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Derhc3bcseyinkc3b6se-Karaperde HÜSEYİN KÖSE Mart 1970'te Gaziantep'te doğdu. 2003'te İstanbul Üniversitesi İletişim Fakültesi'nde Pierre Bourdieu üzerine hazırladığı teziyle doktorasını verdi. İletişimin kültürel boyutları, medya ve sinema sosyolojisi alanla­ rında çalışmaları bulunan Köse'nin yayımlanmış kitaplarından bazıları şunlar: Bourdieu Medyaya Karşı, Papirüs Yayınevi, İstanbul 2004; Med­ ya tik Pa radigma, Yirmidört Yayınevi, İstanbul 2006; Alternatif Medya , Yirmidört Yayınevi, İstanbul 2007; İletişimin Issızlaşması, Yirmidört Yayınevi, İstanbul, 2007; Medya ve Tüketim Sosyolojisi, Ayraç Yayınevi, Ankara, 2010; Medya Mahrem: Medya da Ma hremiyet Olgusu ve Tra ns­ paran Bir Ya şamdan Parçalar (ed.), Ayrıntı Yayınları, İstanbul, 2011; Planör Düşünce: Arkaik Dönemde ve Dijital Medya Çağında Ayla klık (ed.), Ayrıntı Yayınları, İstanbul, 2012; Eric Dacheux, Ka musal Alan (çeviri), Ayrıntı Yayınları, İstanbul, 2012. Ayrıntı: 765 Sinema Dizisi: 3 Kara Perde İran Yönetmen Sineması Üzerine Okumalar Hüseyin Köse Dizi Editörü Enis Rıza Sakızlı Düzelti Papatya Tıraşın © 2014, Hüseyin Köse Bu kitabın Türkçe yayım haklan Ayrıntı Yayınları'na aittir. Kapak Fotoğrafı Gergedan Mevsimi'nden Kapak Tasarımı Gökçe Alper Dizgi Esin Tapan Yetiş Baskı Kayhan Matbaacılık San. ve Tic. Ltd. Şti. Davutpaşa Cad. Güven San. Sit. C Blok No.: 244 Topkapı!İst. Tel.: (0212) 612 31 85 Sertifika No.: 12156 Birinci Basım: İstanbul, 2014 Baskı Adedi 1000 ISBN 978-975-539-784-9 Sertifika No.: 10704 AYRINTI YAYINLARI Basım Dağıtım Tic. San. ve Ltd. Şti. Hobyar Malı. Cemal Nadir Sok. No.: 3 Cağaloğlu - İstanbul Tel.: (0212) 512 15 00 Faks: (0212) 512 15 11 www.ayrintiyayinlari.com.tr & [email protected] Derleyen Hüseyin Köse Kara Perde İran Yönetmen Sineması Üzerine Okumalar İçindekiler Önsöz ....................................................................................................................................................... 7 Birinci Perde: Sükut "Bize Bak!"/Seçil Büker ........................................................................................................................ 17 Sınırda Yaşam, Siste Ölüm: Bahman Ghobadi Sineması Üzerine/Nihat Nuyan ......................... 28 Göz Suçlarının Yükü: "Beed-e Majnoon"da Görmenin Karanlık Renkleri Üzerine/Hüseyin Köse .......................................................................................................... 44 Bababağı Cüzamhanesi'nden Dünyaya Kapı Açan El: Furuğ Ferruhzad/ Derya Önder........................................... ............................................................... 60 Ay ın Arkasındaki Güneş Mohsen Mahmelbaf Sinemasında Sır ve Kadın Denklemi/ Ömer Alanka.............. ............................................................................................ 81 İkinci Perde: Kirazın Ta dı Bahman Ghobadi Sineması: Sınırlar ve Yollar/Ahmet Ergenç ....................................................... 95 Hayatı Kopyalamak: Abbas Kiarostami Sineması Üzerine Düşünceler/Özgür İp ek .................. l 18 Samira Makhmalbaf Sinemasının Gerçeklik, Sansür ve Mekanla İmtihanı/ Özge Özdüzen ..... 134 Ye ni İran Sinemasının Estetik ve Siyasal Oluşumu/ Burak Bakır ................................................. 