{"id":3033,"date":"2022-04-02T08:00:51","date_gmt":"2022-04-02T06:00:51","guid":{"rendered":"https:\/\/hasansever.org\/?p=3033"},"modified":"2022-04-02T08:00:51","modified_gmt":"2022-04-02T06:00:51","slug":"yilmaz-guneydir","status":"publish","type":"post","link":"https:\/\/hasansever.org\/?p=3033","title":{"rendered":"Y\u0131lmaz G\u00fcney\u2019dir"},"content":{"rendered":"

\u201cAmorti de yok mu?\u201d<\/span><\/i><\/p>\n

Onun sinemas\u0131n\u0131 yapmak, sinemas\u0131n\u0131n ula\u015ft\u0131\u011f\u0131 prestiji yakalamak, karizmas\u0131nda bir hayat s\u00fcrmek, vicdan \u00f6l\u00e7\u00fclerinde kabul g\u00f6rmek fakat b\u00fct\u00fcn bunlar\u0131n gerektirdi\u011fi eziyeti \u00e7ekmek istemiyorlar. Yaz\u0131n\u0131n \u00f6zeti budur. G\u00fcn\u00fcm\u00fcz\u00fcn h\u0131zl\u0131 hayat\u0131, b\u00fcy\u00fck tahlilleri, uzun c\u00fcmleleri katlan\u0131lmaz k\u0131ld\u0131\u011f\u0131ndan, i\u015fbu \u00f6zet girizgaha al\u0131nm\u0131\u015ft\u0131r.<\/span><\/p>\n

<\/p>\n

Yaz\u0131 \u00fc\u00e7 b\u00f6l\u00fcmden olu\u015fuyor. Birinci b\u00f6l\u00fcm, g\u00fcn\u00fcm\u00fcz insan\u0131n\u0131n d\u00fc\u015f\u00fcn\/yaratma k\u0131s\u0131rl\u0131\u011f\u0131na; ikinci b\u00f6l\u00fcm G\u00fcney\u2019in izlerine (izle\u011fine); \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm ise Umut filmine dair.<\/span><\/p>\n

Hikayesini kaybetmek \u00fczere olan insan\u0131n imdad\u0131na yeti\u015fen \u0130ran Sinemas\u0131\u2019n\u0131n, vermi\u015f oldu\u011fu ya\u015fama sevinci ve Umutla…<\/span><\/i><\/p>\n

I<\/b><\/p>\n

Alet tutsakl\u0131\u011f\u0131n\u0131, \u00f6zg\u00fcrl\u00fck olarak yorumlamak.<\/i><\/b><\/p>\n

Tek ba\u015f\u0131na yeterli olmasa da durumun b\u00fct\u00fcn\u00fcne karanl\u0131k oda \u0131\u015f\u0131\u011f\u0131 tutaca\u011f\u0131n\u0131 ve tahripkar olmayaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum. \u0130deallerden ar\u0131nd\u0131r\u0131lan insan, sunulan\u0131n d\u0131\u015f\u0131nda bir d\u00fcnya tahayy\u00fcl\u00fcn\u00fc hem yapamaz hem de kald\u0131ramaz hale getirildi. Tarihi sonland\u0131ranlardan, ideolojileri bitirmeye; liberalizmin zaferinden, sosyalizmin \u201cdespotik\u201d vurgusuna kadar bir s\u00fcr\u00fc kompart\u0131manda bu t\u00fcr bir insan kotar\u0131lmaya \u00e7al\u0131\u015f\u0131l\u0131yor. \u201cTarihin Sonu\u201d belirlemesinin, yine, s\u00fcrecek olan bir tarihi dillendirmesini tart\u0131\u015fma d\u0131\u015f\u0131 tutup, \u201cideolojilerin sonu\u201d sa\u00e7mal\u0131\u011f\u0131n\u0131 ise hi\u00e7 kale alm\u0131yorum. Bu t\u00fcr serden ve yardan ay\u0131ran kavramlar yine tarih ve ideoloji olarak kar\u015f\u0131m\u0131za \u00e7\u0131karken, insan, makinele\u015fmeye devam ediyor.<\/span><\/p>\n

Makinele\u015fmeyi iki manada kullan\u0131yorum. Bir: Makine olmadan i\u015f g\u00f6rememek. \u0130ki: Makine mekani\u011finde ruhsuzla\u015fmak.<\/span><\/p>\n

