiler vermedi. Muhalif, ayk\u0131r\u0131, tabu olan ve \u201ctehlikeli\u201d g\u00f6rd\u00fc\u011f\u00fc her \u015feye kar\u015f\u0131 bask\u0131c\u0131 ve yasak\u00e7\u0131 oldu.<\/p>\n 1939 y\u0131l\u0131nda y\u00fcr\u00fcrl\u00fc\u011fe giren \u201cFilmlerin ve film senaryolar\u0131n\u0131n kontrol\u00fcne dair Nizamname\u201dnin 7. maddesi denetimini y\u0131llarca \u015fu h\u00fck\u00fcmlere g\u00f6re yapar, yasaklama ve sans\u00fcr uygular. Bu ko\u015fullarda film \u00fcretebilmenin inan\u0131lmaz bir ba\u015far\u0131 oldu\u011funu s\u00f6yleyerek bitireyim konu\u015fmay\u0131. S\u00f6yle\u015fi i\u00e7in \u00e7ok te\u015fekk\u00fcr ediyorum.<\/p>\n","protected":false},"excerpt":{"rendered":" Mazlum Vesek – R\u00f6portaj Yazar-Y\u00f6netmen Mesut Kara, dijital \u00e7a\u011f\u0131n insanlar\u0131 derin bir yaln\u0131zl\u0131\u011f\u0131n i\u00e7ine s\u00fcr\u00fckledi\u011fini ifade etti ve salg\u0131n\u0131n bu yaln\u0131zl\u0131\u011f\u0131 daha da<\/p>\n","protected":false},"author":1,"featured_media":8325,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,8],"tags":[],"class_list":["post-8324","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-genel","category-kultur-ve-sanat"],"_links":{"self":[{"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/posts\/8324","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/comments?post=8324"}],"version-history":[{"count":2,"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/posts\/8324\/revisions"}],"predecessor-version":[{"id":8327,"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/posts\/8324\/revisions\/8327"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/media\/8325"}],"wp:attachment":[{"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/media?parent=8324"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/categories?post=8324"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arsiv.sozbizde.com\/index.php\/wp-json\/wp\/v2\/tags?post=8324"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}