Uzun Film Kataloğu

Total Page:16

File Type:pdf, Size:1020Kb

Uzun Film Kataloğu Oğlak Yayınları II honey bal turkey, germany 2010, 35mm, 103’, colour director Semih Kaplanoğlu script Semih Kaplanoğlu, Orçun Koksal cinematography Barış Özbiçer editing Ayhan Ergürsel, Semih Kaplanoğlu, S. Hande Güneri cast Bora Altaş, Erdal Beşikçioğlu, Tülin Özen production Semih Kaplanoğlu (Kaplan Film Production), Johannes Rexin, Bettina Brokemper (Heimatfilm) distribution Michael Weber, The Match Factory, Balthasarstr. 79-81 50670 Cologne Germany T +49 221 539 709-0 [email protected] www.the-match-factory.com Yusuf has started primary school and is learning how to read and write. His father, Yakup, works far in the depths of a frightening forest. He is a honey-gatherer who hangs his hand-made beehives in the upper branches of tall trees. The forest is a place of mystery for Yusuf. One morning Yusuf describes the dream he had that night to his father. This dream is to be an ever-lasting secret between the father and the son. On that same day, as Yusuf struggles to read before his entire classmates the text the teacher has given him, he begins suddenly to stutter and is ridiculed by his classmates. Yakup goes to a distant forest, looking for the Caucasian bees which seem to be mysteriously disappearing. His father gone, Yusuf slips into silence. Yusuf’s mother Zehra, who works in the tea fields, is saddened to see her son in this state. No matter how hard she tries, she cannot get her son to speak. Semih Kaplanoğlu (1963) graduated from Dokuz Eylül University, Izmir, with a degree in film and television in 1984. After his graduation he worked as an assistant cameraman for several award-winning films. He wrote and directed the TV series Şehnaz Tango, which ran for 52 episodes on two national channels. As well as directing, Kaplanoğlu has published numerous articles on contemporary art and cinema. Between 1996-2000 he wrote a column entitled ‘Encounters’ for the national daily Radikal. filmography 2000 Herkes Kendi Evinde Away From Home 2004 Meleğin Düşüşü Angel’s Fall 2007 Yumurta Egg 2008 Süt Milk 2010 Bal Honey 1 kosmos turkey 2009, 35mm, 122’, colour director Reha Erdem script Reha Erdem cinematography Florent Herry editing Reha Erdem cast Sermet Yeşil, Türkü Turan, Hakan Altuntaş, Sabahat Doğanyılmaz, Korel Kubilay, Akın Anlı production-distribution Atlantik Film, Üst Zeren Sok. No:2, Levent 34330 Istanbul T +90 212 278 3611 [email protected] www.atlantikfilm.com awards Best Film, Best Director, Best Photography, Special Jury Prize Antalya Kosmos is a thief who works miracles. He arrives from the wilds in a timeless border town as though a fugitive, weeping. No sooner is he there, he rescues a small boy from drowning in the river, and is recognised as a man of miracles. Kosmos proves to be a rather extraordinary person. He never seems to eat or sleep. His single form of nourishment is sugar, which he consumes by the fistful. One of his more striking skills is the ability to scale the tallest trees with uncommon agility. He also declares his wish in life with disarming honesty, which startles the townspeople: he is looking for love. Soon Kosmos and Neptün, the teenaged sister of the rescued boy, grow closer in the weirdest of ways: by imitating the screech of birds in trees and on rooftops. Reha Erdem (Istanbul, 1960) graduated in film studies from Paris 8 University. He earned an MA in plastic arts at the same university. He shot his first feature-length film Oh Moon in 1989 as a French-Turkish co-production. To date, he has written all of his films except for Mommy I’m Scared, where he was one of the co-writers. He also has directed short films and the stage play, Maids (Les Bonnes) by Jean Genet. filmography 1989 A Ay Oh Moon 1995 Deniz Türküsü Song of the Sea (short) 1999 Kaç Para Kaç Run for Money 2004 Korkuyorum Anne Mommy, I’m Scared 2006 Ekim’de Hiçbir Kere Anytime in October (short) 2006 Beş Vakit Times and Winds 2008 Hayat Var My Only Sunshine 2009 Kosmos 2 haze pus turkey, greece 2009, 35mm, 109’, colour director Tayfun Pirselimoğlu script Tayfun Pirselimoğlu cinematography Ercan Özkan editing Erdinç Özyurt cast Ruhi Sarı, Nurcan Ülger, Mehmet Avcı production Zuzi Film (Turkey) Graal S.A. (Greece) distribution Zuzi Film, Cihannüma Mah. Abbasağa Sok. No: 9 D:1 Beşiktaş Istanbul T +90 212 260 9232 F +90 212 260 9233 [email protected] | www.zuzifilm.com Reşat a young man working in illegal dvd business has an antisocial personality causing problems in his relations. He lives in a miserable apartment with his mother at the outskirts of the town and has an obsessive interest for a young girl living at the same building he encounters at the stairs occasionally. One of his hidden obsessions is to have a motorbike. He also steals some small objects as an habit in his dull