{"id":4695,"date":"2010-09-13T10:58:24","date_gmt":"2010-09-13T07:58:24","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/09\/13\/turk-sinemasinda-devrimci-sinema-akimi-ve-yilmaz-guney-sinemasi-onur-kesapli\/"},"modified":"2010-09-13T10:58:24","modified_gmt":"2010-09-13T07:58:24","slug":"turk-sinemasinda-devrimci-sinema-akimi-ve-yilmaz-guney-sinemasi-onur-kesapli","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/09\/13\/turk-sinemasinda-devrimci-sinema-akimi-ve-yilmaz-guney-sinemasi-onur-kesapli\/","title":{"rendered":"T\u00fcrk sinemas\u0131nda devrimci sinema ak\u0131m\u0131 ve Y\u0131lmaz G\u00fcney sinemas\u0131 | Onur Ke\u015fapl\u0131"},"content":{"rendered":"

Ekim Devrimi\u2019yle birlikte Sovyetler Birli\u011fi\u2019nde Vertov \u00f6nc\u00fcl\u00fc\u011f\u00fcnde ba\u015flayan, ilerleyen y\u0131llarda devrimci 68 ku\u015fa\u011f\u0131 s\u00fcrecinde Fransa\u2019da Godard\u2019la devam eden \u201cdevrimci sinema\u201d tart\u0131\u015fmalar\u0131, aray\u0131\u015flar\u0131, denemeleri, T\u00fcrkiye\u2019de de 60l\u0131 ve 70li y\u0131llarda konu\u015fulmu\u015ftur. T\u00fcrkiye\u2019de sol politi\u011fin en g\u00fc\u00e7l\u00fc oldu\u011fu, sosyalist bir partinin meclise girdi\u011fi, Kemalist partinin kendini solda konumland\u0131rd\u0131\u011f\u0131, i\u015f\u00e7i ve gen\u00e7ler aras\u0131nda sol \u00f6\u011fretinin giderek yayg\u0131nla\u015ft\u0131\u011f\u0131, 61 Anayasas\u0131\u2019n\u0131n h\u00fck\u00fcmlerine ra\u011fmen uygulanmayan sendikal haklar i\u00e7in m\u00fccadelelerin verildi\u011fi, sol \u00f6rg\u00fctlerin m\u00fccadele alanlar\u0131n\u0131n yan\u0131nda sol se\u00e7menin y\u00fczde 40\u0131 a\u015fabildi\u011fi 60l\u0131 ve 70li y\u0131llarda T\u00fcrk sinemas\u0131nda da solcu ve hatta devrimci aray\u0131\u015flar g\u00f6r\u00fclmektedir.<\/p>\n

Devrimci Sinema olarak adland\u0131r\u0131labilecek ilk olu\u015fum, solcu yazar ve ayd\u0131nlar\u0131n kurdu\u011fu, \u00e7a\u011fda\u015f ve Bat\u0131 \u00fcslubunda film \u00fcretimini te\u015fvik eden T\u00fcrk Sinematek Derne\u011fi\u2019nden ayr\u0131lan daha radikal bir grup gencin, 1968\u2019de kurdu\u011fu Gen\u00e7 Sinema hareketi ve onlar\u0131n ayn\u0131 adla yay\u0131nlanmaya ba\u015flayan dergileri olmu\u015ftur. Var olan konvansiyonel sinemay\u0131 t\u00fcmden reddeden Gen\u00e7 Sinemac\u0131lar, T\u00fcrkiye\u2019de devrimle T\u00fcrk sinemas\u0131nda devrimi ayn\u0131 anda istemektedirler. Gen\u00e7 Sinemac\u0131lar\u0131n bildirisinde \u015fu maddeler vard\u0131r:<\/p>\n

\u201cGen\u00e7 Sinema elli y\u0131ll\u0131k bir deneyden sonra T\u00fcrkiye\u2019de sinema olay\u0131n\u0131n yeniden ve k\u00f6kten ele al\u0131nmas\u0131 gerekti\u011fi kan\u0131s\u0131ndad\u0131r. Bu hesapla\u015fman\u0131n tek amac\u0131 devrimci, halka d\u00f6n\u00fck ve ba\u011f\u0131ms\u0131z bir sineman\u0131n yarat\u0131lmas\u0131d\u0131r. Bu ama\u00e7la a\u015fa\u011f\u0131daki temel sorunlar\u0131 g\u00f6z \u00f6n\u00fcnde tutarak, bilin\u00e7lenen halk\u0131n ve devrimci eylemin paralelinde bir sineman\u0131n ger\u00e7ekle\u015ftirilmesi ve halka ula\u015ft\u0131r\u0131lmas\u0131 yolunda \u00e7aba g\u00f6sterece\u011fimizi bildiririz.<\/p>\n

<\/p>\n

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1.Sanat\u0131n toplum i\u00e7inde ve onunla birlikte olu\u015ftu\u011fu, toplumdan ayr\u0131 d\u00fc\u015f\u00fcn\u00fclemez oldu\u011fu bir kez daha a\u00e7\u0131klanmal\u0131, halk kavram\u0131 yeniden tan\u0131mlanmal\u0131, halk i\u00e7in ve halk ad\u0131na deyimleri ayd\u0131nlat\u0131lmal\u0131, halk kavram\u0131ndan amac\u0131n emek\u00e7i s\u0131n\u0131flar demek oldu\u011fu belirtilmelidir.<\/p>\n

2. Gen\u00e7 Sinema var olan bu sinema d\u00fczenine kar\u015f\u0131 \u00e7\u0131kar. Onun i\u00e7inde bulundu\u011fu toplumsal d\u00fczene kar\u015f\u0131 \u00e7\u0131kt\u0131\u011f\u0131 gibi. \u00c7\u00fcnk\u00fc her iki d\u00fczen de insan\u0131 a\u00e7\u0131klamaktan, insan\u0131 ama\u00e7lamaktan uzak d\u00fc\u015fm\u00fc\u015ft\u00fcr. Halk\u0131 hem maddi hem de manevi yan\u0131yla s\u00f6m\u00fcrmekten \u00f6te bir amac\u0131 yoktur. Gen\u00e7 Sinema bu y\u00fczden ba\u011f\u0131ms\u0131z olmal\u0131, hi\u00e7bir ko\u015ful ve nedenle temel ilkelerinden \u00f6d\u00fcn vermemelidir.<\/p>\n

3. Geleneksel k\u00fclt\u00fcr\u00fcn yabanc\u0131 k\u00fclt\u00fcrler gibi ancak devrimci bir perspektifle bak\u0131ld\u0131\u011f\u0131nda yararl\u0131 olabilece\u011fi kesinlikle anla\u015f\u0131lmal\u0131 ve anlat\u0131lmal\u0131, birikmi\u015f de\u011ferler devrimci a\u00e7\u0131dan de\u011ferlendirilmelidir. Gen\u00e7 Sinema bug\u00fcn\u00fcn insan\u0131n\u0131 incelerken, ona bakarken yeni de\u011ferlere sahip yeni bir insan g\u00f6r\u00fcr ve onu olumlu ya da olumsuz eylemleriyle bir b\u00fct\u00fcn olarak ele al\u0131r. Gen\u00e7 Sinema \u00f6z\u00fc ve bi\u00e7imi devrimci a\u00e7\u0131dan ve bir arada d\u00fc\u015f\u00fcn\u00fcl\u00fcr. Bu kavramlar\u0131n birbirinden ayr\u0131lmaz oldu\u011funa inan\u0131r.<\/p>\n

4. Gen\u00e7 sinema yery\u00fcz\u00fcndeki b\u00fct\u00fcn Ye\u015fil\u00e7amlara kesinlikle kar\u015f\u0131d\u0131r. Yery\u00fcz\u00fcn\u00fcn neresinde olunursa olunsun ger\u00e7ekte bir tek d\u00fc\u015fman vard\u0131r. Bu anlamdaki evrensellik ulusall\u0131k d\u00fc\u015f\u00fcncesiyle el eledir. Gen\u00e7 Sinema sa\u011flam, yerine oturmu\u015f ve ger\u00e7ek sanat de\u011ferleri ta\u015f\u0131yan bir ulusal yap\u0131t\u0131n kendili\u011finden evrensel boyutlar kazanaca\u011f\u0131na inan\u0131r.<\/p>\n

5. Sinemac\u0131n\u0131n kendi \u00fclkesinin ger\u00e7eklerine e\u011filmekle y\u00fck\u00fcml\u00fc oldu\u011fu kesinlikle belirtilmelidir. Ancak Gen\u00e7 Sinema bu ger\u00e7eklerin sanat yap\u0131tlar\u0131na yans\u0131y\u0131\u015f\u0131ndaki her t\u00fcrl\u00fc ba\u011fnazl\u0131\u011fa ve dogmatizme kar\u015f\u0131d\u0131r. Sanat\u00e7\u0131 yap\u0131t\u0131n\u0131 \u00f6zg\u00fcr bir bi\u00e7imde yarat\u0131r.<\/p>\n

