{"id":2617,"date":"2020-03-15T00:37:18","date_gmt":"2020-03-14T21:37:18","guid":{"rendered":"http:\/\/lekolin.org\/post-yesilcam-dedikleri-turkiye-1\/"},"modified":"2020-03-15T00:37:18","modified_gmt":"2020-03-14T21:37:18","slug":"post-yesilcam-dedikleri-turkiye-1","status":"publish","type":"post","link":"https:\/\/lekolin.org\/ku\/post-yesilcam-dedikleri-turkiye-1\/","title":{"rendered":"Post Ye\u015fil\u00e7am Dedikleri T\u00fcrkiye -1"},"content":{"rendered":"

28 Nisan 2010 \u00c7ar\u015famba Saat 07:53<\/p>\n<\/p>\n

\n
\nDevlet kapitalizmi ile s\u0131n\u0131fla\u015fan Amerikan toplumunda oldu\u011fu gibi bireycili\u011fin sinemaya yans\u0131d\u0131\u011f\u0131 o pop\u00fcler y\u0131ld\u0131zlar\u0131 olmad\u0131.<\/b><\/p>\n

\t\t\t\t\t\t\t \n\t\t\t\t\t\t<\/div>\n

0<\/p>\n

21<\/p>\n

TR<\/p>\n

<\/p>\n

\t :” ” <\/p>\n

\t :”” <\/p>\n

\t ” “,” ” <\/p>\n

\t ” ” <\/p>\n

Ye\u015fil\u00e7am hakk\u0131nda k\u0131sa bir yorum:<\/strong><\/p>\n

T\u00fcrkiye\u2019de olup biten \u015feyler bizi de yak\u0131ndan ilgilendirdi\u011fi
\ni\u00e7in, kar\u015f\u0131l\u0131kl\u0131 bir etkile\u015fim i\u00e7indeyiz. Ye\u015fil\u00e7am ile bir ku\u015fak yeti\u015fti. K\u0131r-
\nkent hayat\u0131n\u0131n \u00e7eli\u015fkilerini harmanla\u015ft\u0131ran Ye\u015fil\u00e7am, ayn\u0131 zamanda kapitalist
\nya\u015fam\u0131n toplumsal dokular\u0131n\u0131 genelle\u015ftiren, evcille\u015ftirmeye \u00e7al\u0131\u015fan bir sinema
\nsitilini esas ald\u0131. Temel gaye bu iken, ayn\u0131 zamanda end\u00fcstrile\u015fmek i\u00e7in
\nkaliteden \u00e7ok, olan \u015feyi al\u0131p geri satan bir sanat (sanats\u0131zl\u0131k) anlay\u0131\u015f\u0131n\u0131
\nesas ald\u0131. Sinema bo\u015flu\u011funu doldurmak i\u00e7in, uzun zaman Arap sinema anlay\u0131\u015f\u0131n\u0131
\nesas alarak vizyona girdi. M\u0131s\u0131r\u2019\u0131n komedi filmlerini T\u00fcrkiyele\u015ftirdi. Bu
\nkonuda biraz \u015fa\u015fk\u0131n ba\u015flad\u0131\u011f\u0131n\u0131 s\u00f6ylemek m\u00fcmk\u00fcnd\u00fcr. Devlet kapitalizmi ile
\ns\u0131n\u0131fla\u015fan Amerikan toplumunda oldu\u011fu gibi bireycili\u011fin sinemaya yans\u0131d\u0131\u011f\u0131 o
\npop\u00fcler y\u0131ld\u0131zlar\u0131 olmad\u0131. Sinema da kendi toplumsal tarihinin mayas\u0131yla
\nkat\u0131la\u015f\u0131r. Amerika\u2019n\u0131n ke\u015ffi, belki de her t\u00fcrl\u00fc Amerikan bireycili\u011finin potas\u0131
\noldu. Sanat ve edebiyat\u0131na yans\u0131yan bu bireyci ser\u00fcvenler, Hollywood\u2019un esin
\nkayna\u011f\u0131 oldu. Neredeyse sinemas\u0131n\u0131n b\u00fct\u00fcn artistlerinde o genetik kodu bulmak
\nzor de\u011fildir.<\/p>\n