life. One day he steals a package left by Celal, a friend of his boss. At the same day Celal, an outlaw, is killed by his enemies. Reşat is totally amazed when he opens the package and finds a photo of a woman with an address and a pistol. Tayfun Pirselimoğlu (Trabzon, 1959) studied painting and engraving at the Hochschule für Angewandte Kunst in Vienna after graduating from Middle East Technical University. He has held exhibitions in various cities around the world. He taught painting, scriptwriting and directing at Akademie Genius, an independent art initiative. As a writer, he has written for numerous art magazines and published four novels and a book of short stories. He has written short and long feature film scripts and shot his first short film My Uncle in 1999. He won several national and international awards with his features Innowhereland, and Rıza. filmography 1999 Dayım My Uncle (short) 2002 Il Silenzio è d’Oro Silent is Golden (short) 2002 Hiçbiryerde Innowhereland 2007 Rıza 2009 Pus Haze 3 7 courtyards 7 avlu turkey 2009, 35mm, 101’, colour director Semir Aslanyürek script Semir Aslanyürek cinematography Yusuf Aslanyürek editing Ramazan Yüksel music Samir Kwefati cast Evmorfia Anastasiou, Labina Mitevska, Varlam Nikoladze, Muhammed Cangören, Nursel Köse, Serra Yılmaz production-distribution Yusuf Aslanyürek, Aslanyürek Film, Nüzhet Efendi Sok. 47/5 Rasimpaşa Mah. Kadıköy Istanbul T +90 532 570 1721 [email protected] | www.aslanyurek.net In Antioch, courtyards are separated from the streets by high walls and their doors are always closed. In Antioch, every courtyard is a world in and of its own. Among its inhabitants are Turks, Arabs, Christians, Jews, Armenians, Assyrians, Greeks, Alawites, Sunni Muslims... And a different language is spoken in every courtyard. Eleni is a beautiful yet rather unkempt 27 year-old woman of Greek origin. She has three daughters aged nine, seven and five. Since her husband’s death she has been alienated by her neighbours. Men have stopped speaking to her to avoid gossip, while women do the same to keep her away from their husbands. Imprisoned in her courtyard with her daughters, Eleni contrives excuses to go to her neighbours every evening for some conversation… Semir Aslanyürek (Antakya, 1956) studied medicine at Damascus University until 1978. He then transferred to the Moscow State Institute of Cinematography (VGIK) Faculty of Film Directing, where he earned undergraduate and graduate degrees from the department of acting, cinema and TV film between 1980-1986. In 1990, he started his academic career as a lecturer at the Marmara University Faculty of Fine Arts at the Department of Cinema & TV. He began shooting his debut feature Wagon in 1993, but the film’s post-production remained incomplete. He has written ten feature film screenplays, two of which are literary adaptations. filmography 1993 Vagon Wagon 2001 Şellale The Waterfall 2006 Eve Giden Yol The Road Home 2009 7 Avlu 7 Courtyards 4 7 husbands for hurmuz 7 kocalı hürmüz turkey 2009, 35mm, 122’, colour director Ezel Akay script Gürsel Korat cinematography Hayk Kirakosyan editing Mustafa Preşeva music Ender Akay, Sunay Özgür cast Nurgül Yeşilçay, Gülse Birsel, Haluk Bilginer, Mehmet Ali Alabora, Erkan Can, Öner Erkan production 5. Boyut Stüdyoları, Muhteşem Film distribution Sami Dündar, 5. Boyut Stüdyoları, Maslak Mah. AOS 52. Sok. No:12/C Istanbul T +90 212 346 4343 [email protected] | www.5boyut.com A Brechtian look at an Ottoman Burlesque with songs and music, 7 Husbands for Hurmuz tells the story of an alluring woman, Hurmuz who lives in Taşkasap, Istanbul in 1900. She is unofficially married to six guys of different occupations, each of whom she hosts on different days of the week. While refusing them nuptial bliss in her bed, she lures them into giving her expensive presents in order to live on easy terms. One day, Hurmuz happens to see the local doctor Hüsrev while at the barbershop of one of her husbands. She then feigns illness and asks for the doctor. When the doctor falls in love with her too, he requisitions her best friend and matchmaker Safinaz to ask for Hurmuz’s hand. On a night when all the husbands will get together by chance, Hurmuz and her confidante Safinaz find themselves in trouble. Ezel Akay (1961) studied engineering at Bosphorus University and theatre arts at Villanova University, Philadelphia. He was part of many theatre productions as an actor and director before entering the film production business. As a founding partner of IFR-Istisnai Films (1990), he directed more than 500 commercials. With IFR, he produced Derviş Zaim’s feature film debut Somersault in a Coffin and Yeşim Ustaoğlu’s Journey to the Sun, both of which won many awards at international festivals. He is currently preparing for his next feature as director / producer.
