DOCSLIB.ORG

A Generic Analysis of Turkish Social Realist Cinema: 1960-1965

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Generic Analysis of Turkish Social Realist Cinema: 1960-1965 A GENERIC ANALYSIS OF TURKISH SOCIAL REALIST CINEMA: 1960-1965 A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY ALKIM YALIN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN THE PROGRAM OF MEDIA AND CULTURAL STUDIES SEPTEMBER 2017 Approval of the Graduate School of Social Sciences Prof. Dr. Tülin Gençöz Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Science. Prof. Dr. Necmi Erdoğan 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 Master of Science/. Assist. Prof. Dr. Özgür Avcı Supervisor Examining Committee Members (first name belongs to the chairperson of the jury and the second name belongs to supervisor) Prof. Dr. Necmi Erdoğan (METU, PADM) Assist. Prof. Özgür Avcı (METU, PADM) Prof. Dr. L. Doğan Tılıç (BaĢkent Üni., PRP) 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 : Alkım YALIN Signature : iii ABSTRACT A GENERIC ANALYSIS OF TURKISH SOCIAL REALIST CINEMA: 1960-1965 Yalın, Alkım M.S., Department of Media and Cultural Studies Supervisor : Assist. Prof. Dr. Özgür Avcı September 2017, 142 pages This study is devoted to a generic analysis of social realist films made in Turkey between 1960 and 1965. This cinematic tendency emerged in the period following the coup of May 27th and started to fade away after 1965. Most notable filmmakers who contributed to social realist cinema of the period were Halit Refiğ, Ertem Göreç, Metin Erksan and Duygu Sağıroğlu. This study attempts to analyze a group of chosen social realist films, according to their common generic features both in terms of content and form, and to evaluate these films based on the concrete historical and social conditions of the period. At the end of the study, it is concluded that the so- called 'social-realist' movies in Turkish cinema cannot be considered as a genre; what was common to all these filmmakers, or the major reason behind the emergence of a wave of films in the early 1960s, was their common concern with and exclusive focus on the social issues of the period. Keywords: Turkish Cinema, Social Realism, Genre Analysis iv ÖZ TÜRKĠYE SĠNEMASINDA TOPLUMSAL GERÇEKÇĠLĠĞĠN TÜR ANALĠZĠ: 1960-1965 Yalın, Alkım Yüksek Lisans, Medya ve Kültürel ÇalıĢmalar Tez Yöneticisi : Yrd. Doç. Dr. Özgür Avcı Eylül 2017, 142 sayfa Bu çalıĢma Türkiye‟de 1960-1965 yılları arasında yapılan toplumsal gerçekçi filmlerin türsel analizine ayrılmıĢtır. Türk sinemasında bu eğilim 27 Mayıs darbesinin hemen ardından belirmiĢ ve 1965 yılının ardından kaybolmaya yüz tutmuĢtur. Dönemin toplumsal gerçekçi sinemasına katkıda bulunan yönetmenlerin baĢında Halit Refiğ, Ertem Göreç, Metin Erksan ve Duygu Sağıroğlu gelmektedir. Bu çalıĢma, toplumsal gerçekçi filmler arasından seçilen bir grup filmi hem içerik hem de biçim açısından ortak türsel özellikleri bağlamında analiz etmeyi ve bu filmleri dönemin somut tarihsel ve toplumsal koĢullarına dayanarak değerlendirmeyi hedeflemektedir. Bu çalıĢma sonucunda Türk sinemasında toplumsal gerçekçi olarak adlandırılan filmlerin bir tür oluĢturmadığı; bütün bu yönetmenlerin ortak özelliğinin, ya da 1960‟lı yıllarda böyle bir sinema eğiliminin ortaya çıkmasının temel nedeninin dönemin toplumsal meselelerine dair ortak ve özel bir ilgi olduğu sonucuna ulaĢılmıĢtır. Anahtar Kelimeler: Türk Sineması, Toplumsal Gerçekçilik, Tür Analizi v ACKNOWLEDGMENTS I would like to express my sincere gratitude to my thesis advisor Assist. Prof. Dr. Özgür Avcı. His insights and criticisms contributed to the development of this study and motivated me throughly. Without his guidance, support and patience, I would not be able to complete this study. I would like to thank Prof. Dr. Necmi Erdoğan not only for his helpful insights and advises from the very beginning of this study, but also for his for guidance and support throughout my graduate studies. I also would like to thank my examining committee member Prof. Dr. L. Doğan Tılıç for his criticisms and suggestions. I owe the deepest gratitude to my parents and my family, who have supported me and given me strength to complete this study. They have been there for me in the hardest of times. vi TABLE OF CONTENTS PLAGIARISM ............................................................................................................ iii ABSTRACT ................................................................................................................ iv ÖZ ................................................................................................................................ v ACKNOWLEDGMENT ............................................................................................. vi TABLE OF CONTENTS ........................................................................................... vii CHAPTER ACKNOWLEDGMENTS .......................................................................................... vi 1. INTRODUCTION ................................................................................................... 1 2. THEORETICAL BACKGROUNGS OF THE STUDY ......................................... 8 2. 1. Artistic Form and Ideology .............................................................................. 8 2. 