Makine olmadan i\u015f yapamamak.<\/b><\/p>\n

Belki fazla yaralay\u0131c\u0131 bir vurgu olacak ama meram\u0131m\u0131 anlatabilmek a\u00e7\u0131s\u0131ndan gerekli g\u00f6r\u00fcyorum. Keskin ve tek bir ayr\u0131m yapmam istense, sanat\u00e7\u0131yla zanaatkar\u0131, alet kullanan ve kullanmayan diye ay\u0131r\u0131r\u0131m. \u0130nsanl\u0131\u011f\u0131n evriminde alet kullanman\u0131n ne kadar \u00f6nemli oldu\u011funu bilmekle beraber gelinen noktada insan, sayesinde insan oldu\u011fu aletin aleti haline getirilmi\u015ftir. Bu, bence, insan\u0131n kendi zeka ve akl\u0131n\u0131n belli ve s\u0131n\u0131rlar\u0131 \u00e7izilmi\u015f bir formuna teslim olmas\u0131 anlam\u0131na geliyor.<\/span><\/p>\n

G\u00fcnl\u00fck hayat\u0131m\u0131zda, gerek ev gerekse i\u015fyerlerimizde kulland\u0131\u011f\u0131m\u0131z teknoloji d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, her g\u00fcn ve \u00e7ok da eziyet \u00e7ekmeden, d\u00fcnyay\u0131 yeniden tasarlay\u0131p yaratmak gibi bir olanakla kar\u015f\u0131 kar\u015f\u0131ya oldu\u011fumuzu d\u00fc\u015f\u00fcn\u00fcyorum. \u0130nternet sayesinde b\u00fct\u00fcn d\u00fcnyay\u0131 (wide), bilgisayar ve yaz\u0131c\u0131 sayesinde ki\u015fisel d\u00fcnyay\u0131 (local)\u00a0 her an farkl\u0131 formatlarda \u00fcretme \u015fans\u0131na sahibiz. Ama bu olmuyor. Elinde d\u00fcnya olanak bulunan insan, kendisini dolay\u0131s\u0131yla d\u00fcnyay\u0131 de\u011fi\u015ftirecek irade ve yarat\u0131c\u0131l\u0131ktan uzak duruyor.<\/span><\/p>\n

Niye?<\/span><\/p>\n

Kapitalizm, satmak ve daha \u00e7ok satmak i\u00e7in \u00fcretim kasas\u0131n\u0131 c\u00f6mertce a\u00e7arken, insan\u0131 o alet olmadan \u00fcretemez, d\u00fc\u015f\u00fcnemez, hareket edemez hale getiriyor. \u0130nsan\u0131n aletle olan ili\u015fkisi, g\u00fcnl\u00fck hayat i\u00e7in alet icat etmekten, alet olmadan g\u00fcnl\u00fck hayat\u0131 s\u00fcrd\u00fcremez olmak noktas\u0131na kadar gerilemi\u015f bulunuyor. Birbirine \u00e7ok yak\u0131n duran bu iki \u015feyin aras\u0131nda \u201cd\u00fcnya tahayy\u00fcl\u00fc\u201d ve \u201cyarat\u0131c\u0131l\u0131k\u201d yat\u0131yor<\/span><\/p>\n

Makine mekani\u011finde ruhsuzla\u015fmak.<\/b><\/p>\n

\u0130nsan \u00fcretkenli\u011finin, nitelik bir yana b\u0131rak\u0131l\u0131rsa, b\u00fcy\u00fck bir patlama ya\u015fad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum. Her g\u00fcn milyonlarca insan durmadan, b\u0131kmadan ve b\u00fcy\u00fck bir i\u015ftahla soyut somut \u00fcretimde bulunuyor. Ve bu tezat bir \u015fekilde makine tutsakl\u0131\u011f\u0131n\u0131n g\u00f6lgesinde vuku buluyor. Makine g\u00f6lgesi, g\u00f6lgesinin d\u0131\u015f\u0131na \u00e7\u0131kanlar\u0131 kavurucu bir s\u0131ca\u011fa ve yaln\u0131zl\u0131\u011fa itiyor.\u00a0<\/span><\/p>\n