Bu ama\u00e7lara y\u00f6nelmi\u015f bir sava\u015f\u0131 verebilmek i\u00e7in bir \u00f6rg\u00fct\u00fcn gereklili\u011finin ka\u00e7\u0131n\u0131lmaz oldu\u011funa inan\u0131yoruz. \u00d6nemli ve as\u0131l olan yap\u0131tlard\u0131r ve bu yap\u0131tlar\u0131n halka ula\u015ft\u0131r\u0131lmas\u0131d\u0131r. Ger\u00e7ek bildiriyi de yap\u0131tlar ortaya koyacakt\u0131r.\u201d
(1)
Politik ve sinemasal anlamda olduk\u00e7a radikal olan bu bildiriyle birlikte Gen\u00e7 Sinemac\u0131lar, Vertov ve Godard\u2019\u0131n yapt\u0131klar\u0131na benzer bir \u015fekilde ellerinde kameralarla sokaklara \u00e7\u0131km\u0131\u015flar, ba\u015fta Kanl\u0131 Pazar ve 15\u201316 Haziran i\u015f\u00e7i eylemleri olmak \u00fczere d\u00f6nemin politik eylemlerini ve emek\u00e7i kitlelerini filme alarak t\u00fcm\u00fcyle farkl\u0131 bir sinema olay\u0131na giri\u015fmi\u015flerdir. Gen\u00e7 Sinema\u2019n\u0131n k\u0131sa metraj a\u011f\u0131rl\u0131kl\u0131 filmleri O\u011fuz Makal\u2019\u0131n ayn\u0131 d\u00f6nem tan\u0131mlad\u0131\u011f\u0131 \u201csiyasal sinema\u201d tan\u0131m\u0131yla da uyu\u015fmaktad\u0131r:<\/p>\n

\u201cSiyasal sinema egemen s\u0131n\u0131flar\u0131n \u00e7\u0131karlar\u0131n\u0131 par\u00e7alayan, anti-emperyalist sinemad\u0131r. Ticari sinemada g\u00f6r\u00fcnen, dramatik yap\u0131 i\u00e7indeki ola\u011fan\u00fcst\u00fc ki\u015filer\/kahramanlara kar\u015f\u0131d\u0131r, ger\u00e7ek kahraman\u0131n kitleler oldu\u011funu bilen sinemad\u0131r. Siyasal sinema belgecidir, olgular b\u00fct\u00fcnl\u00fc\u011f\u00fc ve yo\u011funlu\u011funa \u00f6nem verir.\u201d (2)<\/p>\n

Gen\u00e7 Sineman\u0131n \u00fclkede giderek kabaran sol siyasetle e\u015f g\u00fcd\u00fcml\u00fc y\u00fckseli\u015fi, radikal sol gruplar\u0131 ezen 12 Mart 1971 askeri m\u00fcdahalesiyle son bulmu\u015f, hareketin \u00fcyelerinin bir\u00e7o\u011fu tutuklan\u0131rken filmlerine de el konulmu\u015ftur. (3) Ancak bu m\u00fcdahaleden sonra hareketin bir daha toparlanamamas\u0131n\u0131n ve kaybolan filmler d\u00e2hilinde bile \u00e7ekilen film say\u0131s\u0131n\u0131n az olmas\u0131n\u0131n sebebini, hareketin \u00f6nde gelen isimlerinden Artun Yeres \u201cGen\u00e7 Sinema hareketinde film yapmaktan \u00e7ok konu\u015fmay\u0131 ye\u011fledik; ortaya bir \u015fey \u00e7\u0131kmad\u0131.\u201d (4) \u00f6zele\u015ftirisiyle ortaya koymaktad\u0131r. T\u00fcrk sinemas\u0131nda ayn\u0131 d\u00f6nemlerdeki Toplumsal Ger\u00e7ek\u00e7i Sinema ve Ulusal Sinema ak\u0131mlar\u0131nda oldu\u011fu gibi Gen\u00e7 Sinemac\u0131lar da kuramsal tart\u0131\u015fmalara verdikleri a\u011f\u0131rl\u0131\u011f\u0131 film \u00fcretimine vermemi\u015f ve T\u00fcrk sinema tarihindeki en devrimci at\u0131l\u0131m k\u0131sa soluklu bir giri\u015fim olmaktan \u00f6teye gidememi\u015ftir.<\/p>\n

T\u00fcrk sinemas\u0131nda geleneksel anlat\u0131n\u0131n a\u015f\u0131labilirli\u011fi ve devrimci olarak nitelendirilebilecek bir sineman\u0131n y\u00f6ntemleri konusunda tart\u0131\u015fmalar o y\u0131llarda yo\u011funla\u015fm\u0131\u015f, \u00dcst\u00fcn Sava\u015fta, \u201cdevrim i\u00e7in yeni bir sineman\u0131n olu\u015fuma \u00e7al\u0131\u015facak olan sinemac\u0131lar \u00fclkemiz sinema olay\u0131n\u0131 de\u011ferlendirirken, onun \u00e7ok y\u00f6nl\u00fc olan ili\u015fkilerinin her birini do\u011fru saptamak sorumlulu\u011fundad\u0131rlar. Zorlanmas\u0131 gereken kap\u0131lar\u0131n hangileri olabilece\u011fini, \u00f6nlerine s\u00fcr\u00fclmek istenen re\u00e7etelere kesinlikle kar\u015f\u0131 koyarak, yaln\u0131zca eylemlerinden ve diyalektik materyalist d\u00fc\u015f\u00fcnceden \u00e7\u0131karmak zorundad\u0131rlar. Bat\u0131 \u00f6rnekleri ile ya\u015fayan burjuva materyalist sinema \u00f6nerilerinin devrim i\u00e7in yeni bir sineman\u0131n olu\u015fumunda en gizli tuzaklardan biri oldu\u011fu kan\u0131s\u0131nday\u0131z.\u201d (5) s\u00f6zleriyle tart\u0131\u015fmaya yeni bir boyut katmakta, Sinematek y\u00f6neticisi Onat Kutlar ise T\u00fcrk sinemas\u0131nda b\u00f6yle bir giri\u015fimin zorluklar\u0131n\u0131 ve \u00e7\u0131k\u0131\u015f yollar\u0131n\u0131 \u015fu s\u00f6zlerle anlatmaktad\u0131r:<\/p>\n

\u201c\u2026Yollar konformist olmak istemeyen, yepyeni bir d\u00fcnyaya bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 yeni bir anlat\u0131m, yeni bir bi\u00e7im getirmek isteyen sinemac\u0131ya kapal\u0131d\u0131r. Birinci yolda her \u015fey piyasa kal\u0131plar\u0131na b\u00fct\u00fcn\u00fcyle boyun e\u011fmekle ba\u015flamakta, ikincisinde ise bu kal\u0131plar b\u00fcy\u00fck tavizler pahas\u0131na az\u0131c\u0131k aralanmaktad\u0131r. \u00d6yleyse konformist olmayan sinemac\u0131 i\u00e7in piyasa d\u0131\u015f\u0131nda olanaklar aramak zorunludur. D\u00fcnya sinemas\u0131nda teknik ve estetik alandaki son geli\u015fmeler \u00e7ok ucuz film yapmay\u0131 m\u00fcmk\u00fcn k\u0131lmaktad\u0131r.<\/p>\n

B\u00f6ylece bu yeni sinema ku\u015faklar\u0131 yapacaklar\u0131 \u00f6nc\u00fc filmler i\u00e7in sanatsever kapital sahipleri, hatta kendi paralar\u0131yla k\u0131sa filmler \u00e7evirmek isteklerini ger\u00e7ekle\u015ftirebileceklerdir. Bu giri\u015fimler ba\u015flang\u0131\u00e7ta tek tek \u00e7\u0131k\u0131\u015flar olarak kalaca\u011f\u0131ndan belki yerli sinemay\u0131 temsil etmekten uzak kalacaklard\u0131r. Ama de\u011ferli \u00f6rnekler verirlerse, sanat ad\u0131na \u00f6zenti \u00e7ukuruna d\u00fc\u015fmezlerse sineman\u0131n uluslar aras\u0131 olanaklar\u0131ndan yararlanacaklar ve daha da \u00f6nemlisi Sinematek\u2019in, Sinema kul\u00fcplerinin, bas\u0131n\u0131n deste\u011fiyle \u00fclkede bir \u2018kalite pazar\u0131\u2019n\u0131n olu\u015fmas\u0131n\u0131 sa\u011flayacaklar. Bu pazar do\u011fduktan sonra mesele kalmamaktad\u0131r. \u00c7\u00fcnk\u00fc bu alanda kazan\u00e7 g\u00f6ren piyasa yap\u0131mc\u0131lar\u0131 yaln\u0131zca kazan\u00e7 amac\u0131yla da olsa b\u00f6yle filmler yap\u0131lmas\u0131na imk\u00e2n tan\u0131yacaklard\u0131r.\u201d (6)<\/p>\n

Onat Kutlar\u2019\u0131n T\u00fcrkiye ger\u00e7eklerini g\u00f6z \u00f6n\u00fcne alarak piyasa ve konvansiyonel sinemayla i\u015fbirli\u011fiyle do\u011faca\u011f\u0131n\u0131 iddia etti\u011fi devrimci T\u00fcrk sinemas\u0131, yine ba\u015fta Onat Kutlar olmak \u00fczere Sinematek \u00e7evresinde b\u00fcy\u00fck bir be\u011feni ve destekle kar\u015f\u0131lanan, hayat\u0131 boyunca sans\u00fcrle m\u00fccadele etmi\u015f y\u00f6netmenlerin ba\u015f\u0131nda gelen Y\u0131lmaz G\u00fcney\u2019le hayat bulmu\u015ftur. 60l\u0131 y\u0131llar boyunca a\u011f\u0131rl\u0131kl\u0131 olarak western\/gangster t\u00fcr\u00fc Ye\u015fil\u00e7am filmlerinde boy g\u00f6steren ve \u201c\u00c7irkin Kral\u201d lakab\u0131yla zalime kar\u015f\u0131 mazlumun yan\u0131nda yer alan tiplemesiyle \u00f6zellikle halk aras\u0131nda b\u00fcy\u00fck sempati toplayan G\u00fcney, \u00f6yk\u00fcc\u00fcl\u00fckle ba\u015flad\u0131\u011f\u0131 yazarl\u0131\u011f\u0131n\u0131 senaristlikle s\u00fcrd\u00fcrm\u00fc\u015f ve L\u00fctfi Akad\u2019\u0131n y\u00f6netti\u011fi Hudutlar\u0131n Kanunu filmiyle bu alanda ilk b\u00fcy\u00fck \u00e7\u0131k\u0131\u015f\u0131n\u0131 yapm\u0131\u015ft\u0131r. Solcu kimli\u011fini 60lar\u0131n sonuna do\u011fru daha da a\u00e7\u0131k bi\u00e7imde ortaya koyan G\u00fcney, ilk b\u00fcy\u00fck y\u00f6netmenlik denemesini 1968 y\u0131l\u0131nda Seyit Han filmiyle yapm\u0131\u015ft\u0131r. Filmle ilgili olarak Kemal Tahir \u015funlar\u0131 s\u00f6ylemektedir:<\/p>\n