1.1. Art and Ideology ....................................................................................... 8 2.1.2. Form and Content ..................................................................................... 11 2.1.3. Ideology of Form ..................................................................................... 15 2.2. Genre Study and Cinema ................................................................................ 17 2.2.1 Why Does Genre Study Matter? ............................................................... 18 2.2.2 Cinema and Genres ................................................................................... 22 2.3. Understanding Realism and Social Realism ................................................... 25 2.3.1. What is Realism?...................................................................................... 26 2.3.2. Defining Social Realism .......................................................................... 30 3. POLITICS AND PRACTICE ................................................................................ 37 3.1. Politics and Practice ........................................................................................ 42 3.2. 1960 Coup d‟Etat and Social Realism ............................................................ 42 3.3. 1960s and Left Kemalism ............................................................................... 49 3.4. Social Realism and Social Criticism ............................................................... 51 4. CONTENT AND FORM ....................................................................................... 54 4.1. Content ............................................................................................................ 54 4.1.1. Themes and Issues.................................................................................... 54 4.1.1.1. Class Conflict and Working Class Struggle ...................................... 55 vii 4.1.1.2. Discontents of Modernisation and Urbanisation ............................... 63 4.1.1.3. Rural migration and Urbanization ..................................................... 67 4.1.1.4. Village Life ....................................................................................... 71 4.1.1.5. Concluding Remarks ......................................................................... 75 4.1.2. Characters ................................................................................................. 75 4.1.2.1. Working Classes ................................................................................ 78 4.1.2.2. Bourgeoisie ........................................................................................ 84 4.1.2.3 Urban Poor and New Urbanites ......................................................... 89 4.1.2.4. Peasants ............................................................................................. 94 4.1.2.5. Intellectuals and Students .................................................................. 99 4.1.2.6 Concluding Remarks ........................................................................ 105 4.2. Form And Style in Turkish Social Realist Cinema Of 1960s ....................... 106 4.2.1. Style in Social Realist Cinema ............................................................... 108 4.2.2. The Form in Social Realist Cinema ....................................................... 114 5. CONCLUSION .................................................................................................... 116 REFERENCES ......................................................................................................... 121 APPENDICES A. TRANSLATED MOVIE LINES ........................................................................ 128 B. TURKISH SUMMARY / TÜRKÇE ÖZET ........................................................ 130 C. TEZ FOTOKOPĠSĠ ĠZĠN FORMU ....................................................................
Load more

Recommended publications
  • A Reframing of Metin Erksan's Time to Love
    Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time to Love Murat Akser University of Ulster, [email protected] Volume 3.1 (2013) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2013.57 | http://cinej.pitt.edu Abstract This essay will hunt down and classify the concept of the national as a discourse in Turkish cinema that has been constructed back in 1965, by the film critics, by filmmakers and finally by today’s theoretical standards. So the questions we will be constantly asking throughout the essay can be: Is what can be called part of national film culture and identity? Is defining a film part of national heritage a modernist act that is also related to theories of nationalism? Is what makes a film national a stylistic application of a particular genre (such as melodrama)? Does the allure of the film come from the construction of a hero-cult after a director deemed to be national? Keywords: Turkish cinema, national cinema, nation state, Metin Erksan, Yeşilçam New articles in this journal are licensed under a Creative Commons Attribution 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. Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time to Love Murat Akser Twenty-five years after its publication in 1989, Andrew Higson’s conceptualization of national cinema in his seminal Screen article has been challenged by other film scholars.
