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Anime Konusunda Verilebilecek Hususla Bu Yaziyi Bitirelim

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Anime Konusunda Verilebilecek Hususla Bu Yaziyi Bitirelim uzak-dogu sinemasi Ne kadar çok film, ne kadar az zaman 1 Godzilla ve diger Japon Canavar Filmleri 2 Sadi Konuralp Japonlarin Sonsuz Hayalleri ve Canli Çizgileri , .12 Burak Aydin Hong Kong Hollywood'dan Neden Daha Üstündür 19 David Bordwe/1 (çev.: Ahmet Gürata) Kahpe Dünyada Öfkeli Bir Havari: John Woo 22 Yesim Tabak Kung Fu Sinemasinda Bir Gezinti: Yilan ve Akrep Teknigi 30 Metin Demirhan Kaplan ve Ejderha'da Mekan ve Üretimi 38 Can Altay Nikkatsu, Wakamatsu, ve Digerleri 41 Kaya Özkaracalar Yeni Patika özel sayisi Y. Patika Sahibi ve Yaziisleri Müdürü: Abdullah Çelikarslan GECEYARiSi SINEMASi Sonbahar 2002 Genel Yayin Koordinatörü ve Editör: Kaya Özkaracalar Kapak ve Sayfa Tasarimi ve Dq;zenlerT).esi:OrhanAnafarta Logo ve Sayfa Gridi Tasarimi: Ozlem Ozkal Teknik Danismanlik ve Destek / Web Tasarim: Cemil Gülyüz Redaksiyon: Nuh Yilmaz Ankara Dagitim: Sadi Konuralp Istanbul ve Diger Iller Dagitim: Aysen AtalanjPentimento Bu dergide yeralan yazilar, önceden izin alinmasi kosulu ile kullanilabilir. Web Adresi: http://www.geocities.com/paris/tower/3920 ~-pos~:aya zkaracalar: [email protected] Orhan Anafarta: [email protected] Sadi Konuralp: [email protected] Ahmet GÜrata:ahmetgurata.hotmail.com Burak Aydin: [email protected] Tesekkür: Çetin Sarikartal, Mehmet Yildiz. On kapak: Pinocchio 964 (1992) Arka kapak: Kwaidan (1964) ne kadar çok film, ne kadar az zaman ... , . f_ ' .. __ "( __ " _ ," " -:"_ " _~-J ._~:.-I'--':.' j'-(.~,-_,::. ::' -';'~;""f'_!·::)',!' : ,'-'-':- i.;:::·:(~r ,i,<:,' _ ;.: ," Eko Eko Azaraku 11 Japonl~riihGod'zill~fifirueri' ~~~n'irnei~ri' uS~I1g.g}~pohY?~~a.~~Wc~on~qfNçe~s~r!siQ (1996) i(e' H:()~g!<;ng)y\sine:;-r~F~lari-i,i ~~dö0is; kor,kufiL.mleriç,€!ynli)'or qldVgtl bir gere sanatlari filmleri''clünyanin' dorl bir ya~ Ç~~)~R9ny~'da'g~i-wsr~skilere d~)'ana~ ~i~?a:~*:'r~yr~pla~i,?l~ri,~,~O\l(~.~~i!,:,~i~;b!(~?,rku sii:~m~si gEi.l~fÜ~giv~Tcli.~,:,~~ki ikiulkenm populer smemalari içinde'bu J~P_Ör;~o~~1!,filIflI~.ri~ra~l1:dci~n?egi:~~~ tÜI'leHn"ykÜ1is'ir~ k'q'rhl"turü lde' 'ihffi~l' l~nlerii:i'b~sinda'Jigo{<u ,(If~!l'>G~fte~~nei:i:, edilmeWsÜr aslinda', BiriclInartiar! Killer 1960)gelir:Son dönem Japôn'k6rku filrri• Si/akes' (Katil' Yilanlar ;-1973Y}B lacfMdgic lerinin kayda deger örnekleri arasi'nda (Kara' Büyü; 1975); Hi.l1iiiiliiSkin'Ldiite6i ise ]igöIO olarak'isle~'görm~i<uzeie'üre; (IhsanDerisinCi~n Fener;1982);'birinsan' tilEin,ama is göremooigi'için'sokaga a,hlan bedeninden dünyaya geleri'seytaru' varlik,j bifsiboigun 'iritikam [öykÜsünü aiiJ~t'an filmlerinindorugu kabul' edilen Seeding Piii()cchio964 (1992); konusU'dogaÜstü bir ofa Ghost (Bir Hayaletin Tohumunun Ekil;; canavarin'kol gezdigi bir okulda: 'geçen mesin983) ve cinayet filmi Buninan (1992Y ve devami da çekilen, mangauyarlamasi gibi dünyanin en kanh;'en;grotesk vehaF Eko EkoAzaraku (1995); organ ticaretini ta bazen-bir aktristin agzina· özel,'efekt' kon u aHin; son derece iç Karartici Drgan kullanilmadan bir dolukocaman kirkayak (1996)1 sa yilabilir, ,Takeshi,; Miike'nin aldigi Centipide Horror (KirkayakDehseti; Odish01'I'unun (Audition, ,Prova;1999)'dul 1983)gibi-e\ligrenç~orku filmlerinden birerkegin orta yas bunaliminin alelade bazilarihLvermis olan' Hong Kong kor kii öyküsüymüs,'gibibaslayip;' konu ilerle• sinemasi, gözlemledigimiz kadari ylama• dikçe. tüyler;Ürpertici bir korku/ gerilim ziye karismis durumda; zaten HongKong filmine.dönüsmesinIye kimi izleyicilerin da geç:ig~in.iz yillarda Çil1 yön~timine elleriyle yüzünü kapamasina necten olan, devredildI." i','::1',"W'"',,, )!!