\u201cSeyit Han, d\u00fcnyan\u0131n arad\u0131\u011f\u0131 halk sinemas\u0131 ko\u015fullar\u0131na son derece uygundur. S\u00f6zgelimi, aral\u0131ks\u0131z kur\u015fun yedi\u011fi halde kahraman\u0131n hatta sendelememesi, hayat\u0131n ger\u00e7e\u011fiyle, sineman\u0131n ger\u00e7e\u011fi aras\u0131ndaki b\u00fcy\u00fck fark\u0131 belirleyen en iyi sahnedir. Y\u0131lmaz G\u00fcney, ger\u00e7ekten halktan yeti\u015fmi\u015f, halk\u0131n her \u015feyi nas\u0131l g\u00f6rmek istedi\u011fini belki derin ilmiyle de\u011fil, ya\u015fant\u0131s\u0131yla bilen bir halk sanat\u00e7\u0131s\u0131d\u0131r.\u201d (7)<\/p>\n

Seyit Han sonras\u0131 1970\u2019de ise hayat\u0131n ger\u00e7ekli\u011fine biraz daha yakla\u015faca\u011f\u0131 ve sadece y\u00f6netmenlik kariyeri a\u00e7\u0131s\u0131ndan de\u011fil ayn\u0131 zamanda T\u00fcrk sinemas\u0131 a\u00e7\u0131s\u0131ndan d\u00f6n\u00fcm noktas\u0131 olacak olan Umut filmini \u00e7ekmi\u015ftir. \u201cT\u00fcrk sinemas\u0131n\u0131n en ilerici, en c\u00fcretli devrimci, eylemci eseri\u201d (8) olarak nitelendirilen, ba\u015fta sol \u00e7evreler olmak \u00fczere ele\u015ftirmenler nezdinde de b\u00fcy\u00fck be\u011feni toplayan Umut, g\u00f6\u00e7 ve \u00e7arp\u0131k kentle\u015fmeyle d\u00f6n\u00fc\u015f\u00fcme u\u011frayan Adana\u2019da s\u00fcratle y\u00fckselen otomobil e\u011filimine kar\u015f\u0131n at arabac\u0131l\u0131\u011f\u0131 yapan, 5 \u00e7ocu\u011funa, e\u015fine ve annesine bakmakla y\u00fck\u00fcml\u00fc Cabbar\u2019\u0131n, bir araban\u0131n \u00e7arpmas\u0131 sonucu at\u0131n\u0131 kaybetmesi, beraberinde ge\u00e7im s\u0131k\u0131nt\u0131s\u0131n\u0131n daha da artmas\u0131 ve arkada\u015f\u0131n\u0131n akl\u0131na girmesiyle birlikte bir hocan\u0131n pe\u015finden define bulma amac\u0131yla s\u00fcr\u00fcklenmesi ve sonu\u00e7 olarak umutsuzluk i\u00e7inde kendini kaybetmesini anlatmaktad\u0131r.<\/p>\n

At\u0131n \u00f6l\u00fcm\u00fcne kadar olan b\u00f6l\u00fcm filmin ilk yar\u0131s\u0131 olarak da g\u00f6r\u00fclebilir ve bu b\u00f6l\u00fcmde G\u00fcney, T\u00fcrk sinemas\u0131ndaki Toplumsal Ger\u00e7ek\u00e7i ak\u0131m\u0131 da a\u015facak boyutta \u201cbelgeci\u201d bir \u00fcslup kullanarak hem \u015fehirle\u015fme hem de sosyo-politik anlamda \u00e7arp\u0131k \u201cgeli\u015fmeyi\/d\u00f6n\u00fc\u015f\u00fcm\u00fc\u201d g\u00f6zler \u00f6n\u00fcne sermektedir. Kameras\u0131n\u0131 yoksullu\u011fun saf ger\u00e7eklikte oldu\u011fu yerlere ta\u015f\u0131yan G\u00fcney\u2019in Umut\u2019unda \u201casker gibi dizilen apartmanlar kapitalizmin kaleleri gibi \u015fehre ayr\u0131 bir g\u00f6r\u00fcnt\u00fc verirken, b\u00fcy\u00fcyen \u015fehir ile k\u00fc\u00e7\u00fclen k\u00fclt\u00fcrler yan yanad\u0131r. Otomobilin kar\u015f\u0131s\u0131nda at arabas\u0131n\u0131n dayanma g\u00fcc\u00fc, apartman kar\u015f\u0131s\u0131nda gecekondunun dayanma g\u00fcc\u00fc kadard\u0131r\u201d. (9)<\/p>\n

Piyango oyunlar\u0131nda bir t\u00fcrl\u00fc \u015fans\u0131 yaver gitmeyen Cabbar, at\u0131n\u0131n \u00f6l\u00fcm\u00fc sonras\u0131 \u201cumut\u201d aray\u0131\u015flar\u0131n\u0131 meslek erbab\u0131 ve esnaf aras\u0131nda s\u00fcrd\u00fcrd\u00fckten sonra a\u011faya ba\u015fvurmakta ve ondan da olumsuz yan\u0131t almaktad\u0131r. \u0130talyan Yeni Ger\u00e7ek\u00e7ilik ak\u0131m\u0131 filmlerinden \u00f6zellikle De Sica\u2019nin Bisiklet H\u0131rs\u0131zlar\u0131 filmini and\u0131ran bu sahneler Halit Refi\u011f\u2019e ger\u00e7ek\u00e7i gelmemektedir. Hi\u00e7bir a\u011fan\u0131n kap\u0131s\u0131na gelen k\u00f6yl\u00fcy\u00fc geri \u00e7evirmeyece\u011fini ve k\u00f6k\u00fc ahili\u011fe dayanan T\u00fcrk esnaf\u0131n\u0131n dayan\u0131\u015fmas\u0131n\u0131n filmde yer almad\u0131\u011f\u0131n\u0131 belirten Refi\u011f, filmin T\u00fcrk toplumsal yap\u0131s\u0131na hi\u00e7 de uymayan bir s\u0131n\u0131f edebiyat\u0131 yapt\u0131\u011f\u0131n\u0131 s\u00f6ylemekte ve Anadolu topraklar\u0131n\u0131n tasavvufi inanc\u0131 yerine Bat\u0131c\u0131 yakla\u015f\u0131mla H\u0131ristiyan teolojisine yak\u0131n bir anlat\u0131 i\u00e7inde oldu\u011funu s\u00f6ylemektedir. (10) Ancak filmin, T\u00fcrkiye\u2019de kapitalizmle birlikte ba\u015flayan \u00e7arp\u0131k d\u00f6n\u00fc\u015f\u00fcme (hatta bir sahnede Cabbar\u2019\u0131n k\u0131z\u0131n\u0131n anadilde e\u011fitim yerine yabanc\u0131 dilde e\u011fitim veren okulda zorlanmas\u0131 gibi bir \u00f6rnekle alt\u0131n\u0131 \u00e7izerek) e\u011filen anlat\u0131s\u0131 g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda Refi\u011f\u2019in ger\u00e7ek\u00e7i bulmad\u0131\u011f\u0131 noktalarda ahlaki de\u011ferlerin yitirili\u015finin ve de\u011fi\u015fim g\u00f6stermeye ba\u015flayan toplumsal yap\u0131n\u0131n i\u015flendi\u011fini pek\u00e2l\u00e2 s\u00f6yleyebiliriz.<\/p>\n