    [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]
  • Turkish Cinema
    Turkish cinema Nezih Erdoğan Deniz Göktürk The first years Cinema, as a Western form of visual expression and entertainment, did not encounter resistance in Turkey, a country culturally and geographically bridging East and West. It perfectly represented the ambivalent attitudes of the national / cultural identity under construction. On one hand, cinema came as a sign of modernization / Westernization, not only for the images of the Westbeing projected onto the screen, but also for the condi- tions of its reception. Cinematography was a technological innovation imported from the West and the ritual of going to the movies became an important part of the modern urban experience. On the other hand, cinema offered possibilities for the production of a ‘national discourse’. Many of the early feature films reflect the ‘birth of a nation’ or resis- tance to the Allied Forces during World War I. The audience was already familiar with the apparatus (theatre, screen, figures, music and sound, light and shadow), which bore some resemblance to the traditional Turkish shadowplay Karagöz, one of the most popular entertainment forms of the past. Ayse Osmanoğlu, the daughter of Sultan Abdülhamid II, remembers that the French illusionist of the palace used to go to France once a year and return with some novelties to entertain the palace population; a film projector throwing lights and shadows on a wall was the most exciting of these spectacles. The first public exhibition took place in 1896 or 1897 in the Sponeck pub, which was frequented by non-Muslim minorities (namely Levantines), as well as Turkish intellectuals infatuated with the Western civilization in Pera (today Beyoğlu), a district in the European part of Istanbul known for its cosmopolitan character.
    [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]
  • Film, Philosophy Andreligion
    FILM, PHILOSOPHY AND RELIGION Edited by William H. U. Anderson Concordia University of Edmonton Alberta, Canada Series in Philosophy of Religion Copyright © 2022 by the authors. All rights reserved. No part of this publication 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 Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Philosophy of Religion Library of Congress Control Number: 2021942573 ISBN: 978-1-64889-292-9 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: "Rendered cinema fimstrip", iStock.com/gl0ck To all the students who have educated me throughout the years and are a constant source of inspiration. It’s like a splinter in your mind. ~ The Matrix Table of contents List of Contributors xi Acknowledgements xv Introduction xvii William H.
    [Show full text]
  • Grapes of Wrath
    #6.13 PERSPECTIVES Political analysis and commentary from Turkey THE TRANSFORMATION OF AGRICULTURE AND RURAL AREAS IN TURKEY GRAPES OF WRATH DEMOCRACY FOREIGN POLICY HUMAN LANDSCAPES The Gezi Park Resistance Objective versus Process in Turkey’s Memet Aksoy: and the Peace Process EU Membership Bid This is What Being an Artist is: Nazan Üstündağ Erhan İçener Taking Sides Page 54 Page 62 Ayşegül Oğuz Page 66 TURKEY REPRESENTATION Contents From the editor 3 ■ Cover story: The transformation of agriculture and rural areas in Turkey The dynamics of agricultural and rural transformation in post-1980 Turkey Murat Öztürk 4 Europe’s rural policies a la carte: The right choice for Turkey? Gökhan Günaydın 11 The liberalization of Turkish agriculture and the dissolution of small peasantry Abdullah Aysu 14 Agriculture: Strategic documents and reality Ali Ekber Yıldırım 22 Land grabbing Sibel Çaşkurlu 26 A real life “Grapes of Wrath” Metin Özuğurlu 31 ■ Ecology Save the spirit of Belgrade Forest! Ünal Akkemik 35 Child poverty in Turkey: Access to education among children of seasonal workers Ayşe Gündüz Hoşgör 38 Urban contexts of the june days Şerafettin Can Atalay 42 ■ Democracy Is the Ergenekon case a step towards democracy? Orhan Gazi Ertekin 44 Participative democracy and active citizenship Ayhan Bilgen 48 Forcing the doors of perception open Melda Onur 51 The Gezi Park Resistance and the peace process Nazan Üstündağ 54 Marching like Zapatistas Sebahat Tuncel 58 ■ Foreign Policy Objective versus process: Dichotomy in Turkey’s EU membership bid Erhan İcener 62 ■ Culture Rural life in Turkish cinema: A location for innocence Ferit Karahan 64 ■ Human Landscapes from Turkey This is what being an artist is: Taking Sides Memet Aksoy 66 ■ News from HBSD 69 Heinrich Böll Stiftung - Turkey Represantation The Heinrich Böll Stiftung, associated with the German Green Party, is a legally autonomous and intellectually open political foundation.