>,,<,,', ,r dehsetengiz bir.siddet gösterisiyle nokta:; Öte yandan Uzak Dogu'nun diger lanmasini izlemistik. özel efektlerinden müziklerine godzilla ve diger japon canavar filmleri Sad i Konuralp Italyan sinemasinin giallo türü Amerikan thriller-suspence türünden daha farkli konuma ulasmissa, Japon kaiju eiga türü de Amerikan B-türü canavarli filmlerin bir alt-türü degil ama bir yan türü olmus• tur. Japonca "canavarb film" anlamina gelen kaiju eiga türü Japonya' da ilk ola• rak 1954'de yönetmenligi Ishiro Honda' ya ait Gojira ya da bizde bilinen adiyla Godzilla filmiyle baslamistir. Aslinda bu film, yukarida sözü edilen Beast from 20 000 Fathoms' dan uyarlamaydi. Bu filmde nükleer deneme kuzey kutbu yerine Pasifik Okyanusu'nda gerçeklesti rili• yordu. Uyanan canavar, bir dinozoru animsatmaktaysa da fantastik bir yara• Gojira (1954) Film bir belgesel havasiyla baslar. Kuzey tikti. 120 metreyi bulan boyu, kocaman kutbunda bir nükleer deneme yapila• cüssesi, uzun kuyrugu, sirtinda iguana• caktir. Amerikan ordusunun hazirliklari, vari çikintilarina ek olarak, Japon mistisiz• anlaticinin yorumlari ve geri sayimi ile mini n katkisiyla, bir de agzindan radyo• birlikte verilir. Deneme basariyla gerçek• aktif alevler (buna atomik nefes adi da lesir, patlamanin sarsintisiyla meydana verilmektedir) fiskirtmaktaydi. Bu sekilde gelen çig sahneleri görülür. Derken radar ortaya çikan, bir çesit dinozor-ejderha karisimiydi. Filmde Gojira adi verilen bu Gojira'nm is teknisyeni, ekranda olmamasi gereken birsey saptar: Buzullarin altinda milyon• canavarin ismi ise japonca goril ile balina yapmasiyla larca yillik uykusundan bir dinozor uyan• kelimlerinden türetilmisti: garilla + kujira mis tir. = Gojira. Gojira'nin filmde uyanir uyan• birlikte, filmin Bahsedilen bu film, 1953 yapimi The maz yaptigi ilk is denizde gemileri batir• yapimmi üstlenmis Beast from 20,000 Fathoms (20,000 Fer• mak olur ve daha sonra Tokyo'ya gelerek olan Toho film sahdan Gelen Mahluk) olup 50'li yillarin burayi harabeye çevirir. Japon ordusunun "nükleer patlama sonucu ortaya çikan her türlü silahina dayanirsa da, bir bilim sirketi, bu alanda dev canavar"li filmler furyasini baslatan adaminin "oksijen yokedici" adini verdigi filmler üretme ilk filmdir. Bu film türü sadece Amerikan bulusuna karsi koyamaz. Gojira denizin sinemasina özgü bir film türü olmamistir. altinda eriyip giderken, oyuncular üzgün kararini alir. Diger ülke sinemalari da, 50'li yillar içeri• bir sekilde onun yok olusunu seyrederler. sinde bu yeni türe el atmis ama çogun• Müzik de hüzünlü bir melodiyle bu sah• lukla tipatip kopyasini yapmak yerine, neleri destekler. kendi seyircisinin arayislarini da göz Gajira' nin is yapmasi yla birlikte, önüne alarak, özgün örneklerde hiç yer filmin yapimini üstlenmis olan Toho film almayan baska unsurlar da katmislardir. sirketi, bu alanda filmler üretme kararini Dolayisiyla Geceyarisi Sinemasi'nin 7. alir. Bundan ötürü kaiju filmler deyince sayisinda "Giallo Filmleri ve Müzikleri" akla ilk gelen örnekler Toho yapimi film• basliklii yazida da anlatildigi sekilde, nasil ler olmaktadir ve bunlarin büyük bir.