At\u0131n \u00f6l\u00fcm\u00fcyle birlikte ba\u015flayan ikinci k\u0131s\u0131mda, Cabbar\u2019\u0131n arkada\u015f\u0131n\u0131n zengin olma hayali ve hoca efendinin hurafeler yoluyla akl\u0131na girmesiyle birlikte define saplant\u0131s\u0131n\u0131n Umut\u2019a ger\u00e7ek\u00e7ilikten uzakla\u015farak ger\u00e7ek\u00fcst\u00fc bir \u00fcslup katt\u0131\u011f\u0131 g\u00f6r\u00fclmektedir. T\u00fcrkiye\u2019de dinin ve hurafelerin insanlar \u00fczerindeki yaratt\u0131\u011f\u0131 irrasyonel etkinin ve y\u00f6nlendirmenin ele\u015ftirisi olarak da okunabilecek ikinci b\u00f6l\u00fcmde \u0131ss\u0131z, \u00e7orak topraklar, kuru a\u011fa\u00e7, sanr\u0131sal izlenim yaratan a\u015f\u0131r\u0131 parlakl\u0131k, filmi t\u0131pk\u0131 Cabbar\u2019\u0131n ger\u00e7eklikten metafizi\u011fe kaymas\u0131 gibi ger\u00e7eklikten uzakla\u015ft\u0131rmaktad\u0131r. T\u00fcm umudunu\/kaderini defineye ba\u011flayan Cabbar, definenin bulunamamas\u0131yla birlikte ger\u00e7eklikten t\u00fcm\u00fcyle kopar ve hocan\u0131n tedavisiyle birlikte g\u00f6zleri \u00f6rt\u00fcl\u00fcr. Sonras\u0131nda ise Cabbar g\u00f6zleri ba\u011flanm\u0131\u015f bir \u015fekilde a\u015f\u0131r\u0131 parlak, \u00e7orak arazide durmaks\u0131z\u0131n d\u00f6nmeye ba\u015flar. M\u00fcsl\u00fcm Y\u00fccel, \u201cEmek\u00e7i insanlar b\u00fcy\u00fck vaatlerle kand\u0131r\u0131lm\u0131\u015flard\u0131r ve hepsi b\u00fcy\u00fck hayallerinin \u00e7ukuruna at\u0131larak, kendi ger\u00e7ekliklerinden kopar\u0131larak, g\u00f6zleri ba\u011flanarak ya\u015famaya mecbur b\u0131rak\u0131lm\u0131\u015ft\u0131r\u201d (11) s\u00f6zleriyle, Altan Yal\u00e7\u0131n da filmin \u201cY\u00fczy\u0131llard\u0131r ezilen, s\u00f6m\u00fcr\u00fclen bir halk\u0131n egemen s\u0131n\u0131flar arac\u0131l\u0131\u011f\u0131 ile nas\u0131l \u015fartland\u0131r\u0131ld\u0131\u011f\u0131n\u0131, kendi s\u0131n\u0131f\u0131na yabanc\u0131la\u015ft\u0131r\u0131lm\u0131\u015f bir emek\u00e7inin kurtulu\u015fu metafizik yollarda aramas\u0131n\u0131n bo\u015funal\u0131\u011f\u0131n\u0131 vurgulad\u0131\u011f\u0131n\u0131\u201d (12) s\u00f6yleyerek Umut\u2019un sol tavr\u0131n\u0131n alt\u0131n\u0131 \u00e7izmektedirler. Nebihat Ya\u011f\u0131z ise Refi\u011f\u2019in Bat\u0131c\u0131l\u0131k ele\u015ftirisine kar\u015f\u0131n, filmin zihniyet \u00f6zelinde ve \u015eamanizm M\u00fcsl\u00fcmanl\u0131k bile\u015fimi ba\u011flam\u0131nda Osmanl\u0131-T\u00fcrk zihniyetine ba\u011fl\u0131 oldu\u011funu belirterek Umut\u2019u \u201cger\u00e7eklik \/ inan\u00e7 + b\u00fcy\u00fc \/ tasavvuf\u201d a\u015famalar\u0131na ge\u00e7i\u015fin simgeleni\u015fi (13) olarak g\u00f6rmektedir.<\/p>\n

Umut filmi sonras\u0131 yap\u0131lan bir r\u00f6portajda Y\u0131lmaz G\u00fcney, kendisini memleketin politik ve ekonomik durumuyla yak\u0131ndan ilgili \u201cDevrimci sanat\u00e7\u0131\u201d olarak g\u00f6rmekte, ancak yap\u0131tlar\u0131n\u0131 \u201cdirenme ve m\u00fccadele bilinci a\u015f\u0131layan fakat devrimci film i\u00e7in yeterli olmayan\u201d (14) filmler olarak nitelemektedir. 1971\u2019le birlikte y\u00f6netmenlik kariyerine s\u00fcratle devam eden G\u00fcney, Ac\u0131, A\u011f\u0131t, Vurguncular ve Umutsuzlar gibi Ye\u015fil\u00e7am kal\u0131plar\u0131yla biraz daha bar\u0131\u015f\u0131k ve \u201c\u00c7irkin Kral\u201d g\u00fcnlerini an\u0131msatan filmler \u00e7ektikten sonra 1971 y\u0131l\u0131nda Baba filmiyle tekrar ele\u015ftirmenler nezdinde dikkatleri \u00fczerine toplam\u0131\u015ft\u0131r. \u00c7aresizlik ve paras\u0131zl\u0131k y\u00fcz\u00fcnden \u00e7ocuklar\u0131n\u0131n gelece\u011fi i\u00e7in patronunun su\u00e7unu \u00fcstlenip cezaevine girmeyi kabul eden baban\u0131n m\u00fccadelesinin Mustafa S\u00f6zen\u2019e g\u00f6re \u00f6nemi \u015fu y\u00f6ndedir:<\/p>\n

\u201c\u2026filmin Ye\u015fil\u00e7am\u2019\u0131n bildik melodramatik anlat\u0131 yap\u0131s\u0131na benze\u015fim g\u00f6stermesine ra\u011fmen \u00f6yk\u00fcn\u00fcn sosyo-politik bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n getirdi\u011fi bir y\u00fcklemle yani, i\u00e7inde ger\u00e7ek\u00e7i sineman\u0131n temel \u00f6zelliklerini yo\u011fun bi\u00e7imde bar\u0131nd\u0131rmas\u0131yla farkl\u0131 bir d\u00fczleme ta\u015f\u0131nm\u0131\u015f olmas\u0131d\u0131r. \u00d6rne\u011fin kesitine (Almanya\u2019ya i\u015f\u00e7i g\u00f6\u00e7\u00fc) dayand\u0131r\u0131lmakta, ayr\u0131ca ya\u015fan\u0131lan mek\u00e2nlar toplumsal hayat alg\u0131s\u0131na g\u00f6ndermelerde bulunmaktad\u0131r.\u201d (15)<\/p>\n

Ertesi y\u0131l 12 Mart s\u0131k\u0131y\u00f6netim mahkemelerince, devrimci \u00f6nderlerden Mahir \u00c7ayan\u2019a yard\u0131m ve yatakl\u0131k yapt\u0131\u011f\u0131 gerek\u00e7esiyle hapse at\u0131lan Y\u0131lmaz G\u00fcney, tutukluluk g\u00fcnlerini anlatan H\u00fccrem adl\u0131 kitab\u0131nda, \u201cSisteme can katan yanlar\u0131m a\u00e7\u0131\u011fa \u00e7\u0131kmal\u0131yd\u0131. \u0130\u00e7inde ya\u015fad\u0131\u011f\u0131m burjuvazinin tahta at\u0131 \u00f6lmeliydi\u201d (16) diyerek sonraki d\u00f6nem y\u00f6netmenli\u011finde g\u00f6r\u00fclecek sinematografik geli\u015fimin bir anlamda haberini vermi\u015ftir. Afla cezaevinden \u00e7\u0131kan y\u00f6netmenin ilk filmi 1974 y\u0131l\u0131nda \u00e7ekti\u011fi Arkada\u015f olmu\u015ftur. Filmde burjuvazinin yo\u011fun ele\u015ftirisini, k\u0131rsaldan \u015fehre g\u00f6\u00e7m\u00fc\u015f ve yollar\u0131 ayr\u0131lm\u0131\u015f iki arkada\u015f\u0131n y\u0131llar sonra tekrar bulu\u015fmalar\u0131yla beraber ge\u00e7mi\u015flerini ve birbirlerini sorgulamalar\u0131yla anlatmaktad\u0131r y\u00f6netmen.<\/p>\n

\u201cArkada\u015f, hem yap\u0131s\u0131 ve kurulu\u015fu, hem ta\u015f\u0131d\u0131\u011f\u0131 anlam bak\u0131m\u0131ndan, \u00f6yk\u00fc \u00f6zetiyle aktar\u0131lamayacak kadar zengin, birbiriyle \u00e7eli\u015fir gibi g\u00f6r\u00fcnen ama ger\u00e7ekte diyalektik bi\u00e7imde birbirini do\u011furan, b\u00fct\u00fcnleyen \u00f6\u011felerle dolu bir filmdi. Ve her \u015feyden \u00f6nce 1974 T\u00fcrkiye\u2019sinin toplum katlar\u0131ndan, ki\u015filerinden, toplumsal ili\u015fkilerinden, ekonomik temelinden, kusurlar\u0131ndan ve erdemlerinden kesit veren \u00fcr\u00fcnd\u00fc.\u201d (17)<\/p>\n

Politik olarak kimilerinin ba\u015far\u0131l\u0131\/ger\u00e7ek\u00e7i buldu\u011fu film baz\u0131lar\u0131 taraf\u0131ndansa olduk\u00e7a didaktik bulunmu\u015ftur. Mustafa S\u00f6zen\u2019in Y\u0131lmaz G\u00fcney sinemas\u0131na bu ba\u011flamda getirdi\u011fi ele\u015ftiri \u015f\u00f6yledir:<\/p>\n

\u201c\u2026G\u00fcney, g\u00f6zlemlerini ger\u00e7ek\u00e7i hatta didaktik bir yakla\u015f\u0131mla perdeye yans\u0131tm\u0131\u015ft\u0131r; onun filmlerinde ger\u00e7ek b\u00fct\u00fcn \u00e7\u0131plakl\u0131\u011f\u0131yla daha a\u00e7\u0131k bir anlat\u0131mla kabal\u0131\u011f\u0131yla ve ilkelli\u011fiyle perdeye yans\u0131r; iyiler\/k\u00f6t\u00fcler, do\u011frular\/yanl\u0131\u015flar vb. her \u015fey belirgin bir \u015fekilde \u00e7izilir ve \u00e7at\u0131\u015fma bunlar \u00fczerine oturtulur. Bu ba\u011flamda filmleri didaktiktir ve kli\u015felere yaslan\u0131r.\u201d (18)<\/p>\n