\u0130nsan\u0131n g\u00fcnl\u00fck \u00fcretimi yeniliklere paralel ne kadar h\u0131zl\u0131 de\u011fi\u015fiyorsa, d\u00fc\u015f\u00fcn d\u00fcnyas\u0131 da bir o kadar aheste de\u011fi\u015fiyor. D\u00fcn\u00fc, d\u00fcn\u00fcn de\u011ferlerini, onlar\u0131n ba\u015ftan \u00e7\u0131kar\u0131c\u0131 yarat\u0131c\u0131l\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnen insan, sahip oldu\u011fu \u00fcretim olanaklar\u0131yla onun \u00e7ok daha iyisini yapabilece\u011fi kan\u0131s\u0131na kap\u0131l\u0131yor; m\u00fcmk\u00fcn de. Y\u0131lmaz G\u00fcney\u2019in Umut filmini st\u00fcdyo d\u0131\u015f\u0131na \u00e7\u0131kmadan hatta, bilgisayar ekran\u0131n\u0131 terk etmeden \u00fcretmek m\u00fcmk\u00fcn. \u00dcstelik bu \u201ccover\u201d, orijinalinin b\u00fct\u00fcn teknik eksikliklerini giderecek, zaman zaman perdeye yans\u0131yan \u0131\u015f\u0131kland\u0131rma \u201cfelaketlerini\u201d de bertaraf etmi\u015f olacakt\u0131r. E \u00f6yleyse ne duruyoruz? \u0130\u015fte birileri da tam b\u00f6yle d\u00fc\u015f\u00fcn\u00fcyor ve motor diyor.<\/span><\/p>\n

\u0130nsan, aleti ihtiya\u00e7 ve akl\u0131yla icat etti. Bug\u00fcnse ak\u0131l ve ihtiya\u00e7, birilerinin inhisar\u0131nda bulundu\u011fundan \u00fcretilen alet o birilerinin icad\u0131 oluyor.<\/span><\/p>\n

Sadece aktiflerle bilan\u00e7o olu\u015fturmak.<\/i><\/b><\/p>\n

Marksist, b\u00fct\u00fcn konforundan sonra marksist; \u00e7evreci b\u00fct\u00fcn t\u00fcketimden sonra \u00e7evreci; kapitalist b\u00fct\u00fcn s\u00f6m\u00fcr\u00fcc\u00fcl\u00fc\u011f\u00fcnden sonra ortak\u00e7\u0131 olmaya kalkarsa ortada sadece yalan kal\u0131r. Yalan\u0131n varl\u0131\u011f\u0131 hayat\u0131n somutlu\u011funu de\u011fi\u015ftirmez. Yalan da hayata ait herhangi bir ger\u00e7ektir. E\u011fer bir sistem bu t\u00fcr olgular\u0131 g\u00fcnl\u00fck hayata kadar indirgemi\u015fse \u00f6mr\u00fcn\u00fc uzatm\u0131\u015ft\u0131r. Zaten \u015fimdilerde kimse kapitalizmin ya\u015f\u0131na ma\u015fallah okumuyor; o daha gencecik.<\/span><\/p>\n

\u0130ddiam, G\u00fcney\u2019in sinemas\u0131na sevdalanan fakat onun, bu sinemay\u0131 ortaya \u00e7\u0131karan her t\u00fcrl\u00fc idealinden ve eziyetinden uzak duranlar\u0131n, G\u00fcney Sinemas\u0131\u2019n\u0131 \u00fcretemeyecekleridir. \u0130ddiam bu oldu\u011fu i\u00e7in \u201cAha o klibi bu kamarayla \u00e7ektim. Buradan s\u00f6yl\u00fcyorum, kimse bu i\u015flere \u00f6yle b\u00fcy\u00fck paralar yat\u0131rmas\u0131n. Bu kamaran\u0131n maliyeti ne ki?\u201d diyen Tatl\u0131ses\u2019in filmleri izlenmese de olur. Yine K\u0131rm\u0131z\u0131g\u00fcl\u2019\u00fcn K\u00fcrt Davas\u0131\u2019n\u0131n el yakmaya devam etti\u011fi bir s\u00fcre\u00e7te, bu ate\u015fe kar\u0131nca suyu kabilinde dahi serinlik getiremeyece\u011fini kestirmek zor olmasa gerek. \u0130stanbul\u2019un her t\u00fcrl\u00fc ba\u011flay\u0131c\u0131l\u0131\u011f\u0131nda, gerek sermaye gerekse b\u00fcrokrasinin s\u0131cak selamlar\u0131 aras\u0131nda sanat kotar\u0131lmaz. Bunu g\u00f6remeyenler ki asl\u0131nda G\u00fcney\u2019de en sade haliyle duran \u00f6zelliklerden biridir, nas\u0131l olacak da onun sinemas\u0131n\u0131 \u00fcretecekler?<\/span><\/p>\n