148 Tekamül Aşkının Serencamı ya da Baran Filminde "Teklik" ve "Çokluk" Halleri/ Ahmet Oktan ................................................................................... 157 Üçüncü Perde: Beyaz Balon Panahi Sineması Üzerine Sayıklamalar/ Ertuğrul Akgün .............................................................. 175 Modern İran Sineması: Estetik ve Sosyal İmgeci Sinema Yaklaşımı/E. Nezih Orhon ............... 203 Dariush Mehrjui ve Modern İran Sinemasının Başlangıcı/Ali Sadidi Heris............................... 208 Zamanının Furuğ'u: Rakshan Bani Etemad/Farhad Eivazi ..........................................................231 "A sghar Farhadı Düğümü"/ Ahmet Sarı ..........................................................................................251 Self-Oryantalizm Kıskacında Kandahar'a Yolculuk/Gökçen Civaş ............................................... 274 Yazarlar ................................................................................................................................................ 283 Önsöz Niçin Beyaz Perde değil de Ka ra Perde? İlkin bu soruyu yanıtlayarak başlamalı söze: Sinemaya ilişkin bu en iyimser, en yalın, en yaygın nitelemenin; "Beyaz Perde"nin ters-yüz edilmiş sentaktik ve semantiğinden. İran sinemasının, genel si­ nema sanatının büyük gerçekliğine; "opus magnum"una tasallut eden tefekkürünün kendine özgü bir iç hatlar terminali oluşundan belki de. İçinde tüm renklerin te­ merküz ettiği bir duraktan ... Perde'nin "kara"lığı, yargı gücünün uzlaşımcı estetiz­ ıninden belirgin bir sapma açısı her şeyden önce, unutuşun kapkara belleğinde bembeyaz bir leke. Kara'nın, siyahi yoğunluğun esrarengiz etkiselliğidir renkler içinde en baskın olan. Büsbütün muttasıl bir karanlığın hüküm sürdüğü estezik (duyumsanabilir) bir hakikatin gecesi değildir bu; aksine, farklılığın, sıradışılığın, kategori dışı kalmışlığın, tasnife sığmazlığın, normlara uymazlığın; kısaca, müsta­ kil bir düşünsel kompartımana dönüşecek ölçüde yeni ve özgün bir terminoloji içinden konuşabiliyor olmanın muktedirliği tarafından yaratılmış bir sinemasal eğilimin dışavurumu ... Apaçık bir akıl yürütmenin can sıkıcı saydamlığı olmasa rastlantının bozguncu diline hükmetmenin yaralayıcı şiirinden söz edebilir miydik? Ya manevi yoksullu­ ğun Farisi bakışı olmadan, sinemanın "idylik"harmanından? Kara çarşafın kapkara hüznü dilsizliğin bastırılmış hırıltısına karıştığında, en iddiasız yaşamın en tanta­ nasız görüntüsü bile patlamaya hazır bir silah olup çıkar hemen. Çünkü ölçülü mü­ tevazılığın bakiyesi tekinsizdir her koşulda. İran sinemasının hesaplı ve ölçülü sükunetinde de uçsuz bucaksız düş gücünün göz açıp kapayıncaya kadar yakıcı dü­ şüncelere tercüme edilişinin imkansız güzelliğiyle karşılaşırız; gerçeklikle iç içe geçmiş gizemlerin, türlü paralaks hallerinin farklı anlamsal katmanlarıyla... Bu filmlerdesine matografık dilin her bakımdan kurmaya büyük özen gösterdiği din­ ginlik, sözcüğün gerçek anlamında sevinçli bir dileyiştir. Coğrafyanın, kelimenin tam anlamıyla bir "kader" olarak algılandığı bir yaşamın ihtiva ettiği kırılgan şiir­ sellikle katıksız iyimserlik arasında bitimsiz bir gidiş-geliş. Bu öylesine