Ayn\u0131 y\u0131l Zavall\u0131lar\u2019\u0131 y\u00f6neten Y\u0131lmaz G\u00fcney\u2019in filmografisi, tekrar mahk\u00fbm olmas\u0131yla birlikte \u201chapishaneden yazan ve y\u00f6neten\u201d y\u00f6netmen bi\u00e7imini al\u0131r. Bu s\u00fcre\u00e7te ilk \u00f6nemli filmi, \u015eerif G\u00f6ren\u2019in y\u00f6netti\u011fi Endi\u015fe\u2019dir. 1974\u2019\u00fcn yo\u011fun se\u00e7im atmosferi alt\u0131nda politik mesajlarla y\u00fckl\u00fc bu filmde G\u00fcney, \u201cbir yanda emekten yana bir d\u00fcnyay\u0131, di\u011fer yandan K\u00fcrtlerin toplumsal ya\u015fam\u0131nda kesitler vermeye \u00e7al\u0131\u015f\u0131r. Endi\u015fe\u2019nin emekten yana olan k\u0131sm\u0131 zaman\u0131n b\u00fct\u00fcn siyasal ve toplumsal ko\u015fullar\u0131n\u0131 sunar. \u0130\u015f\u00e7ilerin \u00f6rg\u00fctlenmeleri gerekti\u011fi, fabrika ya da toprak ikileminin olmad\u0131\u011f\u0131n\u0131, s\u00f6m\u00fcr\u00fclenin her yerde ayn\u0131 oldu\u011funu film boyunca duyumsat\u0131r. Fabrikada i\u015f\u00e7i, tarlada \u0131rgat s\u00f6m\u00fcr\u00fclmektedir, bunlar\u0131 s\u00f6m\u00fcren fabrikada patron, tarlada a\u011fad\u0131r. A\u011falar Demokrat Parti k\u00f6kenlidir: A\u011fa\u2019n\u0131n odas\u0131nda Menderes\u2019in foto\u011fraflar\u0131 vard\u0131r, tek \u00e7\u00f6z\u00fcm, umut adam Ecevit\u2019te yatmaktad\u0131r. Duvarlarda Ecevit yaz\u0131l\u0131d\u0131r, i\u015f\u00e7inin sat\u0131n almak istedi\u011fi kartpostal Ecevit\u2019tir.\u201d (19)<\/p>\n

Y\u0131lmaz G\u00fcney\u2019in g\u00fcncel politikay\u0131 sinemaya birebir ta\u015f\u0131ma tercihi 1975 y\u0131l\u0131nda Temel G\u00fcrsu\u2019nun y\u00f6netti\u011fi \u0130zin ve ayn\u0131 y\u0131l Bilge Olga\u00e7\u2019\u0131n y\u00f6netti\u011fi Bir G\u00fcn Mutlaka filmlerinde daha belirgin bir \u00fcslupla \u00f6ne \u00e7\u0131km\u0131\u015ft\u0131r. \u0130zin\u2019de i\u015f\u00e7ilerin grev, y\u00fcr\u00fcy\u00fc\u015f ve mitingleri hik\u00e2yeyle pek de alakal\u0131 olmamalar\u0131na ra\u011fmen filmin sonlar\u0131na eklenmi\u015f ve Bir G\u00fcn Mutlaka\u2019da ise \u201cbelgeci\u201d \u00fcslup CHP\u2019nin Taksim mitinginde B\u00fclent Ecevit\u2019in konu\u015fmas\u0131n\u0131, D\u0130SK\u2019in mitingini, \u00e7e\u015fitli sendikalar\u0131n grevlerini ve \u00f6ld\u00fcr\u00fclen solcular\u0131n cenaze t\u00f6renlerini belgesel bi\u00e7iminde \u00e7ekilip eklenmesiyle sonu\u00e7lanm\u0131\u015ft\u0131r. Bu gibi kurmaca olmayan sahnelerle birlikte politika dozunu artt\u0131ran Y\u0131lmaz G\u00fcney sinemas\u0131, \u00f6zellikle sa\u011f \u00e7evrelerden gelen ele\u015ftirilerin \u00f6tesinde sans\u00fcre u\u011fram\u0131\u015f ve baz\u0131 illerde g\u00f6sterimden kald\u0131r\u0131ld\u0131\u011f\u0131 gibi kimi yerlerde \u201ctoplum d\u00fczenini bozup baz\u0131 olaylara yol a\u00e7aca\u011f\u0131\u201d gerek\u00e7esiyle oynat\u0131lmam\u0131\u015ft\u0131r. (20)<\/p>\n

Hapishaneden yazan ve y\u00f6neten Y\u0131lmaz G\u00fcney\u2019in hem bu d\u00f6nemi a\u00e7\u0131s\u0131ndan hem de b\u00fct\u00fcn sinema kariyeri a\u00e7\u0131s\u0131ndan en \u00f6nemli yap\u0131tlar\u0131ndan biri 1978 y\u0131l\u0131nda Zeki \u00d6kten\u2019in y\u00f6netmenli\u011fini \u00fcstlendi\u011fi S\u00fcr\u00fc filmidir. Do\u011fuda bir a\u015firet \u00fczerinden t\u00f6reyi, feodaliteyi, ataerkil ya\u015fam pratiklerini, otoriteye olan ba\u011fl\u0131l\u0131\u011f\u0131, de\u011fi\u015fen sosyo-ekonomik ko\u015fullar\u0131 ele alan film, \u00f6zellikle a\u015firetin koyunlar\u0131 trenle Ankara\u2019ya getirdi\u011fi sahnelerde Umut\u2019ta oldu\u011fu gibi toplumsal ger\u00e7ek\u00e7i bir \u00fcslupla, Ankara sahnelerindeyse devrimci gencin odas\u0131ndaki afi\u015fler ve se\u00e7ilen diyaloglarla Arkada\u015f\u2019taki gibi didaktik bir anlat\u0131yla ilerlemektedir. M\u00fcsl\u00fcm Y\u00fccel\u2019e g\u00f6re S\u00fcr\u00fc\u2019de, K\u00fcrtlere dair hi\u00e7bir g\u00f6nderme olmamas\u0131na ve Y\u0131lmaz G\u00fcney\u2019in politik olarak sol kimli\u011fini ortaya koymas\u0131na ra\u011fmen film t\u00fcm\u00fcyle K\u00fcrtlerin hayat\u0131na ve hik\u00e2yelerine d\u00f6n\u00fckt\u00fcr. (21) Bu g\u00f6r\u00fc\u015fe ra\u011fmen film bir ekonomik-politik d\u00fczenden di\u011ferine ge\u00e7i\u015fin sanc\u0131l\u0131 s\u00fcreci olarak da okunabilir.<\/p>\n

\u201cS\u00fcr\u00fc, sinemam\u0131zda yaz\u0131lm\u0131\u015f en zengin, en \u00e7ok insan malzemesi i\u00e7eren senaryolardan biri oldu. Do\u011fu\u2019daki bir g\u00f6\u00e7er a\u015firetin, baban\u0131n ki\u015fili\u011finde simgelenen \u00e7\u00f6k\u00fc\u015f\u00fc, yava\u015f yava\u015f yerle\u015fmekte olan kapitalist ekonomi anlay\u0131\u015f\u0131 i\u00e7inde feodal d\u00fczenin, ekonomik yap\u0131s\u0131 ve ahlak de\u011ferleriyle birlikte yans\u0131t\u0131ld\u0131.\u201d (22)<\/p>\n

S\u00fcr\u00fc\u2019de a\u015firetin ve eski d\u00fczenin \u00e7\u00f6kt\u00fc\u011f\u00fc yerin, a\u015firet reisinin o\u011flu \u015eivan\u2019\u0131n s\u00f6yledi\u011fi gibi \u201cBa\u015fkentimiz, g\u00fczel Ankara\u201dda olmas\u0131 hem k\u0131rsal-kent aras\u0131ndaki u\u00e7urumun ve y\u00fckselen de\u011ferlerin alt\u0131n\u0131n \u00e7izilmesi hem de art\u0131k tek otoritenin Ankara oldu\u011funun vurgulanmas\u0131 a\u00e7\u0131s\u0131ndan dikkat \u00e7ekicidir.<\/p>\n

\u201cY\u0131lmaz G\u00fcney\u2019in alt\u0131 \u00e7izilmesi ve incelenmesi gereken bir ba\u015fka y\u00f6n\u00fc de filmlerinde T\u00fcrk toplumunun feodal de\u011ferlerini paradoksal bir bi\u00e7imde hem y\u00fcceltmesi hem de onunla hesapla\u015fmaya giri\u015fmesidir. Paradoks bu yap\u0131n\u0131n sonucunda do\u011fal olarak burada bilin\u00e7li bir toplum ele\u015ftirisi ortaya \u00e7\u0131kmamaktad\u0131r. Anlat\u0131larda feodalitenin yerle\u015fik ahlaki de\u011ferleri, t\u00f6releri \u00f6ylesine g\u00fc\u00e7l\u00fc \u00f6ylesine a\u015f\u0131lmazd\u0131r ki, t\u00fcm insani ac\u0131lara ra\u011fmen ki\u015filerin kurtulu\u015f yolu farkl\u0131 se\u00e7enekleri yokmu\u015f gibi g\u00f6sterilir.\u201d (23)<\/p>\n

Y\u0131lmaz G\u00fcney\u2019in yukar\u0131daki al\u0131nt\u0131da ortaya konan \u00e7eli\u015fkili toplumsal ele\u015ftiri ve politik d\u00fc\u015f\u00fcnce \u00fcslubu, O\u011fuz Demiralp\u2019in anlat\u0131m\u0131na g\u00f6re olduk\u00e7a tutarl\u0131d\u0131r. Zira \u201cY\u0131lmaz G\u00fcney bir tepkiler toplam\u0131d\u0131r. Bir yandan Bat\u0131l\u0131 ya\u015fama bi\u00e7imlerine g\u00f6sterilen k\u00f6yl\u00fc\/feodal tepkiler, l\u00fcmpen zihniyetin yasaya ve otoriteye tepkisi, \u00f6b\u00fcr yandan kapitalist sisteme kar\u015f\u0131 feodal direni\u015f ve sosyalist tepkiler 1970\u2019li y\u0131llarda birbirine kar\u0131\u015fm\u0131\u015ft\u0131.\u201d (24) T\u00fcrkiye Cumhuriyeti tarihinin politik anlamda en \u00e7alkant\u0131l\u0131 d\u00f6nemi olan 1960-80 aras\u0131 s\u00fcre\u00e7te politik d\u00fc\u015f\u00fcncenin T\u00fcrk sinemas\u0131ndaki kar\u015f\u0131l\u0131\u011f\u0131 konusunda Y\u0131lmaz G\u00fcney\u2019in \u00f6nemini Rekin Teksoy \u015fu \u015fekilde dile getiriyor:<\/p>\n