G\u00fcney\u2019in, yak\u0131\u015f\u0131kl\u0131l\u0131\u011f\u0131ndan, karizmas\u0131ndan, \u0131\u015f\u0131\u011f\u0131ndan etkilenip niye hapislere d\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc, neden s\u00fcrg\u00fcne gitti\u011fini ve hatta bir savc\u0131yla neden kavga etti\u011fini anlamadan ona dair bir \u015fey \u00fcretilmez. Ayn\u0131s\u0131 Naz\u0131m Hikmet\u2019e de yap\u0131l\u0131yor. Herkes \u015fair olmak istiyor ama kimse can\u0131 yans\u0131n istemiyor. Naz\u0131m\u2019\u0131 bir c\u00fcmlede yaz\u0131ya malzeme yapmak istemem ama Naz\u0131m\u2019la G\u00fcney\u2019in kaderi bu bak\u0131mdan ayn\u0131 olagelmi\u015ftir. Naz\u0131m u\u011fruna \u015fair(!) olan \u00e7ok da, kom\u00fcnist nedense olunmuyor. O, zira, Naz\u0131m\u2019\u0131n bir \u201cyaramazl\u0131\u011f\u0131\u201d olarak g\u00f6r\u00fcl\u00fcyor.<\/span><\/p>\n

Gerek Naz\u0131m gerek G\u00fcney sanatlar\u0131n\u0131 icra ederken siyasetin i\u00e7inde, g\u00fcnl\u00fck pratikle bir hayli me\u015fgul insanlard\u0131. Naz\u0131m yolda kalem buldu\u011fu i\u00e7in, G\u00fcney dijital kelepir kamera tedarik edebildi\u011fi i\u00e7in \u015fair ve sinemac\u0131 olmad\u0131lar. \u015eairlik Naz\u0131m\u2019\u0131n, Sinema ise G\u00fcney\u2019in d\u00fcnya yorumuydu. Onlar d\u00fcnyay\u0131 b\u00f6yle yorumlad\u0131lar ama yorumdan \u00f6nce bir d\u00fcnya edindiler.<\/span><\/p>\n

Setin d\u0131\u015f\u0131na \u00e7\u0131kmak\u00a0<\/b><\/p>\n

Sineman\u0131n, d\u00fcnyay\u0131 sete ta\u015f\u0131ma iddias\u0131ndan; d\u00fcnyay\u0131 sete hapsetme s\u00fcrecine evrilmesi elbette tek ba\u015f\u0131na sineman\u0131n yenilgisi de\u011fildir. Gerek d\u00f6nemin Ye\u015fil\u00e7am\u2019\u0131; gerekse g\u00fcn\u00fcm\u00fcz\u00fcn \u201cyerel\u201d ve \u201cbeynelmilel\u201d piyasas\u0131 g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda, b\u00fcy\u00fck bir zemin de\u011fi\u015fikli\u011finden bahsetmek pek m\u00fcmk\u00fcnd\u00fcr; set, \u00e7oktan, ba\u015ftan \u201cset\u201d edilmi\u015ftir. \u0130nsan\u0131n, i\u00e7inde b\u00fcy\u00fcd\u00fc\u011f\u00fc d\u00f6nemin \u00fcr\u00fcn\u00fc oldu\u011fu ve bu \u00fcr\u00fcn\u00fcn d\u00f6nem d\u00f6nem topra\u011f\u0131nca zehirlendi\u011fi tarihin malumudur. Bu \u201cd\u0131\u015fsal etkiler\u201di \u201cceteris paribus\u201d tutamayaca\u011f\u0131m\u0131z g\u00f6re, i\u015fe biraz da bu a\u00e7\u0131dan bakmak gerekti\u011fi kan\u0131s\u0131nday\u0131m.<\/span><\/p>\n

Duvar, 1983; S\u00fcr\u00fc 1978; Endi\u015fe, 1974; Arkada\u015f, 1974; Baba, 1971; A\u011f\u0131t, 1971; Umut, 1970; Seyyit Han, 1968; Yol, 1982<\/span><\/p>\n

Bu y\u0131llar\u0131n, her t\u00fcrl\u00fc istatisti\u011fi tek \u015feye tekab\u00fcl eder.<\/span><\/p>\n

1970\u2019in S\u00fcr\u00fc\u2019s\u00fcnden, 1983\u2019\u00fcn Duvar\u0131\u2019na kadar Anadolu k\u00f6pr\u00fcs\u00fcn\u00fcn alt\u0131nda su, \u00e7ok h\u0131zl\u0131 hatta d\u00f6nem d\u00f6nem anaforlu akm\u0131\u015ft\u0131r. G\u00fcney bu d\u00f6nemin sinemac\u0131s\u0131d\u0131r ve hakk\u0131n\u0131 vermi\u015ftir. Bence, sinemac\u0131l\u0131\u011f\u0131n\u0131n s\u0131rr\u0131, i\u015f becerisi bir yana, sosyalistli\u011fine uygun tav\u0131r al\u0131\u015f\u0131ndan kaynaklanmaktad\u0131r. Asl\u0131nda s\u00f6z\u00fc \u00e7ok fazla doland\u0131rmadan s\u00f6ylemek gerekirse, G\u00fcney, g\u00f6rd\u00fc\u011f\u00fcne kameras\u0131n\u0131 kapatmayan biridir. Bu o kadar \u00f6nemli bir meziyettir ki, cezas\u0131z kalmaz; sonunda, \u00fclkesinden, sinemas\u0131ndan ayr\u0131lmak zorunda kal\u0131r.\u00a0<\/span><\/p>\n