    [Show full text]
  • 352 METİN ERKSAN'in SEVMEK ZAMANI FİLMİNİN ELEŞTİREL ALIMLAMASI1 Tunç YILDIRIM Tunceli Üniversitesi, İletişim Fakü
    Global Media Journal: TR Edition 5 (9) Yıldırım Fall 2014 METİN ERKSAN’IN SEVMEK ZAMANI FİLMİNİN ELEŞTİREL ALIMLAMASI1 Tunç YILDIRIM Tunceli Üniversitesi, İletişim Fakültesi,Radyo Televizyon ve Sinema Bölümü Tunceli ÖZET: Sinema tarihyazımı söz konusu olduğunda araştırmacıların üzerinde durdukları nokta yapılan film çözümlemelerinin mutlaka tarihselleştirilmesidir. Bir başka deyişle, birinci el kaynaklar üzerine kurulu yeni sinema tarihi modeli, filmleri yapım ve alımlama bağlamları içine yerleştirerek açıklama gayesindedir. Bu makalenin amacı da Sevmek Zamanı’nın 1966 yılındaki iki özel gösterimi sonrasında nasıl bir eleştirel alımlama ile karşılaştığı sorusunu yanıtlamaktır. Yöntem, biri ulusal ve diğeri de uluslararası olan iki eleştiri metninin karşılaştırılması üzerine kuruludur. Söz konusu film, ilk olarak 22 Nisan 1966’da İstanbul’da Kulüp Sinema 7’de, sonra Aralık 1966’da Uluslararası Kartaca Film Festivali’nde “yarışma dışı” olarak gösterilir. Kulüp Sinema 7’nin başkanı Sami Şekeroğlu (1966) dönemin radikal siyasi dergisi Yön’de bu filmin Türk sinema tarihindeki yeniliğine dikkat çekerken; Kartaca festivalinin jüri başkanı, kıdemli sinema tarihçisi komünist Georges Sadoul (1966) Fransa’nın ünlü kültür dergilerinden Les Lettres Françaises’de yakından tanımadığı Türk sinemasının bu tuhaf örneği üzerinde itina ile durmaktadır. Anahtar sözcükler: Metin Erksan, Sevmek Zamanı, Eleştirel Alımlama, Georges Sadoul, Sami Şekeroğlu. The Critical Reception of Metin Erksan’s Movie: Time For Live ABSTRACT: In the cinema historiography, researchers have to historicize film analysis. In other words, new film history model -which bases itself on primary sources- has the aim of explaining movies based on their production and reception contexts. The aim of this article is to examine the critical reception of the movie Time for Love when it was featured in two exclusive galas in 1966.
    [Show full text]
  • The Exorcist in Istanbul: Processes of Transcultural Appropriation Within Turkish Popular Cinema
    The Exorcist in Istanbul: Processes of Transcultural Appropriation Within Turkish Popular Cinema Iain Robert Smith, University of Nottingham Rather than the manufactured clash of civilisations, we need to concentrate on the slow working together of cultures that overlap, borrow from each other and live together in far more interesting ways than any abridged or inauthentic mode of understanding can allow. (Said 2003: xxii) In the recent documentary Crossing the Bridge: The Sound of Istanbul (dir. Fatik Akin 2005), the record label bosses Ahmet Uluğ and Cem Yegül comment on the interstitial status of Istanbul: Cem Yegül: Istanbul is Asia and Europe. It’s East and it’s West. Ahmet Uluğ: But actually that’s an advantage. We try to be European, but at the same time we’re open to the East. That’s a part of us too. We’re open to both sides. The film goes on to illustrate this thesis with a focus on Istanbul’s varied musical culture, which ranges from traditional Arabesque singers such as Orhan Gencebay through to contemporary acts, such as the rapper Ceza and the neo-psychedelic rock group Baba Zula. Exploring the ways in which Turkish musicians have borrowed and adapted elements of musical traditions as diverse as hip-hop, fusion and post-rock, Crossing the Bridge lays emphasis on the idea of Istanbul as a ‘bridge’ between Europe and Asia both geographically and culturally. Indeed, these processes of borrowing and adaptation are not simply a contemporary phenomenon. Transcultural appropriation1 has a long history within Turkish popular 1 I purposefully use the term ‘transcultural appropriation’ as this is a study of appropriation ‘across’ national and cultural boundaries.
