{"id":1175,"date":"2011-05-13T16:57:41","date_gmt":"2011-05-13T13:57:41","guid":{"rendered":"http:\/\/selimgunes.com\/?p=1175\/"},"modified":"2023-05-22T14:11:39","modified_gmt":"2023-05-22T11:11:39","slug":"yerel-ezbere-evrensel-dokunus-kerem-akca-haberturk-com","status":"publish","type":"post","link":"https:\/\/selimgunes.com\/yerel-ezbere-evrensel-dokunus-kerem-akca-haberturk-com\/","title":{"rendered":"Yerel ezbere evrensel dokunu\u015f \/ Kerem Ak\u00e7a"},"content":{"rendered":"

haberturk.com, 2011.05.13<\/strong><\/p>\n

Yedinci sanatta karakterlerin ruh halini g\u00f6rselle\u015ftirmek incelikli bir motivasyon, bak\u0131\u015f a\u00e7\u0131s\u0131 ve ideoloji ister. Sineman\u0131n tarihsel s\u00fcrecinde de \u00f6zellikle bir mekanda yabanc\u0131la\u015ft\u0131r\u0131lan bireyleri stilize ve mistik evrenlere kavu\u015fturan Andrei Tarkovsky, bu konuda en dikkat \u00e7ekici form\u00fcl\u00fc vermi\u015ftir. Selim G\u00fcne\u015f ise burada belki de \u201cSonbahar\u201da nazire yaparcas\u0131na bir Karadeniz k\u00f6y\u00fcnde \u00f6l\u00fcmle ve maddi s\u0131k\u0131nt\u0131larla bo\u011fu\u015fan, adeta arafta hapsolmu\u015f bir \u00e7ocu\u011fun \u00f6znel d\u00fcnyas\u0131n\u0131 perdeye aktar\u0131yor. Sessiz, mistik, soyut, ayk\u0131r\u0131, mitolojik, stilize, ger\u00e7ek\u00fcst\u00fcc\u00fc, \u00f6znel, varolu\u015f\u00e7u, \u015fiirsel gibi s\u0131fatlarla yo\u011frulan \u201cKar Beyaz\u201d, s\u0131n\u0131fsal sorunlar\u0131m\u0131z \u00fczerine evrensel bir sinema dili in\u015fa ederken, al\u0131\u015f\u0131k oldu\u011fumuz o \u2018samimi k\u00f6y filmi\u2019 form\u00fcl\u00fcn\u00fc de y\u0131k\u0131yor. B\u00f6ylece sinema \u00fczerine fazlaca kafa patlatan sinefil bir y\u00f6netmenimizin daha do\u011fu\u015funu m\u00fcjdelemi\u015f oluyor.<\/p>\n

Belli ki \u201cSonbahar\u201d (2008) sonras\u0131nda T\u00fcrkiye\u2019deki do\u011fa g\u00fczelliklerini \u2018yabanc\u0131la\u015fma mekan\u0131\u2019na \u00e7evirmek bir e\u011filime d\u00f6n\u00fc\u015fecek. Selim G\u00fcne\u015f\u2019in ilk filmi \u201cKar Beyaz\u201d (2010) da, \u2018az diyalog \u00e7ok sinema\u2019 stratejisini izlerken bu a\u015famada o eserin durdu\u011fu yerden a\u015fa\u011f\u0131 kalm\u0131yor. Hatta o noktan\u0131n \u00fczerine \u00e7\u0131kt\u0131\u011f\u0131 dahi s\u00f6ylenebilir filmin. \u00c7\u00fcnk\u00fc onun kadar duygusall\u0131\u011fa batmadan, sinemasal sonu\u00e7lar\u0131n\u0131 son derece profesyonel ve mesafeli bir bak\u0131\u015fla kavrayan bir eser var kar\u015f\u0131m\u0131zda.<\/p>\n

Kayna\u011f\u0131n\u0131 Tarkovsky ve Sokurov\u2019dan alm\u0131\u015f<\/span><\/strong><\/p>\n