G\u00fcney\u2019in g\u00f6rd\u00fcklerini bir tek G\u00fcney mi g\u00f6rm\u00fc\u015ft\u00fc? Ye\u015fil\u00e7am\u2019da \u201cmotor\u201d diyen sinemac\u0131lar G\u00fcney\u2019in g\u00f6rd\u00fcklerini g\u00f6remedikleri i\u00e7in mi perdelerine aktarmam\u0131\u015flard\u0131r? Hay\u0131r. Ger\u00e7ek \u00e7o\u011fu zaman ortad\u0131r. Bence birey, hayata en \u00e7ok \u201ctavr\u0131yla\u201d m\u00fcdahale eder; G\u00fcney, sinemas\u0131yla tavr\u0131n\u0131 koymu\u015ftur. Ve hayat\u0131n b\u00fcy\u00fck bir g\u00fczellemesi olsa gerek; tavr\u0131, yine bir tav\u0131r olarak ad\u0131ndan sonra gelen G\u00fcney\u2019e dair olmu\u015ftur.<\/span><\/p>\n

Bu eziyet ve onur bizim.<\/span><\/p>\n

Ser seran, ser \u00e7avan.<\/span><\/p>\n

II<\/b><\/p>\n

\u00d6rnekler<\/b><\/p>\n

1. Grup<\/b><\/p>\n

Ola ki, G\u00fcney\u2019in sinemas\u0131, bu \u00f6rnekler \u00fczerinden mi tart\u0131\u015f\u0131l\u0131r diyecek olanlara pe\u015finen s\u00f6ylemi\u015f olay\u0131m. En \u00f6nemsedi\u011fim grup bu gruptur. Bug\u00fcn sol, her alanda, \u201cs\u0131radan\u201d\u0131n \u00fczerindeki etkisini t\u00fcmden yitirmi\u015ftir.<\/span><\/i><\/p>\n

\u0130brahim Tatl\u0131ses\u2019in \u201cAk\u015fam yaz\u0131yor, sabah motor diyorum\u201d dedi\u011fi d\u00f6nemlerde \u00e7ekti\u011fi dizilerin. Ve yine Ye\u015fil\u00e7am envanterine kay\u0131t ettirdi\u011fi say\u0131s\u0131z filmi ve ara ara yapt\u0131\u011f\u0131 kimi anla\u015f\u0131lmaz a\u00e7\u0131klamalar\u0131n hepsi me\u011fer Y\u0131lmaz G\u00fcney esinliymi\u015f. Fakat bunu, b\u00fcy\u00fck foto\u011fraf ortaya \u00e7\u0131k\u0131p, par\u00e7alar b\u00fct\u00fcn\u00fcn detaylar\u0131 olarak yerli yerine oturdu\u011funda g\u00f6rm\u00fc\u015f olduk. Kimin kimden esinlenece\u011fi ve bu esinin hangi \u015fart ve boyutlarda olaca\u011f\u0131n\u0131 elbette \u00f6nceden kestiremeyiz. Kimi, G\u00fcney\u2019de, kabaday\u0131l\u0131k; kimi \u00f6rg\u00fct\u00e7\u00fcl\u00fck; kimiyse sanat\u00e7\u0131l\u0131k g\u00f6r\u00fcyor. G\u00fcney\u2019de bunlar\u0131n hepsi mevcut fakat b\u00fct\u00fcn bunlar\u0131n kar\u0131\u015f\u0131m\u0131nda nas\u0131l bir insan \u00e7\u0131km\u0131\u015ft\u0131r? Muamma burada. Asl\u0131nda ortada muamma falan y\u00f6k sadece insanlar bulunduklar\u0131 a\u00e7\u0131lardan onu farkl\u0131 yorumluyorlar.\u00a0<\/span><\/p>\n