Recommended publications
  • The Big World – Reha Erdem and the Magic of Cinema
    Markets, Globalization & Development Review Volume 2 Article 8 Number 2 Popular Culture and Markets in Turkey 2017 The iB g World – Reha Erdem and the Magic of Cinema Andreas Treske Bilkent University Follow this and additional works at: http://digitalcommons.uri.edu/mgdr Part of the Film and Media Studies Commons, and the Sociology Commons Recommended Citation Treske, Andreas (2017) "The iB g World – Reha Erdem and the Magic of Cinema," Markets, Globalization & Development Review: Vol. 2: No. 2, Article 8. DOI: 10.23860/MGDR-2017-02-02-08 Available at: http://digitalcommons.uri.edu/mgdr/vol2/iss2/8http://digitalcommons.uri.edu/mgdr/vol2/iss2/8 This Media Review is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Markets, Globalization & Development Review by an authorized editor of DigitalCommons@URI. For more information, please contact [email protected]. This media review is available in Markets, Globalization & Development Review: http://digitalcommons.uri.edu/mgdr/vol2/iss2/8 The iB g World – Reha Erdem and the Magic of Cinema Andreas Treske Abstract Reha Erdem’s latest film Big Big World (Koca Dünya) was selected for the “Horizons” (“Orizzonti”) section at the 73rd Venice International Film Festival in 2016 and won a prestigious special jury award. The eV nice selection is standing for a tendency to hold on, and celebrate the so-called “World Cinema” along with Hollywood blockbusters and new experimental arthouse films in a festival programming mix, insisting to stop for a moment in time a cinema that is already on the move.
    [Show full text]
  • Antiochia As a Cinematic Space and Semir Aslanyürek As a Film Director from Antiochia
    Antiochia As A Cinematic Space and Semir Aslanyürek as a Film Director From Antiochia Selma Köksal, Düzce University, [email protected] Volume 8.2 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.279 | http://cinej.pitt.edu Abstract This study will look at cinematic representation of Antiochia, a city with multiple identities, with a multi- cultural, long and deep historical background in Turkish director Semir Aslanyürek’s films. The article will focus on Aslanyürek’s visual storytelling through his beloved city, his main characters and his main conflicts and themes in his films Şellale (2001), Pathto House (2006), 7 Yards (2009), Lal (2013), Chaos (2018). Semir Aslanyürek was born in Antiochia in 1956. After completing his primary and secondary education in Antiochia (Hatay), he went to Damascus and began his medical training. As an amateur sculptor, he won an education scholarship with one of his statues for art education in Moscow. After a year, he decided to study on cinema instead of art. Semir Aslanyürek studied Acting, Cinema and TV Film from 1980 to 1986 in the Russian State University of Cinematography (VGIK), Faculty of Film Management, and took master's degree. While working as a professor at Marmara University, Aslanyürek directed feature films and wrote many screenplays. This article will also base its arguments on Aslanyürek's cinematic vision as multi-cultural and as a multi- disciplinary visual artist. Keywords: Antiochia; cinematic space; blind; speechless; war; ethnic conflicts; Semir Aslanyürek New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License.