Sineman\u0131n alt\u0131nda b\u00f6yle bir toplumsal ger\u00e7eklik vard\u0131r.
\nToplumsal in\u015fa ile at ba\u015f\u0131 giden sanat ve edebiyat\u0131n ard\u0131ndan sinema
\ngeli\u015fmi\u015ftir. Dolay\u0131s\u0131yla tiplemesini ondan alan sinema, bu ili\u015fkinin g\u00fcc\u00fc ile
\norant\u0131l\u0131d\u0131r.<\/p>\n

\u00a0<\/span>T\u00fcrkiye\u2019de durum
\nbiraz farkl\u0131d\u0131r. T\u00fcrkiye\u2019de geli\u015fen sinema ve sanat k\u00fclt\u00fcr\u00fc, toplumunun kendi
\ni\u00e7 dinamikleriyle geli\u015fen bir sanat ve sinema k\u00fclt\u00fcr\u00fc de\u011fildir. Uzun zaman
\nHacivat-Karag\u00f6z sanat\u0131n\u0131 a\u015famayan bu durum, Cumhuriyet ile birlikte ya Ermeni
\nya da fakl\u0131 etnik guruplardan gelen insanlarca geli\u015ftirildi. Osmanl\u0131
\nco\u011frafyas\u0131na giydirilen dar elbise, sersemlemi\u015f bir sanat anlay\u0131\u015f\u0131 yaratt\u0131.
\nD\u00fcnyan\u0131n hemen hemen en ge\u00e7 y\u0131k\u0131lan Osmanl\u0131 imparatorluk gelene\u011fi, ulus
\nanlay\u0131\u015f\u0131yla \u00e7at\u0131\u015fan ve o temelde zay\u0131flayan bir gelenek de\u011fildi. Bunun Sanat\u0131
\nalg\u0131 olarak, ulus ideolojisiyle harmanla\u015fan ve o do\u011frultuda bunu takip eden bir
\nrotay\u0131 izleyemedi. \u0130zlemesi mi iyiydi, tart\u0131\u015fmas\u0131n\u0131 yapm\u0131yorum Tart\u0131\u015fmaya
\na\u00e7t\u0131\u011f\u0131m \u015fey, T\u00fcrkiye sanat\u0131nda bir k\u00f6k sorununun olma ger\u00e7ekli\u011fidir. K\u00f6ks\u00fczd\u00fcr
\ndemek abartma olmaz. Osmanl\u0131\u2019n\u0131n despotik y\u00f6netimi halk k\u00fclt\u00fcr\u00fcn\u00fc dumura
\nu\u011fratm\u0131\u015ft\u0131, Sultanlar\u0131 e\u011flendiren \u015farlatan ve g\u00fcld\u00fcr\u00fc zanaat\u0131 d\u0131\u015f\u0131nda, sanat
\nolarak geli\u015febilecek unsurlar\u0131 mezhep ve farkl\u0131 siyasi nedenlerle aforoz
\netmi\u015fti. Dolay\u0131s\u0131yla, imparatorluk y\u0131k\u0131l\u0131rken elde kalan sanat haf\u0131zas\u0131nda
\nHacivat ve Karag\u00f6z ile halk kimli\u011fine yak\u0131\u015ft\u0131r\u0131lan Kelo\u011flan d\u0131\u015f\u0131nda hi\u00e7bir
\nemare yoktu. Saray sanat k\u00fclt\u00fcr\u00fc, saraylar y\u0131k\u0131l\u0131rken o da y\u0131k\u0131ld\u0131. \u00c7ok fazla
\nbir \u015fey de yoktu.<\/p>\n