    [Show full text]
  • Creative Cities and the Film Industry: Antalya's Transition to a Eurasian Film Centre
    The Open Urban Studies Journal, 2008, 1, 1-10 1 Open Access Creative Cities and the Film Industry: Antalya’s Transition to a Eurasian Film Centre Bahar Durmaz1, Tan Yigitcanlar*,2 and Koray Velibeyoglu1 1Department of City and Regional Planning, Izmir Institute of Technology, Izmir, Turkey 2School of Urban Development, Queensland University of Technology, Brisbane, Australia Abstract: In the knowledge era, cites are competing to attract and retain creative industries and workers for securing their economic, social and urban growth as well as ensuring their creative city formation. During the last decade rapidly grow- ing popularity of creative cities has encouraged many cities seeking creativity to specialise in specific sectors of the crea- tive industries. In this context, the paper explores creativity strategies and the role of film industry in creative city formu- lation. Antalya, Turkey is investigated as an emerging film industry-oriented creative city due to recent industry develop- ments, its natural and constructed assets and amenities along with its openness to creativity. This paper also examines some of the creative city examples, scrutinises potentials and constraints of Antalya and Turkish film industry, and pro- vides discussion and recommendation for Antalya’s transition to a Eurasian film centre. INTRODUCTION the major building blocks of creative city formation. The following two sections discuss the creative turn in urban Throughout the last two centuries many cities trans- growth, current issues and trends in creative city formation, formed their economies from an agricultural-based economy and the creative communities. The fourth section presents an to an industrial-based one, and last two decades witnessed outline of creativity strategies, and explores the superim- the transformation of these industrial-based economies into posed strategies of place-based and talent-based policies.
    [Show full text]
  • Dönemini Sallayan Yönetmenler Ve Filmleri Geçip Giderken Neden Hâlâ Metin Erksan Ve Lütfi Akad Sineması Konuşuluyor? Kurtuluş KAYALI*
    Türkiye Araştırmaları Literatür Dergisi, Cilt 18, Sayı 36, 2020/2, 671-682 Dönemini Sallayan Yönetmenler ve Filmleri Geçip Giderken Neden Hâlâ Metin Erksan ve Lütfi Akad Sineması Konuşuluyor? Kurtuluş KAYALI* Yetmiş yaş kuşağı, 47’liler sinemaya haliyle kendi gençliklerinin hareketlilikleri içinde yaklaştılar. Aslında hareketlilik asıl 1960’lı yılların ortamının en belirleyici unsuruydu. 1947’liler doğal olarak sinemayla 1960’lı yılların sonlarından itibaren ilgilendiler. Belki de Türkiye’yle de 1960’lı yılların ortalarından sonra ilgilendiler. Onların 1950’li yılların başlarından itibaren sinema yapan Metin Erksan, Lütfi Akad ve Atıf Yılmaz’ın ilk dönem filmlerini hatırlamaları biraz, biraz değil fazlasıyla zordu. Onların Osman Seden, Halit Refiğ ve Memduh Ün’ün filmleriyle intibak kurmaları daha bir mümkündü. Sadece 47’lilerin değil aynı kuşaktan sıradan insanların böylesi bir hâletiruhiyesi vardır. O hareketlilik daha belirgin olarak Atıf Yılmaz filmlerinde de bulunmaktadır. Lütfi Akad’ın ilk dönem hatırlanan filmleri genellikle Osman Seden’in senaryosunu da yazdığı filmlerdir. Belki de filmin ritminin hızlandığı, Memduh Ün’ün çektiği son bölümü açısından Üç Tekerlekli Bisiklet de o hareketli filmler açısından ilginçtir. Sıradan, geleneksel sinema seyircisinin tipik bir Ayhan Işık filmi seyretmesi ancak filmin son karelerinde sağlanmış gibidir. Zaten tipik sinema seyircisinin aklında kala kala Üç Tekerlekli Bisiklet ile Katil kalmış gibidir. 1960’lı yıllardan itibaren de sinemada hareketliliği bariz bir biçimde, Osman Seden ve Atıf Yılmaz filmleri temsil etmiş ve Halit Refiğ ile Memduh Ün filmleri de bir anlamda benzeri bir mecrada gelişmiştir. 1960’lı yılların sonlarından itibaren muhafazakârların Halit Refiğ’i, modernistlerin de Atıf Yılmaz’ı fazlasıyla önemsemelerinin sebebini burada da aramak anlamlı ola- bilir. Giovanni Scognamillo’nun da 1969 yılında tamamladığı Türk Sinemasında * Prof Dr.