Zira y\u00f6netmenin ciddi sorunlar\u0131 olan, maddi bunal\u0131mdaki bir \u00e7ocu\u011fun halet-i ruhiyesini ele al\u0131rken ortaya koyduklar\u0131, Andrei Tarkovsky\u2019nin film modelinden g\u00fc\u00e7 alarak uluslararas\u0131 bir anlam kazanm\u0131\u015f. Bir taraf\u0131yla onun \u201cAyna\u201ds\u0131n\u0131 (\u201cZerkalo\u201d, 1975), bir taraf\u0131yla da \u00fcstad\u0131n sinemas\u0131n\u0131 yenileyen Sokurov\u2019un \u201cAna ve O\u011flu\u201dnu (\u201cMat i Syn\u201d, 1997) hat\u0131rlat\u0131yor \u201cKar Beyaz\u201d stilize d\u00fcnyas\u0131yla.<\/p>\n

Selim G\u00fcne\u015f\u2019in e\u015fsiz evreni, Lazca bir \u015fark\u0131, \u015fiir s\u00f6zleri ve diyaloglar \u00fczerinden bir ileti\u015fimsizlik hissiyat\u0131 yarat\u0131rken, o\u011flan\u0131n etraf\u0131ndakilerle ve annesiyle ili\u015fkisini de bu minvalde kurguluyor. Bunun \u00fczerine at, orman, b\u0131\u00e7ak, kesilen duvar, k\u0131rm\u0131z\u0131 boya gibi metaforik dokunu\u015flar da eklenince bu \u00f6l\u00fcm-ya\u015fam aras\u0131nda kalm\u0131\u015f mekan adeta mitik, mistik ve fantastik okumalara a\u00e7\u0131k hale geliyor.<\/p>\n

Farkl\u0131 okumalara a\u00e7\u0131k<\/span><\/p>\n

H\u0131ristiyanl\u0131kta olsa bo\u015flu\u011fu (limbo) temsil edebilecek zamans\u0131z \u2018kar beyaz evreni\u2019, bizde arafa denk geliyor sanki. Mitolojik a\u00e7\u0131dan bak\u0131nca ise Hades\u2019in s\u0131k\u0131\u015fm\u0131\u015fl\u0131k-arada kalm\u0131\u015fl\u0131k duygusunu hat\u0131rlat\u0131yor. Laf\u0131n \u00f6z\u00fc bir karakterin yaln\u0131zl\u0131\u011f\u0131yla ortaya \u00e7\u0131kan psikolojik, felsefik, mitolojik ve dini metinlere odaklan\u0131yor \u201cKar Beyaz\u201d.<\/p>\n

Asl\u0131nda bu \u00e7er\u00e7eveden bak\u0131nca 10 ya\u015f\u0131ndaki Hasan\u2019\u0131n ruh halini ayk\u0131r\u0131 a\u00e7\u0131lar ve ses kullan\u0131m\u0131yla kavrarken, \u2018beyaz at\u2019 gibi umut veren metaforlar eklemesi bo\u015funa de\u011fil G\u00fcne\u015f\u2019in. Zira \u0130slam mitlerine g\u00f6re \u2018\u00f6te d\u00fcnyaya g\u00f6t\u00fcren\u2019 anlam\u0131na gelen bu sembol\u00fcn orada durmas\u0131n\u0131n bir sebebi var. D\u00fc\u015f\u00fcnsel anlamda da Nietzsche\u2019nin g\u00f6r\u00fc\u015fleriyle bir ba\u011f kurdu\u011fu s\u00f6ylenebilir filmin. Sinemaskop format\u0131nda yakalanan ufuk a\u00e7\u0131c\u0131 sinematografik \u00e7\u0131kar\u0131mlar da bu toplama b\u00fcy\u00fck katk\u0131 yap\u0131yor.<\/p>\n

Karl\u0131k alan\u0131n nas\u0131l ruhani ve sinemasal hale getirilebilece\u011fini ispatl\u0131yor<\/span><\/strong><\/p>\n

