Kültürlerin Kesişimi, Aksanlı Sinema Ve Almanya'daki 2. Ve 3. Kuşak Türk

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Kültürlerin Kesişimi, Aksanlı Sinema Ve Almanya'daki 2. Ve 3. Kuşak Türk TC İstanbul Üniversitesi Sosyal Bilimler Enstitüsü Radyo, TV, Sinema Bölümü Yüksek Lisans Tezi Kültürlerin Kesişimi, Aksanlı Sinema ve Almanya’daki 2. ve 3. Kuşak Türk Yönetmenlerin Sinemasal Üretimi Diğdem IŞIKOĞLU 2501020462 Tez Danışmanı: Yrd. Doç. Dr. Ergün YOLCU İstanbul 2005 1 TEZ ONAYI ...................................Bilim Dalında ................... numaralı ...................................’İN hazırladığı “.....................................................” konulu YÜKSEK LİSANS / DOKTORA TEZİ ile ilgili TEZ SAVUNMA SINAVI, Lisansüstü Öğretim Yönetmeliği’nin 10.Maddesi uyarınca .........., ............ günü saat .......’da yapılmış, sorulan sorulara alınan cevaplar sonunda adayın tezinin ..............................’ne* OYBİRLİĞİ /OYÇOKLUĞUYLA karar verilmiştir. JÜRİ ÜYESİ KANAATİ ( 2 ) İMZA 2 ÖZ Çalışmanın birinci bölümünde göçmenlik, yersizleşme ve sinema ilişkisi bağlamında, “kültürlerin kesişim alanlarında kimliğin oluşumu” konusuna yer verilmiş ve bu kimlikler dinamik, toplumsal koşullara göre şekillenen, çift sesli, “senkretik” kimlikler olarak tanımlanmıştır. İkinci bölümde ise bu kültürel üretimin sinemasına değinilmiş ve Üçüncü Sinema, Hong Kong sineması, Beur Sineması, Siyah İngiliz ve Asyalı İngiliz Sinemaları üzerinde durulmuştur. Bu bağlamda Hamid Naficy’nin “Aksanlı Sinema” kategorizasyonu anlatılmış, aksanlı sinemanın türleri, üretim biçimleri üzerinde durulmuş ve aksanlı sinemanın biçem öğelerine yer verilmiştir. Ardından Türkiye’den Almanya’ya göçün kısa tarihine ve sinemada Almanya-Türkiye ilişkisine değinilmiştir. Son olarak Almanya’da yaşayan 2./3. kuşak Türk yönetmenler Fatih Akın, Buket Alakuş, Yüksel Yavuz, Sülbiye Günar, İdil Üner ve Sinan Akkuş’un filmleri aksanlı sinema öğeleri açısından incelenmiş ve biçemsel özellikleri ve üretim biçimleri ile aksanlı sinema özellikleri taşıyan üretimler olarak ortaya konulmuştur. ABSTRACT The first part of the research investigates the formation of intersititial identity in relation to migration, displacement and cinema. Intersititial identity is described as a dynamic, double-voiced and sencretic identity. The second part is about cinema as a cultural product and focuses on Third Cinema, Hong Kong Cinema, Asian British, Black British and Beur Cinema. The third part of the research is based on Hamid Naficy’s categorization of accented cinema. In this context, sub-types, production modes and constitutive components of accented style are defined. Afterwards short history of Turkish migration to Germany and cinematic relationships between Turkey and Germany are described. Finally, the films of Turkish filmmakers who live in Germany - Fatih Akın, Buket Alakuş, Yüksel Yavuz, Sülbiye Günar, İdil Üner and Sinan Akkuş- are interpreted by the components of accented style. 3 ÖNSÖZ İnsanlık tarihi göçler tarihidir. Göç eden bir insan çocukluğundan itibaren yaşadığı uzun sosyalleşme sürecinin sonunda sahip olduğu dünya görüşünü ve inanç sistemlerini de yanına alarak hiç de tanımadığı ve yabancısı olduğu, kendisi için yeni bir yere gelir. Bagajında getirdiği giysiler gibi, hayata dair deneyimleri ve inançları da bu topluma tıpa tıp uymaz. Bu uyumsuzluk, içine girilen toplumun ritüelleri ve dolayısıyla toplumun üyeleri ile çatışmayı doğurur. Çatışma ise hikayeyi yaratır. Göçmenlik deneyimi sanata bir kapı açar. Çünkü göç süreci boyunca gelenler ve gelinen yerdekiler ve gelinen yerin kültürel profili değişir ve dönüşür. Böyle bir dönüşümün ilk ses verenleri, maddi kültürden çok daha hızlı gelişen sanat, edebiyat, fikir yapıtlarıdır. James Joyce, Andrei Tarkovsky, Vladimir Nabokov, Fernando Solanas, Samuel Beckett böyle bir sanatsal deneyim düşünüldüğünde akla gelen ilk birkaç isim. Türkiye’den Almanya’ya göç de bu büyük resmin içinde bir parçayı oluşturuyor. 1950’lerde Türkiye’den Almanya’ya göçen işçilerin bugün, çocukları ve torunları var. Türkiye’den gidip, tüm değerlerini korumaya ve yaşatmaya çalışan ebeveynlerine karşıt olarak, onlar Alman okullarında okudular, Alman okul arkadaşları edindiler, Alman Edebiyatı’nı ve Alman Tarihi’ni öğrendiler. Ama bir yandan da aileyle birlikte bayramlar kutladılar, yaz tatillerinde Türkiye’yi ziyaret ettiler, Türk televizyonlarını izlediler ve Türk akrabalarla vakit geçirdiler. İki kutuplu bir dünyanın içinde farklı bir sosyalizasyon deneyimi yaşadılar. Bu deneyimin ve her iki topluma da dışarıdan bakışın bir ürünü olan sanat çalışmaları ortaya koydular. Bu “ses duyurma”nın sonucu olarak, daha büyük kitlelerce tanındılar. Ancak hala gerçekten ne tarafa ait oldukları sorusuna tek ve kesin bir yanıt veremiyorlardı. Yoksa gerçekten kafaları mı karışıktı? Ya da bu soruya verecekleri tek seçenekli bir yanıtın bir parçalarını yok saymak, birbirine