Y Lmaz G Ney Efsanesi
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Y Lmaz G Ney Efsanesi
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Author : Ahmet Kahraman
language : tr
Publisher:
Release Date : 2006
Y Lmaz G Ney Efsanesi written by Ahmet Kahraman and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2006 with Authors, Turkish categories.
Yilmaz G Ney Efsanesi
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Author : Ahmet Kahraman
language : tr
Publisher:
Release Date : 1991
Yilmaz G Ney Efsanesi written by Ahmet Kahraman and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1991 with categories.
Y Lmaz G Ney Ulucanlar Efsanesi
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Author : Hasan Dönmez
language : tr
Publisher: su yayınevi
Release Date : 2007-01-01
Y Lmaz G Ney Ulucanlar Efsanesi written by Hasan Dönmez and has been published by su yayınevi this book supported file pdf, txt, epub, kindle and other format this book has been release on 2007-01-01 with Comics & Graphic Novels categories.
1974'lü yılların Ulucanlar Cezaevi'nin yaşantısını, insanlarını öylesine canlı ve Yılmaz Güney’i öyle gerçeğe yakın anlatıyor ki..
Y Lmaz G Ney Efsanesi
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Author : Ahmet Kahraman
language : tr
Publisher: V Yaynlar
Release Date : 1991
Y Lmaz G Ney Efsanesi written by Ahmet Kahraman and has been published by V Yaynlar this book supported file pdf, txt, epub, kindle and other format this book has been release on 1991 with Authors, Turkish categories.
A Thief In Cannes Stealing Erif G Ren S Palme D Or
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Author : Tayfun Luxembourgeus
language : en
Publisher: Proverbial Elephant
Release Date : 2023-09-18
A Thief In Cannes Stealing Erif G Ren S Palme D Or written by Tayfun Luxembourgeus and has been published by Proverbial Elephant this book supported file pdf, txt, epub, kindle and other format this book has been release on 2023-09-18 with Art categories.
The film Yol (The Road) is a landmark in Türkiye’s cinema history, not only because it shared the Palme d’Or with Missing by Greek-born French director Konstantinos Gavras at the 35th Cannes Film Festival in 1982, but also because it was the first film from Türkiye to receive the highly prestigious Golden Palm. Şerif Gören directed the film, but the award was given to Yılmaz Güney (Pütün), the screenwriter and one of the editors of the film, who was present at the festival. The award was given to Güney, not on behalf of Şerif Gören, but instead of the film’s director, and The Road was publicised both at the festival and in the following period as “a Yılmaz Güney film”. Even today, many popular or academic publications, including the official website of the Cannes Film Festival, credit Güney as the director of the film, despite his imprisonment during the entire preparation and shooting process. Strikingly, in the majority of these sources, the name of the film’s real director, Şerif Gören, is either not mentioned at all or is given after Güney’s in small letters. This study hopes to correct several (film) historical records as well as a historical injustice against Gören. I also hope that this text will inspire Şerif Gören to break his silence, the reason of which I cannot understand, and allow us to learn new things about one of the most important filmmakers in Türkiye’s cinema and his films through a dialogue or discussion environment that can ensue.
A Transboundary Cinema
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Author : Tage Tayfun Einar Luxembourgeus
language : en
Publisher: Proverbial Elephant
Release Date : 2020-09-01
A Transboundary Cinema written by Tage Tayfun Einar Luxembourgeus and has been published by Proverbial Elephant this book supported file pdf, txt, epub, kindle and other format this book has been release on 2020-09-01 with Performing Arts categories.