\u201cY\u0131lmaz G\u00fcney\u2019in \u00f6nemi, d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ile sinema sanat\u0131n\u0131 i\u00e7 i\u00e7e ge\u00e7irmesinde, senaryolar\u0131n\u0131 da yazd\u0131\u011f\u0131 filmlerinde sosyalist d\u00fcnya g\u00f6r\u00fc\u015f\u00fcnden yola \u00e7\u0131kan bir ger\u00e7ek\u00e7ilik anlay\u0131\u015f\u0131n\u0131 benimsemesinde yatar. Kendisinden \u00f6nce ger\u00e7ek\u00e7i filmler yapmay\u0131 denemi\u015f olan y\u00f6netmenlerde bulunmayan bu \u00f6zellik, Y\u0131lmaz G\u00fcney\u2019i T\u00fcrk sinemas\u0131n\u0131n ilk siyasal y\u00f6netmeni de yapar.\u201d (25)<\/p>\n

Evrensel anlamda, sinematografik a\u00e7\u0131dan \u201cdevrimci sinemac\u0131\u201d say\u0131lamayacak olan Y\u0131lmaz G\u00fcney, ele ald\u0131\u011f\u0131 konular ve onlar\u0131 i\u015fleyi\u015f bi\u00e7imleri a\u00e7\u0131s\u0131ndan, en az\u0131ndan T\u00fcrk sinemas\u0131 \u00f6zelinde \u201cdevrimci sinemac\u0131\u201d tan\u0131mlamas\u0131na en yak\u0131n y\u00f6netmen olagelmi\u015ftir.<\/p>\n

EK: Yol, Duvar ve \u00dc\u00e7\u00fcnc\u00fc Sinema<\/p>\n

Y\u0131lmaz G\u00fcney\u2019in senaryosunu yazd\u0131\u011f\u0131 ve hapishaneden direktiflerle y\u00f6nlendirdi\u011fi, y\u00f6netmenli\u011fini ise \u015eerif G\u00f6ren\u2019in \u00fcstlendi\u011fi Yol, 12 Eyl\u00fcl\u2019\u00fcn hemen ard\u0131ndan \u00e7ekilmi\u015ftir. Yar\u0131 a\u00e7\u0131k cezaevinde h\u00fck\u00fcml\u00fc alt\u0131 mahk\u00fbmun bir haftal\u0131k izinleri s\u0131ras\u0131nda ya\u015fad\u0131klar\u0131 olaylar\u0131 aktaran filmde Seyit Ali, kar\u0131s\u0131n\u0131 ve o\u011flunu g\u00f6rmek \u00fczere k\u00f6y\u00fcne d\u00f6nd\u00fc\u011f\u00fcnde kar\u0131s\u0131n\u0131n onu aldatt\u0131\u011f\u0131n\u0131, bu y\u00fczden kar\u0131s\u0131n\u0131n ailesi taraf\u0131ndan Siirt\u2019e g\u00f6t\u00fcr\u00fcld\u00fc\u011f\u00fcn\u00fc \u00f6\u011frenir ve namusunu temizlemek ad\u0131na yola \u00e7\u0131kar. Mehmet Salih, kar\u0131s\u0131 ve iki \u00e7ocu\u011funu g\u00f6rmek i\u00e7in Diyarbak\u0131r\u2019a gider ancak ge\u00e7mi\u015fte ya\u015fanm\u0131\u015f bir olay neticesinde e\u015finin ailesi taraf\u0131ndan ho\u015f kar\u015f\u0131lanmaz. Mevl\u00fct ise ni\u015fanl\u0131s\u0131n\u0131 g\u00f6rmek i\u00e7in Gaziantep\u2019e gitmi\u015f ancak t\u00f6re bask\u0131s\u0131 ve \u00e7ar\u015fafl\u0131 kad\u0131nlar \u00f6zelinde temsil edilen dinsel bask\u0131 y\u00fcz\u00fcnden bu pek de m\u00fcmk\u00fcn olamaz.<\/p>\n

Durmadan i\u00e7ki i\u00e7en S\u00fcleyman ailesine kavu\u015fmak i\u00e7in Adana\u2019ya yola \u00e7\u0131karken Yusuf ise \u00f6ld\u00fc\u011f\u00fc kendisinden saklanan e\u015fini g\u00f6rmek i\u00e7in yola \u00e7\u0131km\u0131\u015ft\u0131r fakat izin k\u00e2\u011f\u0131d\u0131n\u0131 kaybetti\u011fi gerek\u00e7esiyle tutuklu kalm\u0131\u015ft\u0131r. Son olarak \u00d6mer Urfa\u2019daki k\u00f6y\u00fcne d\u00f6nd\u00fc\u011f\u00fcnde ka\u00e7ak\u00e7\u0131lar ve jandarma aras\u0131nda s\u00fcren \u00e7at\u0131\u015fmalar artarak s\u00fcr\u00fcyordur. \u00d6ld\u00fcr\u00fclen karde\u015finin e\u015fiyle evlenmesi gerekecektir zira t\u00f6re b\u00f6yledir.<\/p>\n

O\u011fuz Demiralp\u2019e g\u00f6re Y\u0131lmaz G\u00fcney\u2019in olaylar\u0131 ve sahneleri dramatize eden y\u00f6netimine kar\u015f\u0131n film \u015eerif G\u00f6ren\u2019in \u00fcslubuna daha yak\u0131n olarak kuvvetli tempoya dayanmakta ve bu da filmi \u015eerif G\u00f6ren\u2019in filmi yapmaktad\u0131r. (26) Ger\u00e7ekten de film alt\u0131 farkl\u0131 \u00f6yk\u00fcy\u00fc dinamik bir anlat\u0131yla aktarmakta ve belgecili\u011fi and\u0131ran ger\u00e7ek g\u00f6r\u00fcnt\u00fclerin yan\u0131 s\u0131ra kurmaca anlam\u0131nda da g\u00fc\u00e7l\u00fc bir \u00fcsluba sahiptir. D\u00f6nemi yans\u0131tma a\u00e7\u0131s\u0131ndan da film, kimlik kontrolleri, s\u0131k\u0131y\u00f6netimin aramalarda ve sorgulamalarda kendini belli etmesi a\u00e7\u0131s\u0131ndan \u00f6nemlidir ve 12 Eyl\u00fcl\u00fcn \u201cAtat\u00fcrk Y\u0131l\u0131\u201d ilan etti\u011fi 1981 y\u0131l\u0131n\u0131n bu \u00f6zelli\u011finin de vurgulanmas\u0131yla, Atat\u00fcrk\u2019\u00fcn kurdu\u011fu \u00f6zg\u00fcr\/ba\u011f\u0131ms\u0131z cumhuriyetin ne hale getirildi\u011fi \u00fczerine dikkat \u00e7ekmektedir. Filmi bir ba\u015fka noktadan, \u00d6mer karakteri \u00f6zelinde, yine Y\u0131lmaz G\u00fcney\u2019in senaryosunu yazd\u0131\u011f\u0131 Hudutlar\u0131n Kanunu filmiyle k\u0131yaslayan M\u00fcsl\u00fcm Y\u00fccel, Yol\u2019un \u00e7ok daha sert ve ger\u00e7ek\u00e7i oldu\u011funu s\u00f6ylemektedir. Y\u00fccel filmin, Hudutlar\u0131n Kanunu\u2019ndaki gibi idealist asker\/\u00f6\u011fretmen gibi karakterlere ba\u015fvurmadan, \u00d6mer\u2019in aya\u011f\u0131n\u0131 may\u0131na basarak kaybeden babas\u0131, jandarmayla \u00e7arp\u0131\u015fan karde\u015fi gibi karakterler ve devlet korkusundan \u00f6l\u00fcs\u00fcne bile sahip \u00e7\u0131kamayan y\u00f6re insan\u0131 gibi temsillerle g\u00fcneydo\u011fuyu b\u00fct\u00fcn \u00e7\u0131plakl\u0131\u011f\u0131yla g\u00f6zler \u00f6n\u00fcne serdi\u011fini, filmde ger\u00e7ekli\u011fin hi\u00e7bir ideolojik kitab\u0131n, hi\u00e7bir ki\u015finin, partinin istedi\u011fi gibi de\u011fil oldu\u011fu gibi sergilendi\u011fini s\u00f6ylemektedir. (27)<\/p>\n

Bunlar\u0131n da \u00f6tesinde Yol, bir yol filmi olmaktan \u00f6te hapishane filmidir. 1981 y\u0131l\u0131 \u00f6zelinde T\u00fcrkiye\u2019de g\u00f6z alt\u0131lar\u0131n, tutuklamalar\u0131n, mahk\u00fbmiyetlerin say\u0131lar\u0131 toplam n\u00fcfusa oranla o kadar y\u00fcksek ve buna paralel olarak g\u00f6zalt\u0131na al\u0131nma ihtimali de bir o kadar olas\u0131d\u0131r ki \u00fclke bir anlamda a\u00e7\u0131k cezaevine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Filmde, 12 Eyl\u00fcl\u00fcn yaratt\u0131\u011f\u0131 bu bask\u0131 ortam\u0131nda, alt\u0131 mahk\u00fbmun hapishaneden ayr\u0131l\u0131p bir hafta da olsa \u00f6zg\u00fcrl\u00fcklerini ya\u015famak ad\u0131na yola \u00e7\u0131kt\u0131klar\u0131 ancak gerek askerden, gerekse t\u00f6re ve dinden gelen bask\u0131larla \u201ctutsak\u201d olmaya devam ettikleri g\u00f6r\u00fclmektedir.<\/p>\n