    [Show full text]
  • TUR 329: TURKISH CINEMA Spring 2019
    University of Texas at Austin Department of Middle Eastern Studies TUR 329: TURKISH CINEMA Spring 2019 Unique #: 41385 Course Hours and Room: Instructor: Jeannette Okur MWF 12:00-1:00 PM in PAR 103 Office: CAL 509 Office Hours: T-TH 11:00 AM-12:00 PM Email: jeannette.okur @austin.utexas.edu or by appointment Course Description: Global flows of information, technology, and people have defined Turkish cinema since its inception in the early 20th century. This course, taught entirely in Turkish, will introduce different approaches to studying cinema, while also providing students with the opportunity to achieve advanced-level language skills. This is a screening-intensive course, and we will watch a wide range of films, including popular, arthouse, auteur-made, generic, and independent works. In each unit, we will read film history and criticism in both Turkish and English and closely examine primary sources in their original language. Our goal will be to determine what constitutes Turkish cinema as a national cinema and identify the ways in which its constitutive elements are part of transnational movements. To this end, we will discuss the socio-political contexts, industrial trends, aesthetic sensitivities, and representation strategies of selected films. By constantly reformulating the essential question of “what Turkish cinema is,” we seek to understand how Turkey’s filmmakers, critics, cultural policy-makers, and viewers have answered this question in different historical periods. Prerequisite: TUR 320K/TUR381K with a letter grade of C or higher (or via placement via successful performance on the DMES Turkish placement exam) Language/Content Learning Objectives: By the end of TUR 329 you will, inşallah: • initiate, sustain, and close a general conversation with a number of strategies appropriate to a range of circumstances and topics, despite errors.
    [Show full text]
  • February 25, 2014 (Series 28: 5) Metin Erskan, SUSUZ YAZ/DRY SUMMER (1964, 90 Minutes)
    February 25, 2014 (Series 28: 5) Metin Erskan, SUSUZ YAZ/DRY SUMMER (1964, 90 minutes) Directed by Metin Erksan Cinematography by Ali Ugur Erol Tas ... Kocabas Osman Hülya Koçyigit ... Bahar Ulvi Dogan ... Hasan Alaettin Altiok METIN ERKSAN (director) (b. Ismail Metin Karamanbey, January 1, 1929 in Canakkale, Turkey—d. August 4, 2012 (age 83) in Istanbul, Turkey) directed 41 films and TV shows, among them 1982 “Preveze öncesi” (TV Mini-Series), 1977 I Cannot Live Without You, 1977 Kadin Hamlet, 1975 “The Marsh” (TV Movie), 1975 “A Suicide” (TV Movie), 1975 “A Horrible Train” (TV Movie), 1972 Süreyya, 1971 Hicran, 1971 Makber, 1970 Eyvah, 1969 Iki günahsiz kiz: Iki hikayeli film, 1968 Kuyu, 1967 Ayrilsak da beraberiz, 1966 Immortal Love, 1965 Time to Love, 1962 Bitter Life, 1961 The False Prince, 1961 My Son, 1961 The 1964 Pavements of Istanbul, 1964 Dry Summer, 1962 Bitter Life, Two Orphans, 1961 A Summer Rain, 1961 A Spring Evening, 1962 The False Marriage, 1962 Revenge of the Snakes, 1961 The 1961 The Idle Driver, 1961 The Bitter Olive, 1961 The Monster Quarter Friends, 1960 Beyond the Nights, 1960 Nebahat, the of Toros, 1960 The Transitory World, 1959 The Last Passenger, Driver, 1959 Hicran yarasi, 1955 Murder in Yolpalas, 1954 The 1958 The Last Breath, 1958 The Manacle, 1958 Goodbye, 1958 White Hell, and 1953 The Dark World. The Thorny Hedge, and 1956 The Fire. ALI UGUR (cinematographer) (b. 1933 in Fethiye, Mugla, EROL TAS ... Kocabas Osman (b. February 28, 1928 in Turkey—d. 1998 (age 65)) was the cinematographer for 124 film Karaköse, Erzurum, Turkey—d.
    [Show full text]