    [Show full text]
  • Cinema and Politics
    Cinema and Politics Cinema and Politics: Turkish Cinema and The New Europe Edited by Deniz Bayrakdar Assistant Editors Aslı Kotaman and Ahu Samav Uğursoy Cinema and Politics: Turkish Cinema and The New Europe, Edited by Deniz Bayrakdar Assistant Editors Aslı Kotaman and Ahu Samav Uğursoy This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Deniz Bayrakdar and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-0343-X, ISBN (13): 978-1-4438-0343-4 TABLE OF CONTENTS List of Images and Tables ......................................................................... viii Acknowledgements .................................................................................... ix Preface ........................................................................................................ xi Introduction ............................................................................................. xvii ‘Son of Turks’ claim: ‘I’m a child of European Cinema’ Deniz Bayrakdar Part I: Politics of Text and Image Chapter One ................................................................................................
    [Show full text]
  • REHA ERDEM FİLMLERİNDE “ERKEKLİK” ARKETİPLERİNİN YENİDEN ÜRETİMİ REPRODUCTION of the “MASCULINITY” ARCHETYPES in REHA ERDEM FILMS İlknur GÜRSES * Rifat BECERİKLİ **
    Uluslararası Sosyal Araştırmalar Dergisi The Journal of International Social Research Cilt: 9 Sayı: 42 Volume: 9 Issue: 42 Şubat 2016 February 2016 www.sosyalarastirmalar.com Issn: 1307-9581 REHA ERDEM FİLMLERİNDE “ERKEKLİK” ARKETİPLERİNİN YENİDEN ÜRETİMİ REPRODUCTION OF THE “MASCULINITY” ARCHETYPES IN REHA ERDEM FILMS İlknur GÜRSES * Rifat BECERİKLİ ** Öz Arketipler, Jung’un tanımladığı hali ile kolektif bilinçdışımızda hareket halinde olan, dolaylı ya da doğrudan gündelik hayatlarımızı/bilincimizi yönlendiren arkaik imgelerdir. Freud’un bilinçaltı kavramından farklı olarak, kolektif bilinçdışı kişinin içinde hareket ettiği toplumun kültürel geçmişini ve kültürün ilişkiye geçtiği diğer tüm tarihsel bilişsel birikimi kapsamaktadır. Arketipler, kişilerden bağımsız ancak hayatlarına etki eden insanlık tarihinin kültürel yapıtaşlarındandır. Arketipler aracılığıyla kimliklerin, olguların nasıl bir yol izlediğini ve nelerin dönüştüğünü belirli kavramlarla incelemek mümkündür. Çalışmada, Reha Erdem’in yönettiği A Ay (1988), Kaç Para Kaç (1999), Korkuyorum Anne (2004), Beş Vakit (2006), Hayat Var (2008), Kosmos (2010), Jin (2013), Şarkı Söyleyen Kadınlar (2014) adlı filmlerindeki ana erkek karakterlerin öyküleri, erkeklik arketipleri bağlamında Jungçu bir yaklaşımla karakterlerin anlatı içerisindeki dönüşümleri doğrultusunda incelenecektir. Anahtar Kelimeler: Arketip, Sinema, Reha Erdem, Auteur, Erkeklik. Abstract Archetypes as Jung described, archaic images which are leading our lives directly or indirectly and continously moving in out collective unconsciousness. Apart from the Freud’s subconscious concept, collective unconsciousness covers the cultural history of the individuals live in and the whole cognitive accumulation which culture interacts. Archetypes are independent from the people but cultural milestones of history affect the people lives. With the help of the archetypes, it is possible to analyze through some terms that what kind of a way followed by the identities and facts and which are transformed.