\u0130nsan d\u00fcnyay\u0131 kendisiyle, kendisini de d\u00fcnyayla yorumlar. Halk aras\u0131nda s\u00f6ylenen \u201ckar\u015f\u0131dakini kendin gibi g\u00f6rmek\u201d bence bir referans tarifidir. Elimizde, dilimizde ve beynimizde olan referanslarla d\u00fcnyay\u0131 yorumluyoruz. Buradan bak\u0131nca G\u00fcney\u2019in, Tatl\u0131ses yorumuna \u015fa\u015f\u0131rmamak gerekiyor. Hatta onda bir \u201csafl\u0131k\u201d bile bulunabilir.<\/span><\/p>\n

Tatl\u0131ses\u2019in G\u00fcney yorumu elbette sinemasal bir de\u011ferlendirmeden ziyade ki\u015fisel mit kapsam\u0131 dahilinde olmu\u015ftur. Tatl\u0131ses\u2019e getirilebilecek yegane ele\u015ftiri niye G\u00fcney sinemas\u0131na yakla\u015famad\u0131\u011f\u0131 de\u011fil; zira onun ne b\u00f6yle bir \u00e7ap\u0131 ne de b\u00f6yle bir iddias\u0131 olmu\u015ftur. \u201c\u0130ddias\u0131 olmam\u0131\u015ft\u0131r\u201d belirlemesini bir kabal\u0131k yap\u0131p, cebren de\u011ferlendirmeye kat\u0131yorum; pek tabiidir ki Tatl\u0131ses bir iddiada bulunmu\u015ftur.<\/span><\/p>\n

Daha sonraki \u00f6rneklerde de g\u00f6r\u00fclece\u011fi gibi G\u00fcney\u2019den esin alanlar\u0131n ortak bir \u00f6zelli\u011fi de olduk\u00e7a \u201cme\u015fhur\u201d olduklar\u0131d\u0131r. \u0130\u015fte bu me\u015fhurluk G\u00fcney\u2019e yakla\u015fman\u0131n en zahiri ve zehirli yolu olmu\u015ftur. G\u00fcney\u2019le kurulan ortakl\u0131k \u201cme\u015fhurluk\u201d \u00fczerinden olunca me\u015fhurlu\u011fa dair b\u00fct\u00fcn sakatl\u0131klar da i\u015fin i\u00e7ine girmi\u015ftir.\u00a0<\/span><\/p>\n

Yol, S\u00fcr\u00fc, Umut, A\u011f\u0131t, filmleriyle kendi d\u00f6neminin \u00e7ok \u00fcst\u00fcnde yap\u0131tlar sunmu\u015f G\u00fcney, yolu s\u00fcrg\u00fcne d\u00fc\u015fmeden neyse ki elini \u00e7abuk tutmu\u015ftur. S\u00fcrg\u00fcnden kameraya ald\u0131\u011f\u0131 Duvar filmi vasat\u0131 a\u015famamm\u0131\u015ft\u0131r. Bunun detaylar\u0131na girmeyece\u011fim. \u015eimdilik, sadece, neden s\u00fcrg\u00fcn? sorusunu ortaya ataca\u011f\u0131m.<\/span><\/p>\n

Tatl\u0131ses\u2019in G\u00fcney hevesinden \u00e7ok sonra sahneye Mahsun K\u0131rm\u0131z\u0131g\u00fcl \u00e7\u0131kt\u0131. T\u00fcrkiye sinemas\u0131 i\u00e7in pahal\u0131 denebilecek yap\u0131mlara imza atan K\u0131rm\u0131z\u0131g\u00fcl, yine de niye ve nas\u0131l sinemaya \u201cshift\u201d etti belirsiz. K\u00fc\u00e7\u00fckl\u00fc\u011f\u00fcnden beri arabesk s\u00f6yleyen biri otuzundan sonra nas\u0131l birden bire sinema y\u00f6netmen olur bilemeyece\u011fim. Yine de bunu K\u0131rm\u0131z\u0131g\u00fcl\u2019den ziyade G\u00fcney\u2019in etki alan\u0131na ba\u011flamak istiyorum.<\/span><\/p>\n

2. Grup<\/b><\/p>\n

Ak\u015fam sofras\u0131n\u0131n kadehinde akseden y\u0131ld\u0131z.<\/span><\/i><\/p>\n

Fatih Ak\u0131n, 2011 Cannes film festivalinde, Y\u0131lmaz G\u00fcney hakk\u0131nda bir film yapmak istedi\u011fini belirttikden sonra, devam etmi\u015f \u201cSolcular, solcu oldu\u011fu i\u00e7in Y\u0131lmaz G\u00fcney\u2019den uzak durmu\u015flard\u0131r.\u201d Ak\u0131n, hangi solculardan bahsediyor bilemiyorum. Bahsettikleri solcu mu onu da bilemiyorum zira \u201cYa\u015fam\u0131n k\u0131y\u0131s\u0131nda\u201d filmiyle Ak\u0131n, solu ve solcuyu tan\u0131mad\u0131\u011f\u0131n\u0131 ayan beyan ilan etmi\u015fti.\u00a0<\/span><\/p>\n