Y\u00f6netmenin t\u00fcm bu ama\u00e7lar\u0131 \u0131\u015f\u0131\u011f\u0131nda bir karakterin ruh halini anlat\u0131rken bak\u0131\u015f a\u00e7\u0131s\u0131 \u00e7ekimleri, karakterlerin uza\u011f\u0131nda kalan e\u015fyalar\u0131n yak\u0131n planlar\u0131, ana ak\u0131\u015f\u0131 bozucu yava\u015f \u00e7ekim kullan\u0131m\u0131, incelikli ses tasar\u0131m\u0131 \u00e7al\u0131\u015fmas\u0131 ve daha nicesiyle bir atmosfer filmi yaratt\u0131\u011f\u0131n\u0131 g\u00f6rebiliyoruz. Buna istinaden tuvalde kar\u015f\u0131m\u0131za \u00e7\u0131kan\u0131n, birbiriyle konu\u015fmayan insanlar \u00fczerinden Sofia Coppola\u2019vari bir ileti\u015fimsizlik \u015fiirine a\u00e7\u0131ld\u0131\u011f\u0131 da s\u00f6ylenebilir.<\/p>\n

\u201cKar Beyaz\u201d daha soyut isminden ba\u015flayarak ger\u00e7ek anlamda nat\u00fcralist ve stilize bir sinema eserinin kar\u015f\u0131l\u0131\u011f\u0131n\u0131 sunuyor bize. Karl\u0131k alan\u0131n nas\u0131l ruhani ve sinemasal hale getirilebilece\u011fini, ba\u015fta Kazakistan olmak \u00fczere bir k\u0131s\u0131m \u00fc\u00e7\u00fcnc\u00fc d\u00fcnya \u00fclkesi sinemas\u0131na daha kan\u0131tl\u0131yor.<\/p>\n

Bu duruma ula\u015f\u0131rken filmin; Karadeniz\u2019de bir k\u00f6yde ya\u015fayan alt s\u0131n\u0131f\u0131n buhran halini, annesini ve iki karde\u015fini ge\u00e7indirme derdindeki bir \u00e7ocu\u011fun g\u00f6z\u00fcnden yans\u0131tma zekas\u0131n\u0131n pay\u0131 b\u00fcy\u00fck. Zira non-diegetic ses (hikaye d\u0131\u015f\u0131 ses) teriminden \u00e7ok\u00e7a beslenen y\u00f6netmenin, beyaz-gri tonlar\u0131 aras\u0131nda gidip gelerek psikolojik d\u0131\u015favuruma katk\u0131 yapan sinematografiyi de tutarl\u0131 bir \u015fekilde b\u00fct\u00fcne dahil etti\u011fini s\u00f6yleyebiliriz.<\/p>\n

HD kameray\u0131 ve sinemaskop oran\u0131n\u0131 uluslararas\u0131 d\u00fczeyde kullanm\u0131\u015f<\/span><\/strong><\/p>\n

\u201cKar Beyaz\u201d, \u00e7ekim \u00f6l\u00e7ekleri, m\u00fczik giri\u015fi, hikaye kurgusu d\u00fczeni ve minimal (i\u00e7ten) oyunculuklardan ald\u0131\u011f\u0131 destekle evrensel bir sinema filminin nas\u0131l \u00fcretilece\u011fi konusunda s\u0131n\u0131f\u0131 ge\u00e7mi\u015f. Ne mutlu ki sosyolojik anlamda dolu ve ac\u0131kl\u0131 hikayelerden Selim G\u00fcne\u015f gibi sinema alan\u0131na hakim yeni jenerasyon T\u00fcrk y\u00f6netmenler \u00e7\u0131kar\u0131m yapabiliyor. Zira kendisi sinemaskop oran\u0131n\u0131 ve HD\u2019yi kullanma becerisiyle de \u2018bal\u0131k ba\u015ftan kokar\u2019 deyimini tersine \u00e7evirmi\u015f adeta.<\/p>\n