    [Show full text]
  • The Space Between: a Panorama of Cinema in Turkey
    THE SPACE BETWEEN: A PANORAMA OF CINEMA IN TURKEY FILM LIST “The Space Between: A Panorama of Cinema in Turkey” will take place at the Walter Reade Theater at Lincoln Center from April 27 – May 10, 2012. Please note this list is subject to change. AĞIT a week. Subsequently, Zebercet begins an impatient vigil Muhtar (Ali Şen), a member of the town council, sells a piece and, when she does not return, descends into a psychopathic of land in front of his home to Haceli (Erol Taş), a land ELEGY breakdown. dispute arises between the two families and questions of Yılmaz Güney, 1971. Color. 80 min. social and moral justice come into play. In Ağıt, Yılmaz Güney stars as Çobanoğlu, one of four KOSMOS smugglers living in a desolate region of eastern Turkey. Reha Erdem, 2009. Color. 122 min. SELVİ BOYLUM, AL YAZMALIM Greed, murder and betrayal are part of the everyday life of THE GIRL WITH THE RED SCARF these men, whose violence sharply contrasts with the quiet Kosmos, Reha Erdem’s utopian vision of a man, is a thief who Atıf Yılmaz, 1977. Color. 90 min. determination of a woman doctor (Sermin Hürmeriç) who works miracles. He appears one morning in the snowy border attends to the impoverished villagers living under constant village of Kars, where he is welcomed with open arms after Inspired by the novel by Kyrgyz writer Cengiz Aytmatov, Selvi threat of avalanche from the rocky, eroded landscape. saving a young boy’s life. Despite Kosmos’s curing the ill and Boylum, Al Yazmalım tells the love story of İlyas (Kadir İnanır), performing other miracles, the town begins to turn against a truck driver from Istanbul, his new wife Asya (Türkan Şoray) him when it is learned he has fallen in love with a local girl.
    [Show full text]
  • Türk Sinema Tarihi
    TÜRK SİNEMA TARİHİ RADYO TELEVİZYON VE SİNEMA BÖLÜMÜ DOÇ. DR. ŞÜKRÜ SİM İSTANBUL ÜNİVERSİTESİ AÇIK VE UZAKTAN EĞİTİM FAKÜLTESİ Yazar Notu Elinizdeki bu eser, İstanbul Üniversitesi Açık ve Uzaktan Eğitim Fakültesi’nde okutulmak için hazırlanmış bir ders notu niteliğindedir. İÇİNDEKİLER 1. SİNEMANIN TÜRKİYE'YE GELİŞİ VE TÜRKİYE'DE YAPILAN İLK FİLMLER ..................................................................................................................... 3 2. SİNEMACILAR DÖNEMİ-2(1950-1970) ......................................................... 27 3. SİNEMACILAR DÖNEMİ(1950-1970) ............................................................ 53 4. KARŞITLIKLAR DÖNEMİ(1970-1980) .......................................................... 78 5. HAFTA DERS NOTU ........................................................................................... 98 6. VİZE ÖNCESİ GENEL DEĞERLENDİRME ................................................. 117 7. VİZE ÖNCESİ TEKRAR ................................................................................. 143 8. 1980 DÖNEMİ TÜRK SİNEMASI(1980-1990) .............................................. 158 9. 1980 DÖNEMİ TÜRK SİNEMASI(1980-1990) .............................................. 175 10. YENİ DÖNEM TÜRKİYE SİNEMASI ............................................................ 191 11. TÜRK SİNEMASINDA SANSÜR ................................................................... 201 12. MİLLİ SİNEMA ...............................................................................................
    [Show full text]
  • Uzun-Katalog-Berlin-2014.Pdf
    the lamb kuzu turkey, germany 2014, 85’, colour director-script Kutluğ Ataman cinematography Feza Çaldıran editing Ali Aga music Can Erdoğan-Sus cast Nesrin Cavadzade, Cahit Gök, Mert Taştan, Sıla Lara Cantürk, Nursel Köse, Taner Birsel, Güven Kıraç, Emel Göksu, Erdal Yıldız, Şerif Sezer production-distribution The Institute for the Readjustment of Clocks, Kutluğ Ataman, Fabian Gasmia, Henning Kamm, Ömer Rüştü Paşa Sok. No: 7 Nur Apt. D: 9 Teşvikiye Şişli 34365 Istanbul [email protected] Eastern Anatolian village tradition requires Kutluğ Ataman (Istanbul, 27-year-old Medine to serve oven-roasted lamb 1961) won rapid acclaim at her five-year-old son, Mert’s circumcision and awards for his first feast. Poor but determined, Medine puts feature, Serpent’s Tale. the family to work cutting branches to earn Lola+Bilidikid opened something towards the price of the sheep they the Panorama section need. Ismail, Medine’s unemployed husband, of the 49th Berlinale, won the Best Film award at is worried by his wife’s assertive behaviour. New York’s The New Festival and the Jury Special Envious of the attention Mert gets, his elder Prize in Berlin. 2 Girls confirmed his position in the sister, Vicdan, makes Mert believe that if a sheep top rank of Turkish filmmakers, national and inter- isn’t found, he will be slaughtered instead. national prizes. Journey to the Moon is a full-length film which, in its installation version, forms part of A singer-prostitute arrives in town. The village Ataman’s artwork series, ‘Mesopotamian Dramatur- leader finds Ismail a job at the slaughterhouse.