zahmetli bir mesaidir ki apaçık ortada duranın ikinci kez adlandırılmasını ya da farkına varıl­ masını fuzuli bir çabaya dönüştürür. Anlamayı groteskleştirir, belirsizliği daha da belirginleştirirken ... İran sinemasının belli başh filmlerinekabaca bir göz attığımız­ da bile kimi filmlere isimlerini veren sözcüklerin anlam bagajı o denli geniştir ki belki de bu yüzden Ghobadi'nin evreni baştan sona bir Gergedan Mevsimi'dir; Mah­ melbaf'ınki, ömrü Sükut'a adanmış bir arının her sabah küçük bir cam kavanozda yeni baştan akort ettiği hayat; Macidi'ninki Ta nrı'nın Rengi; Kiarostami'ninki bütün bir agonist çabayı ağızda sulu bir hazza dönüştüren bir Kirazın Ta dı vs. 7 Kara'nın göze, söze gelmezliği var bir de perdeye iliştirildiğinde geridekini gö­ rünmez kılan, kendi sesinden yoksun bırakan, merak kışkırtan bir derinliği... Ana renklerin dışında bir sürgünlüğü ... Ye şerdiği coğrafyanın gri aydınlığına uygun dü­ şen bir griliği, bir örselenmişliği var. Söz konusu örselenmişlik, bir tür ihmal edil­ miş duyarlıklar manzumesi aynı zamanda. Anaakım sinema eğiliminin upuzun mesaisinin, sinemanın o büyük "Evet"inin ölümcül modernizm coğrafyasında hoy­ ratça yol alırken geride bıraktığı "yaralı bilinç"lerin kendi hesabını görmeyi bugüne ertelemiş anlamlı çağrısı var. Tüketimin, Galeano'nun deyişiyle "ateşli satın alma iletişimi"nin her kaleminde şubeler açmış bir imaj endüstrisinin muazzam desteği­ ni de yedeğine alarak "makul" süre hayatta kalabilmek için kendi "kritik kitle"sini yaratan popüler sinemanın yeni kapitalizmin kerameti kendinden menkul "sözde özgürlük" ethosuna, seyirlik cümbüşüne kafa tutan bir tarafı var... Başka bir deyişle aynı yaralı bilincin, kara perdenin farisi renkleri üzerinden, her yerde çağın hazcı ve maddiyatçı tamahkarlığıyla kimyasal tepkimeye girmiş vicdanına, çoktan müh­ letini tamamlamış bir mevsimi yeni bir çiçek açma dönemi zanneden mahfillere, araçsalcı rasyonalitenin pozitif bilim yuvalarına alçak irtifalıinişler düzenledikleri günden bu yana, Atay'ın dediği gibi "ne yeni bir şey öğrenmiş ne de yeni bir şey unutmuş" olan kafalara söyleyeceği farklışeyler var hala... Farisi filmkahramanla rının her koşulda "yaşamı başarmasının" şiir yüklü der­ mansızlığına gelince ... Çaresizlik dolu görüntülerinin kupkuru alevi bile, ışıksız kalplere baruttur çoğu zaman; en yakıcı umutsuzlukların meydan okuyan tavrı kar­ şısındayken bile umarsızca çekip gitmelerin esrik vapuru gibidir. Nasıl ki yaşamı başarmak, derinlerdeki içsel bir güç merkezine, bireysel/ toplumsal tarihin deney­ sel kayıtlarına başvurmadan mümkün değilse ruhu zamanın salgın değerleriyle ter­ biye etmeden de huzurlu bir kurtuluş yoktur. Ama nasıl oluyor da gözler, perdede bunca sisli kayboluşlarına rağmen, yine de dupduru ve tertemiz bakabiliyor? Haki­ katen de bu naifliği anlamadan İran sinemasını gereği gibi kavrayabilmek zordur. Bu öyle bir naifliktir ki sözgelimi birini özlediğimizi söylediğimizde, bu özlemin aynı zamanda tüm doğallığı içinde türlü türlü seslerden ve renklerden yapılmış ka­ nıtlayıcı bir resmini sunmamız gerektiğini; dahası, bizden bu resmin içini en sami­ mi duygularla doldurmamız gerektiğinin bilincine varmamızı isteyen sahicilik
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