Tunç Okan (Bay Okan) is an independent emigrant filmmaker born in 1942 in Turkey. He started his filmmaking career in 1974 with his debut film The Bus, which he made in Sweden, and partly in Germany. He completed the film some seven years after he quit his short but hectic acting career in Turkey’s popular commercial cinema industry, Yeşilçam. A dentist by training, Okan’s cinema career started in 1965 after winning an acting competition organised by a popular film magazine. Starring in thirteen films in a period of less than two years, he achieved considerable fame. In 1967, Okan quit his career in Yeşilçam, which he accused of anaesthetising society, and immigrated to Switzerland.3 His debut film The Bus was followed by only three other films: Drôle de samedi (Funny Saturday, 1985), Mercedes mon Amour (The Yellow Mercedes, 1992), and Umut Üzümleri (Grapes of Hope, 2013). Okan’s films are products that can best be studied in relation to both the mainstream popular cinema of Turkey, Yeşilçam, in which Okan started his cinema career, and in relation to certain European filmmakers and cinema movements that have influenced his cinema. Naficy’s accented cinema concept ultimately focuses too much on Hollywood cinema, and for this reason, it is ill-equipped to study the cinema of filmmakers like Okan, whose works have little to do with Hollywood. Okan’s cinema requires a different approach and a vocabulary which will enable one to study his cinema in relation not only to Hollywood, but to a diverse group of personal cinemas and cinema movements. Okan is an eclectic filmmaker; his cinema is in constant flux. As I demonstrate in this study, Okan’s cinema is inspired by a diverse group of filmmakers and cinemas. In his films, one can find markers of, inspirations from, and references to a great variety of European filmmakers, ranging from Wim Wenders to Jacques Tati, Jean-Luc Godard to Jack Clayton, and cinema movements from Italian Neorealism to the Czechoslovak New Wave, French New Wave to British Free Cinema influenced New Wave kitchen-sink dramas. Although his films feature recurrent themes relating to im/migration, being the cinema of an independent filmmaker Okan’s cinema proves to be a difficult one to categorise because of the many neatly employed inspirations from, and references to, diverse sources. Perhaps this is one of the reasons why it has thus far received so little attention. Okan is not a “typical” Turkish film director. Only half of his films take place in Turkey, and even those films feature parts that were shot abroad. More importantly, he is not a film- maker who uses themes, cultural icons, stereotypes, narration strategies, and filmic aesthetics that have typically been used by filmmakers in Turkey. He is also not a filmmaker who has attracted the attention of international critics. His cinema is a cinema in-between; it is a cinema of tensions and competing identities, visions, and interests. It invokes a split reception on the viewer. On one hand, his films can be read in relation/reaction to tendencies in national/Turkish cinema, and on the other hand, in relation to international, particularly the European, arthouse cinema. Given this, the best way to understand and appreciate his works is perhaps to read Okan’s films in dialogue with developments in both cinema of Turkey and European (art) cinema, for his “signature” derives influences from a variety of sources in these cinemas. Okan’s own words, identifying himself as a “European Turk” could be seen as legitimisation, and encouragement to discuss his works in relation to both cinema of Turkey and European (art) cinema. Okan is neither a one-issue director nor a filmmaker who restricts himself to one format or genre. On the contrary, his films are always on the road, sometimes literally; his third film, The Yellow Mercedes, is a road movie, and The Bus, though not being a road movie in the strict sense, generously exploits the conventions of the genre. Figuratively, all of Okan’s films are in search of new ways of expression. Indeed, they are the products of this very search. This constant search motivates him to challenge, and often cross, many established conventions and boundaries of cinema. Okan’s cinema is what I call “transboundary cinema”.
Yol Daki Y Netmen Erif G Ren
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Author : Tayfun Luxembourgeus
language : tr
Publisher: Doruk Yayınları
Release Date : 2023-05-20
Yol Daki Y Netmen Erif G Ren written by Tayfun Luxembourgeus and has been published by Doruk Yayınları this book supported file pdf, txt, epub, kindle and other format this book has been release on 2023-05-20 with Performing Arts categories.