Almaya\u2019da b\u00fcy\u00fcm\u00fc\u015f Ak\u0131n, alet kullanmada maharetli g\u00f6r\u00fcn\u00fcyor; t\u0131pk\u0131, kuzeyden Von Trier gibi. Galiba kapitalist geli\u015fmi\u015fli\u011fe paralel; sanat\u00e7\u0131n\u0131n zanaatkara d\u00f6n\u00fc\u015f\u00fcm\u00fc (\u201cs\u00f6n\u00fc\u015f\u00fcm\u00fc\u201d desem \u00e7ok mu abs\u00fcrt ka\u00e7ar) Avrupa\u2019da \u00e7ok daha h\u0131zl\u0131 ve erken g\u00fcndeme gelmi\u015f bulunuyor. Ak\u0131n ve Von Trier, ki\u015fisel trajedileri, yine o ki\u015filerin c\u00fcr\u00fcmlerinde ustaca yorumlayabilirken, foto\u011fraf\u0131n b\u00fct\u00fcn\u00fc s\u00f6z konusu oldu\u011funda, karanl\u0131k oda \u0131\u015f\u0131\u011f\u0131n\u0131 ya fazla a\u00e7\u0131yor ya da t\u00fcmden kapal\u0131 tutuyorlar. B\u00f6yle olunca filmin \u201ctab\u201d\u0131nda leke ve yan\u0131klara rastlan\u0131yor. (Von Trier, Ak\u0131n \u00fczerinden konu edildi. Pek tabii, onun G\u00fcney\u2019le bir \u201cesin\u201d ba\u011flant\u0131s\u0131n\u0131n pe\u015finde de\u011filim.)<\/span><\/p>\n

3. Grup<\/b><\/p>\n

Pir Sultan\u2019a g\u00fcl atanlar.<\/span><\/i><\/p>\n

G\u00fcney sinemas\u0131, maalesef, biraz da Anadolunun \u00e7aps\u0131zl\u0131\u011f\u0131ndan olsa gerek, ekol olamam\u0131\u015ft\u0131r. G\u00fcn\u00fcm\u00fcz\u00fcn \u0130ran sinemas\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, her ne kadar \u201cbat\u0131l\u0131\u201d bu sinemaya ekol demekten imtina etse de; G\u00fcney\u2019in sinemas\u0131, Ceyhan \u0131rma\u011f\u0131 kenar\u0131nda, Misis K\u00f6pr\u00fcs\u2019ne bakan g\u00f6lgesiz a\u011fa\u00e7 gibidir. Ekol olamamak G\u00fcney\u2019in de\u011fil, ondan sonrakilerin marazas\u0131d\u0131r. G\u00fcney\u2019i takip eden fakat 1. ve 2. grubun d\u0131\u015f\u0131nda kalanlar, isimlerinin burada zikredilememesi misali, \u00fcrkek\/gizli bir \u201ctav\u0131r\u201d i\u00e7inde kal\u0131rlarsa, bilmeliler ki, yeralt\u0131 \u0131rma\u011f\u0131 nezaketinde de\u011fil, bo\u015fa akan sulama kanal\u0131 durumunda kalacaklard\u0131r.\u00a0<\/span><\/p>\n

Umut filminde, Cabbar;<\/span><\/p>\n

\u201cAmorti de yok mu?\u201d diye soruyordu ya, nacizane katk\u0131m \u015fudur: Devrimin amortisi ve garantisi yoktur!<\/span><\/p>\n

Hem, amortiye tamah edenler, G\u00fcney\u2019in derdini anlam\u0131\u015f olanlard\u0131r.<\/span><\/p>\n

III<\/b><\/p>\n

Umut\u2019a dair…<\/b>
\n(Ayr\u0131 bir yaz\u0131 olarak siteye eklenmi\u015ftir: T\u0131klay\u0131n\u0131z)<\/a><\/p>\n