    [Show full text]
  • New Turkish Cinema – Some Remarks on the Homesickness of the Turkish Soul
    New Turkish Cinema – Some Remarks on the Homesickness of the Turkish Soul Agnieszka Ayşen KAIM, University of Lodz, [email protected] Abstract Contemporary cinematography reflects the dualism in modern Turkish society. The heart of every inhabitant of Anatolia is dominated by homesickness for his little homeland. This overpowering feeling affects common people migrating in search of work as well as intellectuals for whom Istanbul is a place for their artistic development but not the place of origin. The city and “the rest” have been considered in opposition to each other. The struggle between “the provincial” and “the urban” has even created its own film genre in Turkish cinematography described as “homeland movies”. They paint the portrait of a Turkish middle class intellectual on the horns of a dilemma, the search for a modern identity and a place to belong in a modern world where values are constantly shifting. Special Issue: 1 (2011) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2011.23 | http://cinej.pitt.edu This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. New Turkish Cinema – Some Remarks on the Homesickness of the Turkish Soul For decades „It„s like a Turkish film” has been an expression with negative associations, being synonymous with kitch and banal. Over the last 10 years, Turkish cinematography has become recognised as the “New cinema of Turkey” thanks to appearances in festivals in Rotterdam, Linz, New York and Wrocław, Poland (“Era New Horizons”, 2010).
    [Show full text]
  • Reflections of Urban Poor in Social Realist Films in Turkey
    REFLECTIONS OF URBAN POOR IN SOCIAL REALIST FILMS IN TURKEY A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY YILDIRIM UYSAL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SOCIOLOGY OCTOBER 2015 Approval of the Graduate School of Social Sciences Prof. Dr. Meliha Altunışık Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Sibel Kalaycıoğlu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Mehmet Ecevit Supervisor Examining Committee Members Prof. Dr. Kurtuluş Kayalı (AÜ, DTCF) Prof. Dr. Mehmet Ecevit (METU, SOC) Prof. Dr. Tayfun Atay (OKAN Ü., SOC) Assoc.Prof.Dr. Erdoğan Yıldırım (METU, SOC) Prof.Dr. Helga Rittersberger Tılıç (METU, SOC) PLAGIARISM I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Yıldırım Uysal Signature : v ABSTRACT THE REFLECTIONS OF URBAN POOR IN SOCIAL REALIST FILMS OF TURKEY Uysal, Yıldırım Ph.D., Department of Sociology Supervisor: Prof. Dr. Mehmet Ecevit October 2015, 362 pages This dissertation is analyzing the reflections of urban poor in social realist films in Turkey, within a perspective that begins at the beginning of 1960s and finishes at the end of 1980s.
    [Show full text]
  • Feature Films Catalogue Cannes 2017
    Abay Kunanbay Cad. 33/6 Kavaklıdere Ankara Turkey T +90 312 466 3484 - 466 4728 [email protected] www.ankarasinemadernegi.org Turkish Film Industry Having begun to revive in the mid-1990s, the Turkish film industry has enjoyed its most productive and successful years in the second decade of the 2000s, both nationally and internationally. Whilst a total of 357 films were released in 2014, of which 108 were Turkish, in 2015 a total of 406 films were released and 139 of them were local productions. In 2016, 358 films were released and 135 of them were Turkish. In 2015, the 139 Turkish films released saw admissions of 34,700,356. In 2016, 31,102,129 tickets were sold for 135 Turkish films. Compared with 2015, there was virtually no change in the total number of films released, but admissions were down by 9%. Market share for local films decreased by 4% to 53% in comparison with 2015. In the first quarter of 2017, there was a 16% rise in audience numbers, bringing the total up to 24.3 million. This marks the highest number of quarterly admissions ever recorded. No. Turkish No. Foreign Total No. Percentage Turkish Film Foreign Film Total Year Films Films Films of admissions Admissions Admissions Admissions Released Released Released for local films 2010 65 187 252 21,706,524 19,357,870 41,064,394 52,86% 2011 70 218 288 21,222,541 21,075,959 42,298,500 50,17% 2012 61 221 282 20,487,442 23,448,321 43,935,763 46,63% 2013 85 236 321 28,990,793 21,414,227 50,405,020 57,52% 2014 108 249 357 35,513,942 25,888,685 61,402,627 57,84% 2015 139 267 406 34,700,356 26,039,310 60,739,666 57,13% 2016 135 223 358 31,102,129 27,114,489 58,216,618 53,42% Distribution Free market conditions apply to Turkish film distribution, with no subsidies or incentives available to the business.