Ne zaman ki Yol filmini seyrettim, 'Bravo Şerif!" dedim. O doğada, arkamızda, bir tane ağaç vardı. İkiye ayrılmış bir ağaç... Önünden biz de geçeriz... Şimdi, bu resmi bulan kişi yaratıcı kişidir işte. O, yönetmendir. Gerçek yönetmen de budur. O koca dağda o ağacı nasıl buldun be şerif Gören? Nasıl yaptın da onun önünden bizi geçirttin?” Tarık Akan Oradaydım: Altın Palmiyeli Yol, Engin Yıldız, 7 Ekim 2006 Yol'u ben çektim. O benim filmim. Afişte hala Güney filmi yazması bende bir ikilem yaratıyor. Yılmaz Güney'le aramda bir ağabey-kardeş ilişkisi olduğu doğru. Bu bağlamda filmi çekmemi istedi. Ama 82 şartlarının değiştiğini, o filmin Gören filmi olduğunu (...) tescil ettirmek kararındayım. Afişte sadece 'Yılmaz Güney filmi' yazıyor olması onurumu zedeliyor. Buna müdahale edeceğim. (...) Eskiden prodüktörlerin her türlü özgürlüğü vardı. Film üzerindeki tüm hakimiyet onlarındı. Yönetmene söz hakkı tanınmazdı. Bu gün ise şartlar değişti. Uluslararası arenada filmler yönetmenin adıyla anılıyor.” Şerif Gören
Y Lmaz G Ney Insan Militan Ve Sanat
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Author : Fatoş Güney
language : tr
Publisher:
Release Date : 1999
Y Lmaz G Ney Insan Militan Ve Sanat written by Fatoş Güney and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1999 with categories.
Sinemay Seven
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Author : Mithat Alam
language : tr
Publisher: İletişim Yayınları
Release Date : 2018-02-06
Sinemay Seven written by Mithat Alam and has been published by İletişim Yayınları this book supported file pdf, txt, epub, kindle and other format this book has been release on 2018-02-06 with Biography & Autobiography categories.
“Son senelerin en önemli Japon yönetmeni olarak kabul edilen Koreeda Hirokazu’nun ‘After Life’ diye bir filmi var. Bu film bence en iyi filmlerinden bir tanesi değil ama teması çok enteresan. Bence daha iyi yapılabilir ve bir başyapıt olabilirdi. Ölümden sonra kişiler araf olarak kabul edebileceğimiz bir yere geliyorlar. Ve orada herkese yanlarında götürebilecekleri tek bir hatırayı seçme hakkı veriliyor. Seçtikleri anıları artık sonsuza kadar onlarla olacak; onu hep hatırlayacaklar, bilecekler, yaşayacaklar.” Sinemayı Seven Adam, Mithat Alam’ın şahsi hikâyesiyle beraber Boğaziçi Üniversitesi’nde kurduğu film merkezinin de hikâyesini, üstelik birinci ağızdan aktarıyor. Umut Barış Dönmez’in hazırladığı ve yürüttüğü söyleşiyle şekillenen kitapta, Mithat Alam sevmediği iş yaşamından kopup sevdiği sinemaya dair meşgalelere nasıl “bulaştığı”nı zevkle anlatıyor. Bir yandan filmler ve yönetmenler, oyuncular hakkında muazzam bir sohbete tanıklık ederken diğer yandan sinema tarihine, Mithat Alam Film Merkezi’nin kuruluşu ve gelişimine, Film Merkezi’nde yapılan işlere, Merkez’den yetişen sinemacılara uzanan kapsamlı bir dökümün sunulmasına da şahit oluyoruz. Sinemayı Seven Adam sadece bir insanın hikâyesini anlatmıyor; insanların yaptıkları “iyi” işlerle kendi hayatlarını olduğu kadar başkalarının hayatlarını da nasıl zenginleştirdiğini gösteriyor…
Y Lmaz G Ney Kitab
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Author : Atilla Dorsay
language : tr
Publisher:
Release Date : 2000
Y Lmaz G Ney Kitab written by Atilla Dorsay and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2000 with Authors categories.