Hasan Sever<\/b><\/p>\n

Z\u00fcrih, Temmuz-Eyl\u00fcl 2011<\/b><\/p>\n

Lakaba dair k\u00fc\u00e7\u00fck not<\/i><\/b>: G\u00fcney\u2019in,\u201c\u00e7irkinlik\u201d ve \u201ckrall\u0131k\u201da kar\u015f\u0131 verdi\u011fi \u00f6m\u00fcr ortadayken \u201c\u00c7irkin Kral\u201d diye adland\u0131r\u0131lmas\u0131, ironik bile de\u011fildir; bence vazge\u00e7ilmelidir. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cAmorti de yok mu?\u201d Onun sinemas\u0131n\u0131 yapmak, sinemas\u0131n\u0131n ula\u015ft\u0131\u011f\u0131 prestiji yakalamak, karizmas\u0131nda bir hayat s\u00fcrmek, vicdan \u00f6l\u00e7\u00fclerinde kabul g\u00f6rmek fakat b\u00fct\u00fcn bunlar\u0131n gerektirdi\u011fi eziyeti \u00e7ekmek istemiyorlar. Yaz\u0131n\u0131n \u00f6zeti budur. G\u00fcn\u00fcm\u00fcz\u00fcn h\u0131zl\u0131 hayat\u0131, b\u00fcy\u00fck tahlilleri, uzun c\u00fcmleleri katlan\u0131lmaz k\u0131ld\u0131\u011f\u0131ndan, i\u015fbu \u00f6zet girizgaha al\u0131nm\u0131\u015ft\u0131r.<\/p>\n","protected":false},"author":2,"featured_media":3041,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Y\u0131lmaz G\u00fcney\u2019dir","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[58,69,45],"tags":[426,527,554,674,677,948,953,1048,1067,1096],"class_list":["post-3033","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-edebiyat","category-siyaset","category-yazilar","tag-fatih-akin","tag-ibrehim-tatlises","tag-iran-sinemasi","tag-mahsun-kirmizigul","tag-makinelesme","tag-sineme","tag-siyaset","tag-umut","tag-von-trier","tag-yilmaz-guney"],"yoast_head":"\nY\u0131lmaz G\u00fcney\u2019dir - HASAN SEVER<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hasansever.org\/?p=3033\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Y\u0131lmaz G\u00fcney\u2019dir - HASAN SEVER\" \/>\n<meta property=\"og:description\" content=\"\u201cAmorti de yok mu?\u201d Onun sinemas\u0131n\u0131 yapmak, sinemas\u0131n\u0131n ula\u015ft\u0131\u011f\u0131 prestiji yakalamak, karizmas\u0131nda bir hayat s\u00fcrmek, vicdan \u00f6l\u00e7\u00fclerinde kabul g\u00f6rmek fakat b\u00fct\u00fcn bunlar\u0131n gerektirdi\u011fi eziyeti \u00e7ekmek istemiyorlar. 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Yaz\u0131n\u0131n \u00f6zeti budur. 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Polanski 1977 y\u0131l\u0131nda ABD\u2019de i\u015fledi\u011fi bir su\u00e7tan \u00f6t\u00fcr\u00fc 32 y\u0131ld\u0131r ABD polisi taraf\u0131ndan aran\u0131yordu. 13 ya\u015f\u0131ndaki bir k\u0131z \u00e7ocu\u011fuyla ya\u015fad\u0131\u011f\u0131\u2026","rel":"","context":""Sinema" i\u00e7inde","block_context":{"text":"Sinema","link":"https:\/\/hasansever.org\/?cat=68"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/hasansever.org\/wp-content\/uploads\/2024\/01\/Fahne-Schweiz-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/hasansever.org\/wp-content\/uploads\/2024\/01\/Fahne-Schweiz-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/hasansever.org\/wp-content\/uploads\/2024\/01\/Fahne-Schweiz-1.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":2748,"url":"https:\/\/hasansever.org\/?p=2748","url_meta":{"origin":3033,"position":2},"title":"Paris’te \u0130ki Mezar","author":"hasever","date":"10 Eyl\u00fcl 2021","format":false,"excerpt":"S\u00fcrg\u00fcn demek dil demektir. Bunu en yak\u0131c\u0131 hissedenlerden biri olarak bu s\u00f6z\u00fc her h\u00fccremde hissetti\u011fimi bu vesileyle yazmak isterim. S\u00fcrg\u00fcn nihayetinde bir noktadan bir ba\u015fka noktaya zorla aktar\u0131lmakt\u0131r. 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Uzaktan bak\u0131nca, ot b\u00fcy\u00fcm\u00fcz denen \u201cmolla devrimi\u201dnin topra\u011f\u0131nda, nas\u0131l oluyor da bu t\u00fcr bir sinema hayat bulabiliyor? Yoksa \u201cmolla devrimi\u201d o toprakta \u00f6n\u00fc al\u0131namam\u0131\u015f ayr\u0131k otu mu? 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