    [Show full text]
  • Turkish Films
    Turkish Films Call # webfilm Package Catalog Record http://search.alexanderstreet.com/view/work/2655236 TITLE 10 to 11 [electronic resource] / directed by Pelin Esmer Living on the fourth floor of Emniyet Apartment Building, Mr. Mithat has, against all threats he has faced, Synopsis managed to protect his collection, which he has been working on since years and that has left him with only a small space to live in. Any piece that he searches for to maintain the coherence of the collection could lead him anywhere in Istanbul. For Mr. Mithat, Istanbul is as unlimited as his collection. For Ali, Istanbul is limited with Emniyet Apartment Building and its surroundings. Coming from the village to Istanbul, Ali started to work as concierge in the apartment , and when his daughter contracted asthma due to the humidity in the conciergès floor, Ali sent his family back to their home in the village for a while until the conditions were ameliorated. When the other tenants of the apartment building, out of fear of an earthquake and with the ambition to own a more valuable building, prefer to have the building demolished to be rebuilt again, Mr. Mithat begins the most challenging of wars he gave for his collection. The building now is the shared destiny of these two men who live alone. Their relationship that begins to keep the collection intact takes on a different level with Mr. Mithat turning Istanbul over to Ali, and it ends where they change each others̀ destinies unknowingly Format Call # PN1997.2 .A3785 2004 DVD Catalog Record http://library.ohio-state.edu/record=b7168077~S7 TITLE Ağır roman / directed by Mustafa Altıoklar Synopsis Format DVD Call # PN1997.2 .A56 2012 DVD Catalog Record http://library.ohio-state.edu/record=b7168133~S7 TITLE Almanya : Willkommen in Deutschland / Beta Cinema sunar, Bir Roxy Film produksiyon Infa Film ortaklığıyla yönetmen: Yasemin Șamdereli senaryo Nesrin und Yasemin Şamdereli When six-year old Cenk Yilmaz asks his guest worker family if he is Turkish or German, the entire family Synopsis begins questioning their national identity.
    [Show full text]
  • Uzun-Katalog-Nisan-2016.Pdf
    Abay Kunanbay Cad. 33/6 Kavaklıdere Ankara Turkey T +90 312 466 3484 - 466 4728 F +90 312 466 4331 [email protected] www.ankarasinemadernegi.org albüm turkey, france, romania 2016, 104’, colour director-script Mehmet Can Mertoğlu cinematography Marius Panduru editing Ayhan Ergürsel cast Şebnem Bozoklu, Murat Kılıç, Rıza Akın, Mihriban Er, Ali Meriç, Müfit Kayacan production Kamara Film (Yoel Meranda, Eytan İpeker), A.S.A.P. Films (Cedomir Kolar, Marc Baschet, Danis Tanović), Parada Film (Oana Iancu, Călin Peter Netzer) T +90 532 407 6047 [email protected] world sales The Match Factory T +49 221 539 709-0 [email protected] An earnest provincial couple go to great lengths to Mehmet Can Mertoğlu create a photo album of a fake pregnancy as even- studied Turkish Litera- tual proof of a biological tie to their adopted baby. ture at Boğaziçi Univer- sity in Istanbul. His short film, Yokuş (The Slope), screened at numerous film festivals, among them Rotterdam, Edinburgh, Montréal Nouveau Cinema and Angers. Albüm is his debut feature. filmography 2008 Yokuş The Slope (short) 2011 Fer Glimmer (short) 5 boarding school yatılı okul turkey, germany, france 2017, 100’, colour director Rezan Yeşilbaş script Rezan Yeşilbaş production Rez Film (Rezan Yeşilbaş), Mitos Film (Mehmet Aktaş), Paprika Films (Pierre Fleurantin) contact Nadir Öperli (Executive Producer) T +90 533 661 7737 [email protected] 1981, Diyarbakır... Şiyap and his two brothers are Rezan Yeşilbaş com- sent to boarding school in an environment where pleted a BA in Cinema the effects of the previous year’s military coup are & TV at Marmara Uni- still felt intensely.
    [Show full text]