Belki Reha Erdem\u2019in detayc\u0131 ses kurgusundan, \u00d6zcan Alper\u2019in daha \u00f6nce form\u00fcl\u00fc kullanmas\u0131ndan ya da \u201c\u00dc\u00e7 Maymun\u201d (2008), \u201cKosmos\u201d (2009) ve \u201cPus\u201dun (2009) ayn\u0131 kamera \u00e7e\u015fidi ile yakalad\u0131\u011f\u0131 soyut ve gri yetiden cesaret ald\u0131\u011f\u0131 ortada y\u00f6netmenin. Fakat G\u00fcne\u015f, bu durumun da fark\u0131nda oldu\u011funu bunlardan kendi yorumunu \u00e7\u0131kartmas\u0131n\u0131 bilerek ispatlam\u0131\u015f.<\/p>\n

T\u00fcrkiye\u2019nin k\u00f6y hayat\u0131ndaki sosyal sorunlar \u00fczerine \u00e7ok katmanl\u0131 bir \u015fiir<\/span><\/strong><\/p>\n

Zira sineman\u0131n teknik olanaklar\u0131ndan g\u00fc\u00e7 alarak sessiz ama dopdolu bir ruhun sinemasal kar\u015f\u0131l\u0131\u011f\u0131 perdede ancak bu kadar etkileyici hale getirilebilirdi. Belki T\u00fcrkiye\u2019nin s\u0131n\u0131fsal sorunlar\u0131 \u00fczerine \u00e7ok katmanl\u0131 bir \u015fiir olarak an\u0131labilir \u201cKar Beyaz\u201d.<\/p>\n

Zaten en \u00f6nemlisi de bizim al\u0131\u015f\u0131k oldu\u011fumuz o zaman zaman amat\u00f6r, zaman zaman \u00e7i\u011f, zaman zaman sadece samimi k\u00f6y filmlerimizin d\u00fcnya sinemas\u0131na uygun bir kar\u015f\u0131l\u0131\u011f\u0131n\u0131 bulmas\u0131 burada. T\u00fcrk sinemas\u0131 da b\u00f6ylesi postmodern g\u00f6r\u00fc\u015fl\u00fc ve yenilik\u00e7i y\u00f6netmenlere ihtiya\u00e7 duyuyor \u015fu s\u0131ralar. Umar\u0131z G\u00fcne\u015f, kariyerini daha ileri g\u00f6t\u00fcrme yolunda ad\u0131mlar atarken ayn\u0131 ideolojik duru\u015funu korumas\u0131n\u0131n yan\u0131nda \u201cKar Beyaz\u201d\u0131n ba\u015flang\u0131\u00e7 k\u0131sm\u0131ndaki atmosfer zaaflar\u0131n\u0131 da g\u00f6z \u00f6n\u00fcnde bulundurur.<\/p>\n

*** http:\/\/www.haberturk.com\/kultur-sanat\/haber\/630096-peki-ya-dunyayi-kilise-yonetseydi<\/p>\n

*** http:\/\/www.keremakca.net\/karbeyaz.html<\/p>\n","protected":false},"excerpt":{"rendered":"

haberturk.com, 2011.05.13 Yedinci sanatta karakterlerin ruh halini g\u00f6rselle\u015ftirmek incelikli bir motivasyon, bak\u0131\u015f a\u00e7\u0131s\u0131 ve ideoloji ister. Sineman\u0131n tarihsel s\u00fcrecinde de \u00f6zellikle bir mekanda yabanc\u0131la\u015ft\u0131r\u0131lan bireyleri stilize ve mistik evrenlere kavu\u015fturan Andrei Tarkovsky, bu konuda en dikkat \u00e7ekici form\u00fcl\u00fc vermi\u015ftir. Selim G\u00fcne\u015f ise burada belki de \u201cSonbahar\u201da nazire yaparcas\u0131na bir Karadeniz k\u00f6y\u00fcnde \u00f6l\u00fcmle ve maddi s\u0131k\u0131nt\u0131larla […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[14],"tags":[],"_links":{"self":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts\/1175"}],"collection":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/comments?post=1175"}],"version-history":[{"count":2,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts\/1175\/revisions"}],"predecessor-version":[{"id":3037,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts\/1175\/revisions\/3037"}],"wp:attachment":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/media?parent=1175"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/categories?post=1175"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/tags?post=1175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}