girift halde bulunan bir dokuyu ayırmaya çalışmak olacağının farkında mıydılar? Bu çalışma ikinci sorudan yola çıkarak Almanya’daki 2./3. Kuşak Türk yönetmenlerin filmlerini 4 incelemeyi ve yönetmenlerin içinde bulundukları bu farklı uzamı ve kültürü sinemalarına nasıl yansıttıklarını inceleyecektir. Çalışma kapsamında öncelikle benimle konuştukları ve bana vakit ayırdıkları için yönetmenler Fatih Akın, Buket Alakuş, Yüksel Yavuz, Sülbiye Günar, Sinan Akkuş ve İdil Üner’e, birikimlerini benimle paylaşan danışman hocam Yrd. Doç. Dr. Ergün Yolcu’ya, çalışmam kapsamında, filmlere ve yazılı kaynaklara ulaşmamda yardımcı olan İstanbul Goethe Enstitüsü’ne, yukarıda adı geçen yönetmenlere ulaşmam konusunda yardımcı olan Arzu Çarkın, Heidi Kübel, Helmut Ness ve Marcel Winterscheid’e, çalışmam süresince yanımda oldukları ve fikirlerini benimle paylaştıkları için sevgili Füsun Sezen ve Tonguç Sezen’e, destekleri için aileme ve özellikle sevgili anneanneme çok teşekkür ederim. Diğdem IŞIKOĞLU İstanbul 2005 5 İÇİNDEKİLER Sayfa ÖZ/ABSTRACT.........................................................................................................iii ÖNSÖZ.......................................................................................................................iv İÇİNDEKİLER...........................................................................................................vi KISALTMA LİSTESİ..............................................................................................viii GİRİŞ...........................................................................................................................1 1. KÜLTÜRLERİN KESİŞİM ALANLARI VE SİNEMA .....................................4 1.1. Kültürlerin Kesişim Alanlarında kimliğin oluşumu.......................................4 1.2. Kültürel Kesişim Alanlarında Sinemasal Üretim.........................................16 1.2.1. Üçüncü Sinema: Açlık Estetiği..........................................................16 1.2.2. Siyah İngiliz ve Asyalı İngiliz Sineması: Çevreden Merkeze...........20 1.2.3. Hong Kong Sineması: Bir Geçiş Mekanı - Kimlik ve Aidiyet..........23 1.2.4. Beur Sineması: İkinci Kuşağın Sesi..................................................29 2. AKSANLI SİNEMA KAVRAMI.......................................................................32 2.1. Aksanlı Sinemanın Türleri...........................................................................34 2.1.1. Sürgün Sinemacıları..........................................................................35 2.1.2. Diyasporik Sinemacılar.....................................................................36 2.1.3. Postkolonyal etnik kimlik sinemacıları.............................................38 2.2. Aksanlı Sinemanın Üretim Biçimleri...........................................................40 2.2.1. Sinemasal Üretimde Endüstriyel ve Post-Endüstriyel Dönem..........40 2.2.2. Ara-alan Üretim Biçimi.....................................................................46 2.2.3. Kolektif Üretim Biçimi.....................................................................53 2.3. Aksanlı Biçemin Öğeleri..............................................................................64 3. ALMANYA’DAKİ 2.VE 3. KUŞAK TÜRK YÖNETMENLERİN SİNEMASI .............................................................................................................................70 3.1. Türkiye’den Almanya’ya Göçün Kısa Tarihi...............................................70 3.2. Sinemada Almanya-Türkiye İlişkisi.............................................................73 6 3.3. Almanya’daki 2. ve 3. Kuşak Türk Yönetmenlerin Filmlerinin Aksanlı Biçem Öğeleri Açısından Değerlendirilmesi................................................77 3.3.1. Fatih Akın..........................................................................................77 3.3.2. Buket Alakuş...................................................................................109 3.3.3. Yüksel Yavuz...................................................................................114 3.3.4. Sülbiye Günar..................................................................................123 3.3.5. İdil Üner...........................................................................................127 3.3.6. Sinan Akkuş.....................................................................................131 SONUÇ....................................................................................................................137 KAYNAKÇA..........................................................................................................140 EKLER....................................................................................................................152 7 KISALTMA LİSTESİ a.e. Aynı eser/yer a.g.e. Adı geçen
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