\u00a0<\/span>\u0130stanbul ve egenin
\ntarihi gelgitleri, bat\u0131 ile bir ili\u015fki i\u00e7inde olmas\u0131 nedeniyle bat\u0131n\u0131n
\nsanat\u0131ndan etkilendi\u011fi a\u00e7\u0131kt\u0131r. Dini akrabal\u0131ktan kaynakl\u0131 kendisini bat\u0131ya
\ndaha yak\u0131n hisseden gayri M\u00fcslim \u00e7evre, bat\u0131dan tiyatro ve yeni geli\u015fen sinema
\nk\u00fclt\u00fcr\u00fcn\u00fc T\u00fcrkiye ye ta\u015f\u0131d\u0131\u011f\u0131n\u0131 biliyoruz. Geli\u015fen ulus devlet ile birlikte \u00f6ne
\n\u00e7\u0131kart\u0131lan T\u00fcrkl\u00fck kavram\u0131 kar\u015f\u0131s\u0131nda, sanat ve hata edebiyat bir nevi bu
\n\u00e7evrelerin ya\u015fam garantisi oldu. Bat\u0131n\u0131n ihra\u00e7 etti\u011fi ulus dini bir\u00e7ok etnik
\nguruba umut verip yarat\u0131\u011f\u0131 enerji h\u00fcsrana u\u011frarken, sanat ile adeta kendilerine
\nbir s\u0131\u011f\u0131nak bulmu\u015f gibi oldular. C\u00fcmleler basit olsa da, T\u00fcrkiye sanat\u0131 ve
\nsinemas\u0131n\u0131n alt\u0131nda o ger\u00e7eklik vard\u0131r. Derin bir ironidir, adeta g\u00f6r\u00fcnt\u00fcdeki
\nulusun i\u00e7inde kodlanm\u0131\u015f ba\u015fka uluslar vard\u0131r. Sanatta \u00f6yle kodlanm\u0131\u015ft\u0131r.
\n\u0130nk\u00e2rc\u0131l\u0131\u011f\u0131n, ink\u00e2r edilmi\u015f olgular taraf\u0131ndan yap\u0131lmas\u0131 bu haliyle do\u011fald\u0131.<\/p>\n

\u00a0<\/span>Uluslar\u0131n mutlaka
\nesin ald\u0131\u011f\u0131 bir ge\u00e7mi\u015fleri olur. T\u00fcrkl\u00fck nereye dayand\u0131. T\u00fcrkl\u00fck ad\u0131na yap\u0131lan,
\nonun k\u00fclt\u00fcr\u00fcn\u00fc konu edinen bir tiyatro ve film yoktur. Sultan k\u00fclt\u00fcr\u00fc, de\u011fi\u015fik
\nk\u0131l\u0131flar alt\u0131nda sanat ile devam ettirildi. Nedeni, demin sayd\u0131\u011f\u0131m sultandan
\ndevir al\u0131nan k\u00fclt\u00fcr\u00fcn uzun zaman kendisiyle \u00e7at\u0131\u015fan de\u011fil de, \u00fcstten dayat\u0131lan
\nbir ger\u00e7e\u011fe dayanmas\u0131yd\u0131. Bizzat ad\u0131na hareket etti\u011fi ulustan, daha ulus
\nolmadan ulus sanat\u0131 ile hareket etmesi oldu, halk olarak bilinen T\u00fcrkmenlerden
\nolu\u015fan bir ulus de\u011fildi. Yani bir k\u00fclt\u00fcr ulusu de\u011fildi. Ondan kaynakl\u0131, her
\n\u015feyi kuramsal ve yapayd\u0131r. Sanat b\u00f6yle bir temele dayanmad\u0131\u011f\u0131 i\u00e7in, devir
\nald\u0131\u011f\u0131 \u015fey sultanlar\u0131 e\u011flendiren g\u00fcld\u00fcr\u00fc ve hokkabazl\u0131k zanaat\u0131 oldu.<\/p>\n