\u201cUmut\u2019ta, S\u00fcr\u00fc\u2019de oldu\u011fu gibi Yol\u2019da da filmi klasik anlamda \u2018politik\u2019 k\u0131lan tek bir sloganla, tek bir \u2018politik mesajla\u2019 kar\u015f\u0131la\u015fm\u0131yoruz\u201d (28) ancak film didaktik bir anlat\u0131mla politika yapman\u0131n \u00f6tesinde bir b\u00fct\u00fcn olarak, d\u00f6nemin politikas\u0131n\u0131 t\u00fcm ger\u00e7eklikleriyle ortaya koyan bir yap\u0131md\u0131r. Bu durum, Yol \u00fczerinden d\u00f6nem \u201csiyasi sinema\u201d tart\u0131\u015fmalar\u0131nda filmi \u201c\u00fc\u00e7\u00fcnc\u00fc d\u00fcnya-\u00fc\u00e7\u00fcnc\u00fc sinema\u201d anlay\u0131\u015f\u0131na yakla\u015ft\u0131rmaktad\u0131r. O\u011fuz Adan\u0131r\u2019\u0131n, sineman\u0131n gelece\u011fi olarak g\u00f6rd\u00fc\u011f\u00fc \u201c\u00fc\u00e7\u00fcnc\u00fc d\u00fcnya\u201d (29) yakla\u015f\u0131m\u0131, Y\u0131lmaz G\u00fcney\u2019in hapisten firar edip gitti\u011fi Fransa\u2019da 1985 y\u0131l\u0131nda \u00e7ekti\u011fi Duvar filmiyle \u00fczerinde daha \u00e7ok konu\u015fulur bir hal alm\u0131\u015ft\u0131r. Fikir babal\u0131\u011f\u0131n\u0131 Arjantinli Fernando Solanas ve \u0130spanyol Faustino Gettino\u2019nun yapt\u0131\u011f\u0131 60l\u0131 y\u0131llarda ortaya at\u0131lan ve 70li y\u0131llarda \u015fekillenen \u201c\u00dc\u00e7\u00fcnc\u00fc Sinema\u201d, birinci sinema olarak adland\u0131rd\u0131\u011f\u0131 kar ama\u00e7layan sermayenin ihtiya\u00e7lar\u0131na ve beklentilerine yan\u0131t veren Hollywood ve ikinci sinema olarak adland\u0131r\u0131lan Avrupa\u2019n\u0131n k\u00fc\u00e7\u00fck burjuvas\u0131n\u0131n d\u00fcnyas\u0131n\u0131 nihilistlik yakla\u015f\u0131mlarla aktaran film d\u00fcnyas\u0131na bir tepki olarak do\u011fmu\u015ftur. \u00dc\u00e7\u00fcnc\u00fc Sinema belli estetik kal\u0131plar \u00f6nermekten \u00f6te sorgulay\u0131c\u0131, ara\u015ft\u0131r\u0131c\u0131, toplumsal anlat\u0131m\u0131 temsil etmektedir. Yer yer ulusal yer yer devrimci bazen her ikisi bir arada anlat\u0131m\u0131 \u00f6nemser.<\/p>\n

\u0130lerleyen s\u00fcre\u00e7te \u00dc\u00e7\u00fcnc\u00fc Sinema\u2019da Rocha\u2019n\u0131n \u201cA\u00e7l\u0131\u011f\u0131n Esteti\u011fi\u201d ve Espinoza\u2019n\u0131n \u201cKusurlu Sinema\u201d \u015feklinde kod olarak tan\u0131mlayabilece\u011fimiz iki bi\u00e7im \u00e7\u0131kar. Brezilyal\u0131 y\u00f6netmen Glauber Rocha A\u00e7l\u0131\u011f\u0131n Esteti\u011fini \u015fu s\u00f6zlerle a\u00e7\u0131klar: \u201cA\u00e7 insanlar\u0131 anlat\u0131yorum… A\u00e7 b\u0131rak\u0131lman\u0131n \u015fiddetiyle tan\u0131\u015fan, \u015fiddetten ba\u015fka se\u00e7ene\u011fi olmayan bir d\u00fcnyay\u0131 anlat\u0131yorum. A\u00e7l\u0131\u011f\u0131n esteti\u011fi budur, \u00e7\u00fcnk\u00fc \u015fiddet d\u0131\u015f\u0131nda onu anlatman\u0131n bir esteti\u011fi yoktur.\u201d \u00d6te yandan K\u00fcbal\u0131 y\u00f6netmen Julio Garcia Espinoza \u201ckusurlu sinema\u201dy\u0131 d\u00fc\u015f\u00fck b\u00fct\u00e7e sonucunda ortaya \u00e7\u0131kan teknik s\u0131n\u0131rl\u0131l\u0131klar sinemas\u0131 olarak tan\u0131mlayarak, kusurlu, estetik d\u0131\u015f\u0131 film yapmay\u0131 adeta olumluya \u00e7evirir. (30)<\/p>\n

Yine 1981, yani Atat\u00fcrk Y\u0131l\u0131nda, hapishanede ge\u00e7en Duvar\u2019da G\u00fcney, bu kez kad\u0131nlar, devrimciler ve gen\u00e7ler olmak \u00fczere toplumun t\u00fcm kesimlerinin yani bir anlamda t\u00fcm gelece\u011finin hapse at\u0131ld\u0131\u011f\u0131n\u0131 vurgulamaktad\u0131r. Y\u0131lmaz G\u00fcney\u2019in Umut, S\u00fcr\u00fc gibi \u00f6nemli filmlerinde oldu\u011fu gibi Duvar\u2019da da oynayan Tuncel Kurtiz, ortaya koyduklar\u0131 sinemayla ilgili olarak \u015funlar\u0131 s\u00f6ylemektedir:<\/p>\n

\u201cBiz \u00dc\u00e7\u00fcnc\u00fc D\u00fcnya Sinemas\u0131 yap\u0131yoruz. Bu ne Hollywood gibi bir pop\u00fcler e\u011flence sinemas\u0131, ne Avrupa Sinemas\u0131 gibi burjuvalara \u00f6zg\u00fc anla\u015f\u0131lmaz ve soyut bir sinema, ne de SSCB\u2019deki gibi belli bir b\u00fcrokratik z\u00fcmrenin \u00e7\u0131karlar\u0131na hizmet eden bir sinema.\u201d (31)<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc sineman\u0131n kuramc\u0131lar\u0131 Solanas ve Gettino, manifestolar\u0131nda \u00fc\u00e7\u00fcnc\u00fc sineman\u0131n tarihsel ve politik olarak devrim \u00f6ncesi sinema oldu\u011funu belirtmektedir. (32) Bu a\u00e7\u0131dan bakt\u0131\u011f\u0131m\u0131zda 60tan 80e uzanan politik atmosferde devrim beklentisinin ger\u00e7eklik kazanamad\u0131\u011f\u0131 T\u00fcrkiye\u2019de \u201cen devrimci sinemac\u0131\u201d Y\u0131lmaz G\u00fcney\u2019in \u00f6zellikle Yol ve Duvar\u2019la ortaya koydu\u011fu sineman\u0131n devrim \u00f6ncesi sinemaya yani \u00fc\u00e7\u00fcnc\u00fc sinemaya daha yak\u0131n durdu\u011funu pek\u00e2l\u00e2 s\u00f6yleyebiliriz. Ulus Baker ise ba\u015fka bir tan\u0131mla G\u00fcney\u2019in sinemas\u0131n\u0131n eski politik sineman\u0131n, beyinleri kitlesel olarak daha \u00fcst bir bilin\u00e7 d\u00fczeyine eri\u015ftirecek bir \u2018yumruk sinemas\u0131\u2019ndan \u00e7ok Latin Amerika sinemas\u0131na paralel olarak, beyne verilen \u015foklar ba\u011flam\u0131nda bir t\u00fcr ortaya koydu\u011funu s\u00f6ylemektedir. (33)<\/p>\n

\u201cBu sinemay\u0131 ne abartabilirsiniz ne de k\u00fc\u00e7\u00fck g\u00f6rebilirsiniz\u2026 tek bir b\u00fcy\u00fck \u015fok yerine k\u00fc\u00e7\u00fck \u015foklarla i\u015fleyen, bununla muazzam bir ajitasyon g\u00fcc\u00fcn\u00fc harekete ge\u00e7iren, bunu yaparken kendisinden ve sinemadan ba\u015fka hi\u00e7bir \u015feyi temsil etmeye yana\u015fmayan bir sinemad\u0131r\u2026 Bu beyne verilen yeni bir \u015fok t\u00fcr\u00fcyd\u00fc\u2026 politikay\u0131 mesajlar ve sloganlar arac\u0131l\u0131\u011f\u0131yla i\u015fletti\u011finde bile \u2018buradaki esas mesela bu de\u011fil, bamba\u015fka bir \u015fey\u2019 dedirtecek bir kuvvetti bu.\u201d (34)<\/p>\n

\u0130ster \u201c\u00fc\u00e7\u00fcnc\u00fc d\u00fcnya sinemas\u0131\u201d ister \u201c\u015fok sinemas\u0131\u201d olarak tan\u0131mlayal\u0131m, \u015fu bir ger\u00e7ek ki y\u00f6netmen, senarist veya oyuncu olarak Y\u0131lmaz G\u00fcney, T\u00fcrk sinemas\u0131nda politik anlamda en dikkat \u00e7ekici yap\u0131mlar\u0131 \u00fcreten isim olmu\u015ftur ve bu ger\u00e7eklik depolitizasyonun en yo\u011fun, sinema \u00fczerindeki bask\u0131n\u0131n en y\u00fcksek oldu\u011fu 12 Eyl\u00fcl d\u00f6neminde bile Yol gibi politik d\u00fc\u015f\u00fcnce ve s\u00fcreci sinematografik a\u00e7\u0131dan ustaca ortaya koyan bir filmde kendini g\u00f6sterebilmi\u015ftir.<\/p>\n