Ço- gunlugunu Ishiro Honda yönetmistir (1). Honda'nin kendi ekibini kurarak filmle• rini çekmesinden dolayi filmlerin je~erik• lerinde hep ayni isimlere rastlariz. Orne• now M All-MIGHTY gin Eiji Tsuburaya ölene dek kaiju film• m·NEW MOnON PlCTURE SRINGS TIIEM TOGETIIER lerinin özel efektlerini üstlenmistir ve Em!ili FIRSTTIYE !!! Japon sinemasinin en önemli efektçisi THE COlOSSAl CLASH olarak anilmaktadir (2). Ayni sekilde Aki• Qf All !!mJ ra Hukube birçok kaiju filminin müzik• lerine imzasini atmistir. O dönemlerde oyuncularin kadrolu olarak çalismala• rindan ötürü filmlerde ayni yüzlere rast• lamak mümkündür. Toho'nun elde ettigi basarilarinin sonucu olarak, diger film sirketleri de bu yeni film türüne el at• makta gecikmemislerdir. 60'li yillarin sonlari kaiju filmlerinin altin dönemi ola• rak nitelenebilirse de bu film türünü mo• - ",\. dasi geçmis bir tür olarak göremeyiz; . ,c...,.,.,. SEE! çünkü günümüzde de hala kaiju türünde '~ iqf:i:-i~~ "'-'ib'1i!i16acmftiiJt örnekler çikmaktadir. ••• OiitblfitCl:Jts! "" ••••i""\>' Gojira, ertesi sene Amerikan sinema• A.'uI!UHi~ Gt4ln. ktk1 .im FrcJJltbtSUti-it!m:); larinda da gösterilmistir. Ancak Ameri• T_i,,{~W ffittIf}'1 Mm &iin& kali film ithalatçilari kendi seyircisinin M,n>n1hiÇ;c<tit filmde hep çekik gözler görmesinden Ai.,Mthjil rahatsiz olacagi kaygisiyla (!), yönetmen Terry Morse'a içinde beyaz yüzlerin ola• cagi ek sahneler çekmesi görevini vermis• Yönetmenligi Honda'ya ait 1956 ya• lerdir. Beyaz yüz olarak da Perry Mason pimi Radon da aslinda Amerikan sinema• adli tv dizisiyle ünlenen Raymond Burr sinin Them! (1954) filminin serbest bir kullanilmisti. Burr filmde Steve Martin uyarlamasidir. Osaka yakinindaki bir kö• adinda bir gazeteciyi canlandiriyordu. mür madeninde isçiler esrarengiz bir Bu ek sahnelerin üstüne, film yeniden sekilde ölmektedir. Yüzlerindeki ifade- Bu tirtillarin kurgulanmis ve de adi Godzilla, King of den ölmeden önce çok korkunç birsey yuvasinda bulunan the Monsters olarak degistirilmisti. Godzil• gördükleri anlasilmaktadir. Kisa zaman-. - la ismi batida özgün ismine göre daha da ölüm sebebinin madenin içindeki dev dev bir yumurta çok tutan ve bilinen bir isim olmustur. tirtillardan (Japonlar bunlara meganuron catlar ve icinden Bizde de bu adla bilindiginden yazida demekteler) oldugu anlasilir. Fakatikinci '. ' artik buradan itibaren Godzilla ismi kul• yaridan itibaren film özgün versiyo- bir pterodactyl lanilacaktir. nundan tamamiyle ayrilir. Bu tirtillarin cikar. Godzilla'nin vizyona girmesinden yuvasinda bulunan dev bir yumurta çat- ' birkaç ay sonra hizli bir sekilde kotarilan lar ve içinden bir pterodactyl çikar. Yap- Gojira no gyakushu (1955) basarili bir film tigi ilk is bu tirtillarla beslenmek olur. kabul edilmese bile, kaiju sinemasinin en Radon adi verilen bu tarih öncesi kus, önemli unsurlarindan birini ortaya koy• ses hizinin bir buçuk kati hizla uçmakta masi açisindan önemlidir.
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