\u0130\u015fte, sinema da buna dayand\u0131. \u0130lk kayna\u011f\u0131 tiyatrodur ve
\nb\u00fct\u00fcn ilk artistler ondan gelmedir. Sanat okullar\u0131n \u00e7o\u011funa yine farkl\u0131 etnik
\nyap\u0131dan gelen e\u011fitmenler ilgi duydu, iki tip \u00e7izildi sinema i\u00e7in birincisi
\n\u015farlatan, ikincisi ise sultan\u0131n tezah\u00fcr\u00fc olan zorlamal\u0131 kabaday\u0131 karakteri\u2026
\nTemelinde, bilin\u00e7alt\u0131nda yatan T\u00fcrk erkek tipinin, sanata yans\u0131yan hali de
\ndemek yanl\u0131\u015f olmaz. Bu karakter yap\u0131s\u0131 kurgulan\u0131rken, \u00e7ok ince bir alay etme
\nsakl\u0131d\u0131r. S\u00f6z, hitap ve davran\u0131\u015flar olduk\u00e7a betimseldir ve abart\u0131ya
\nka\u00e7maktad\u0131r.\u00a0 <\/span>T\u00fcrk sultan tipi kl\u00e2s\u0131nda
\nyans\u0131t\u0131lan karakterlerin, vurgu konu\u015fmalar\u0131n\u0131n ilk hecesi T\u00fcrk\u00e7e de\u011fildir.
\nNay\u0131r, nolamaz kelimelerinin ilk harfleri olumsuz anlam\u0131yla Latincedir. Di\u011fer
\ntip de, \u015farlatanlar\u0131n gelene\u011fi olan komedi karakterleridir ki hi\u00e7 k\u00fclt\u00fcrel
\nde\u011fildir. Say\u0131s\u0131z filme konu olan bu karakterlerin, Anadolu co\u011frafyas\u0131n\u0131n hangi
\ninsan\u0131na benzedi\u011fi eminim hala bulunamam\u0131\u015ft\u0131r.<\/p>\n

\u0130\u015fte, Ye\u015fil\u00e7am da bu gelene\u011fe dayand\u0131. Bu ikili karakter
\nT\u00fcrk sinemas\u0131n\u0131n mayas\u0131 oldu. 70\u2019ler sonras\u0131 k\u0131smi geli\u015fme olsa da, donup
\nkald\u0131. Anadolu\u2019yu i\u015fleyen sahici karakterler fazla ya\u015fayamad\u0131. Y\u0131lmaz G\u00fcney\u2019in
\nbelki de b\u00fcy\u00fckl\u00fc\u011f\u00fc burada sakl\u0131d\u0131r. Y\u0131lmaz G\u00fcney\u2019in filmleri bu ikili karakteri
\na\u015ft\u0131. Film haz\u0131rlarken, karakterler adeta bir sokak, bir cezaevi ya da i\u015f
\nba\u015f\u0131ndan getirilen insanlar\u0131n ta kendisiydi. Rol, ger\u00e7ek hayat\u0131 tekrarlayan
\nonun ac\u0131s\u0131, sevinci hatta tokad\u0131n\u0131 ya\u015fayan bir sahicilikte oynan\u0131r. Adeta
\nsava\u015f\u0131r. O, iki filmi, bir filmde verirdi. Perdenin arkas\u0131nda da bir film
\noynat\u0131rd\u0131. Oyuncular\u0131n\u0131 d\u00f6ver filme haz\u0131rlard\u0131. Onun anlay\u0131\u015f\u0131, adeta
\nYe\u015fil\u00e7am\u2019\u0131n, Ye\u015fil\u00e7am\u2019a tepkisi gibidir, Sonras\u0131 malumdur.<\/p>\n

\u00a0<\/p>\n

Zeki Sar\u0131<\/p>\n

K\u00fcrdistan Stratejik Ara\u015ft\u0131rmalar Merkezi<\/p>\n

www.navendalekolin.com – www.lekolin.org – www.lekolin.net \u2013
\nwww.lekolin.info<\/p>\n

\u00a0<\/p>\n

\t<\/p>\n

\n
<\/div>\n

\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Devlet kapitalizmi ile s\u0131n\u0131fla\u015fan Amerikan toplumunda oldu\u011fu gibi bireycili\u011fin sinemaya yans\u0131d\u0131\u011f\u0131 o pop\u00fcler y\u0131ld\u0131zlar\u0131 olmad\u0131.<\/b><\/p>\n","protected":false},"author":1,"featured_media":2618,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":[],"jnews_post_split":[],"footnotes":""},"categories":[13],"tags":[32,31,36,33,30,35,34],"class_list":["post-2617","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dizi-yazi","tag-arastirma","tag-kurdi","tag-kurdish","tag-kurdistan","tag-lekolin","tag-turkish","tag-turkiye"],"acf":[],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/posts\/2617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/comments?post=2617"}],"version-history":[{"count":0,"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/posts\/2617\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/media\/2618"}],"wp:attachment":[{"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/media?parent=2617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/categories?post=2617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lekolin.org\/ku\/wp-json\/wp\/v2\/tags?post=2617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}