1- Aktaran, Hakk\u0131 Ba\u015fg\u00fcney, T\u00fcrk Sinematek Derne\u011fi, \u0130stanbul, Libra Kitap (Birinci Bas\u0131m), 2010, s. 105-106.
2- O\u011fuz Makal, Yap\u0131, K\u00fclt\u00fcr ve Siyasal Sinema, Ger\u00e7ek Sinema (Ocak 1974), say\u0131: 4, s. 8.
3- Hakk\u0131 Ba\u015fg\u00fcney, T\u00fcrk Sinematek Derne\u011fi, \u0130stanbul, Libra Kitap (Birinci Bas\u0131m), 2010, s. 104.
4- Artun Yeres\u2019ten aktaran, Hakk\u0131 Ba\u015fg\u00fcney, a.g.e. s. 108.
5- \u00dcst\u00fcn Sava\u015fta, Sinema-Devrim \u0130li\u015fkisi, Yeni Dergi (May\u0131s 1970), say\u0131:68, s. 381.
6- Onat Kutlar\u2019dan aktaran, Hakk\u0131 Ba\u015fg\u00fcney, T\u00fcrk Sinematek Derne\u011fi, \u0130stanbul, Libra Kitap (Birinci Bas\u0131m), 2010, s. 100-101.
7- Kemal Tahir\u2019den aktaran, Ag\u00e2h \u00d6zg\u00fc\u00e7, B\u00fct\u00fcn Filmleriyle Y\u0131lmaz G\u00fcney, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131 (Birinci Bas\u0131m), 2005, s. 8.
8- Salih G\u00f6kmen\u2019den aktaran, Yal\u00e7\u0131n L\u00fcleli, T\u00fcrk Sinemas\u0131 ve Din, \u0130stanbul, Es Yay\u0131nlar\u0131 (Birinci Bas\u0131m), 2008, s. 81.
9- M\u00fcsl\u00fcm Y\u00fccel, T\u00fcrk Sinemas\u0131nda K\u00fcrtler, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131 (Birinci Bas\u0131m), 2008, s. 161.
10- Halit Refi\u011f, Ulusal Sinema Kavgas\u0131, \u0130stanbul, Derg\u00e2h Yay\u0131nlar\u0131 (\u0130kinci Bas\u0131m), 2009, s. 153-155.
11- M\u00fcsl\u00fcm Y\u00fccel, T\u00fcrk Sinemas\u0131nda K\u00fcrtler, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131 (Birinci Bas\u0131m), 2008, s. 161.
12- Altan Yal\u00e7\u0131n\u2019dan aktaran, Yal\u00e7\u0131n L\u00fcleli, T\u00fcrk Sinemas\u0131 ve Din, \u0130stanbul, Es Yay\u0131nlar\u0131 (Birinci Bas\u0131m), 2008, s. 81.
13- Nebihat Ya\u011f\u0131z, \u201cUmut\u201d Filmi ve Zihniyet \u00dczerine Bir Deneme, www.sinemasal.gen.tr
14- Onat Kutlar, Atilla Dorsay ve H\u00fcseyin Ba\u015f taraf\u0131ndan Y\u0131lmaz G\u00fcney\u2019le yap\u0131lan s\u00f6yle\u015fi, Modern Zamanlar, 2009, say\u0131:12, s. 21.
15- Mustafa S\u00f6zen, Ayn\u0131 \u015eeye Farkl\u0131 Pencerelerden Bakmak: Baba\u2019dan \u00dc\u00e7 Maymun\u2019a, Modern Zamanlar, 2009, say\u0131:12, s. 42.
16- Y\u0131lmaz G\u00fcney\u2019den aktaran, M\u00fcsl\u00fcm Y\u00fccel, T\u00fcrk Sinemas\u0131nda K\u00fcrtler, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131 (Birinci Bas\u0131m), 2008, s. 168.
17- Nijat \u00d6zon\u2019dan aktaran, Bur\u00e7ak Evren, Y\u0131lmaz G\u00fcney, Modern Zamanlar, 2009, say\u0131
18- Mustafa S\u00f6zen, a.g.e. s. 43.
19- M\u00fcsl\u00fcm Y\u00fccel, T\u00fcrk Sinemas\u0131nda K\u00fcrtler, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131 (Birinci Bas\u0131m), 2008, s. 153.
20- Ag\u00e2h \u00d6zg\u00fc\u00e7, B\u00fct\u00fcn Filmleriyle Y\u0131lmaz G\u00fcney, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131 (Birinci Bas\u0131m), 2005, s. 353.
21- M\u00fcsl\u00fcm Y\u00fccel, T\u00fcrk Sinemas\u0131nda K\u00fcrtler, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131 (Birinci Bas\u0131m), 2008, s. 156.
22- Bur\u00e7ak Evren, Y\u0131lmaz G\u00fcney, Modern Zamanlar, 2009, say\u0131:12, s. 10.
23- Mustafa S\u00f6zen, Ayn\u0131 \u015eeye Farkl\u0131 Pencerelerden Bakmak: Baba\u2019dan \u00dc\u00e7 Maymun\u2019a, Modern Zamanlar, 2009, say\u0131:12, s. 43.
24- O\u011fuz Demiralp, Sinemas\u0131n\u0131n Aynas\u0131nda T\u00fcrkiye, \u0130stanbul, Yap\u0131 Kredi Yay\u0131nlar\u0131 (Birinci Bas\u0131m), 2009, s. 55.
25- Rekin Teksoy, D\u00fcnya Sinema Tarihi, \u0130stanbul, O\u011flak Yay\u0131nc\u0131l\u0131k (Birinci Bas\u0131m), 2005, s. 748.
26- Demiralp, 2009, s. 56-57.
27- Y\u00fccel, 2008, s. 157-158.
28- Ulus Baker, \u015eok ve Beyin, Modern Zamanlar, 2009, say\u0131:12, s. 45.
29- Adan\u0131r, 2006, s. 53.
30- Duvar ve \u00dc\u00e7\u00fcnc\u00fc Sinema www.beyazperde.com
31- a.g.e. www.beyazperde.com
32- Aktaran, Zahit Atam, \u00dc\u00e7\u00fcnc\u00fc D\u00fcnyan\u0131n B\u00fcy\u00fck \u0130syanc\u0131s\u0131, Modern Zamanlar, 2009, say\u0131:12, s. 35.
33- Ulus Baker, 2009, s. 44.
34- y.a.g.e. s. 46.<\/p>\n

Onur KE\u015eAPLI \u2013 Dokuz Eyl\u00fcl \u00dcniversitesi G\u00fczel Sanatlar Enstit\u00fcs\u00fc Film Tasar\u0131m\u0131 B\u00f6l\u00fcm\u00fc Y\u00fcksek Lisans \u00d6\u011frencisi<\/p>\n","protected":false},"excerpt":{"rendered":"

Ekim Devrimi\u2019yle birlikte Sovyetler Birli\u011fi\u2019nde Vertov \u00f6nc\u00fcl\u00fc\u011f\u00fcnde ba\u015flayan, ilerleyen y\u0131llarda devrimci 68 ku\u015fa\u011f\u0131 s\u00fcrecinde Fransa\u2019da Godard\u2019la devam eden \u201cdevrimci sinema\u201d tart\u0131\u015fmalar\u0131, aray\u0131\u015flar\u0131, denemeleri, T\u00fcrkiye\u2019de de 60l\u0131 ve 70li y\u0131llarda konu\u015fulmu\u015ftur. T\u00fcrkiye\u2019de sol politi\u011fin en g\u00fc\u00e7l\u00fc oldu\u011fu, sosyalist bir partinin meclise girdi\u011fi, Kemalist partinin kendini solda konumland\u0131rd\u0131\u011f\u0131, i\u015f\u00e7i ve gen\u00e7ler aras\u0131nda sol \u00f6\u011fretinin giderek yayg\u0131nla\u015ft\u0131\u011f\u0131, 61 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[112],"tags":[],"class_list":{"0":"post-4695","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-yedinci-sanat"},"yoast_head":"\nT\u00fcrk sinemas\u0131nda devrimci sinema ak\u0131m\u0131 ve Y\u0131lmaz G\u00fcney sinemas\u0131 | Onur Ke\u015fapl\u0131 - narteks.net<\/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:\/\/narteks.net\/index.php\/2010\/09\/13\/turk-sinemasinda-devrimci-sinema-akimi-ve-yilmaz-guney-sinemasi-onur-kesapli\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"T\u00fcrk sinemas\u0131nda devrimci sinema ak\u0131m\u0131 ve Y\u0131lmaz G\u00fcney sinemas\u0131 | Onur Ke\u015fapl\u0131\" \/>\n<meta property=\"og:description\" content=\"Ekim Devrimi\u2019yle birlikte Sovyetler Birli\u011fi\u2019nde Vertov \u00f6nc\u00fcl\u00fc\u011f\u00fcnde ba\u015flayan, ilerleyen y\u0131llarda devrimci 68 ku\u015fa\u011f\u0131 s\u00fcrecinde Fransa\u2019da Godard\u2019la devam eden \u201cdevrimci sinema\u201d tart\u0131\u015fmalar\u0131, aray\u0131\u015flar\u0131, denemeleri, T\u00fcrkiye\u2019de de 60l\u0131 ve 70li y\u0131llarda konu\u015fulmu\u015ftur. 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