Üçüncü Sinemanın Tarihsel Gelişimi ve Türkiye’deki Güncel Tartışmalar, Tarih Okulu Dergisi (TOD) Şubat 2021, Yıl 14, Sayı L, ss.712-738. (Abstract) This study firstly looks at the historical development stages of the Third Cinema...
moreÜçüncü Sinemanın Tarihsel Gelişimi ve Türkiye’deki Güncel Tartışmalar, Tarih Okulu Dergisi (TOD) Şubat 2021, Yıl 14, Sayı L, ss.712-738.
(Abstract)
This study firstly looks at the historical development stages of the Third Cinema movement. What type of artistic and intellectual production which have the properties of this trend in the recent history of Turkey has been carried out to take it? The surge in the study of the processes through which current reflections of documentary films in Turkey are subject to an assessment of how it developed. The research uses the critical discourse analysis method as a method. The Third Cinema movement differs from industrial cinema in terms of production style, discourse and cinematographic design. In terms of financial support, films related to the Third Cinema are produced with crowdfunding or collective budgets; in terms of discourse, it stands in opposition to ideologies such as modernism, imperialism and capitalism; In terms of cinematographic narrative, although it creates visuality with an irregular fiction, it has features of transforming thought into action. In this respect, it is examined to what extent these features are reflected in the analyzed films with the method of critical discourse analysis. In today's Turkish cinema, Press (Sedat Yılmaz, 2011) is also seen in the Third Cinema movement. The independent production conditions and the fact that it is a film that directly conveys the opinion of the director, and its attempt to convey the autocratic and strict nationalist (fascistic) political mechanism of the period through the eyes of the journalists and the public, allows the film to be seen in this genre (Bak, 2018, p. 13). In another study focusing on the current provision Third Cinema in Turkey's Nuri Bilge Ceylan's films are on. The director's film Winter Sleep (2014) is in the same category as the adaptation of the novel, such as Taste of Cherry in Iran (1997, Direction: Kiarostemi), Kite Hunter in Afghanistan (2003, Halit Hüseyin), Patience Stone in Pakistan (2010, Atiq Rahimi). It is interpreted as films that have managed to create an alternative world and stand against it by rejecting the determination of modernism's fate and ethical principles. The characters, energies, ideals and actions in these films come to the fore as people who opposed modernism (Aymaz, 2018, p.10) Nuri Bilge Ceylan's early period films (Cocoon, Town, May Trouble) were low- budget, individual productions and mostly played by family members as actors, they can be considered within the Third Cinema movement, although they do not contain revolutionary and militant features. His films are independent of capital and producer pressure. It was shot with small teams of friends. Problems related to modern life such as amateur acting, modern urban-deprived provincial contradictions, moral erosion, unemployment, loneliness were heavily addressed in the director's early films. Recently, films supported by platforms such as Mesopotamia Cultural Center, Sine-Yol cinema collective and SineGöz Film Workshop are also seen in the Third Cinema movement. Short films directed by Kazım Öz, Ax (Toprak, 1999) and Photograph (2001), and around 25 short films and documentaries, including Yeşim Ustaoğlu's Journey to the Sun (Güneşe Yolculuk, 1999), were realized with the support of the Mesopotamia Cultural Center. The mentioned films followed an independent path in production and distribution (Çakan, 2017). The films Tekel 51 (2009) and Yola Düştük (2010) were also shot by the Sine-Yol Cinema Collective. In addition, there has been a great debate in Istanbul within the scope of urban transformation in recent years. Some directors, such as İmre Azem and Bingöl Elmas, think that cities with historical, cultural and civilized values are disappearing. They produce documentary films within the Third Cinema movement in order to draw attention to the gradual transformation of the districts into unidentified consumption areas on a global scale. Social realistic scenarios of the films made, independent production conditions, free screening and then turning into action allow these films to be evaluated among the examples of Third Cinema. Explaining the whole process as it takes place in real time and real places, especially from the eyes of the people who are victimized by the system, increases the effects of these films. In this context, Imre Azem's Ecumenopolis: The City of No End and Lamekan-The Collapse of the Metalized City and Bingöl Elmas's Neighbor! Huuu! Documentaries are quite remarkable in this respect. One of the collective work can be seen in the reflection of the current Third Cinema in Turkey is Only Blockbusters Left Alive: Monopolization Film Distribution in Turkey (Kapalı Gişe, 2016) dir. The directors of the independent production, shot in the production of Germany-based Colored Giraffes, are Şenay Aydemir, Evrim Kaya, Kaan Müjdeci and Firat Yücel. In general, the low-budget and independent films are not shown in movie theaters in Turkey. The documentary examines this problem to the audience in the historical process. In particular, the axis of global investors neoliberal policies of the monopolies created in Turkey are subject to criticism. When Ümit Kıvanç's documentaries are examined closely, it can be said that they are the examples of the Third Cinema with their revolutionary, militant and action-oriented features. Archive footage, actual shots, reflected opinions of experts on the subject, displaying the feelings and thoughts of the public, representation of local, regional and cultural elements constitute examples of the representation of the characteristics of the Third Cinema movement in Ümit Kıvanç cinema. In addition, Ümit Kıvanç also supported projects that he was not involved in with his technical and editing skills; it has shown that it supports humanitarian projects regardless of culture, race, and sect or East-west ideological divide. He did not hesitate to collaborate with modern Western institutions such as the United Nations, which he criticized when it came to human health and his health.
Ümit Kıvanç mostly shares all the details of his documentaries. Among these, the original texts of the documentary, images, and translations of the music in the foreign language used, generic information, and used resources are available on the websites of the documentaries. In this case, viewers are seen as readers. It is a cinema with third Cinema manifestos. It doesn't just show; it also informs and makes effective use of writing for this purpose. The main purpose of this method, which turns the viewers into readers, is to provide permanence; it is to reinforce memory and awareness.
Keywords: Third Cinema, Ümit Kıvanç, Yılmaz Güney, İmre Azem, Turkish Cinema
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(Özet)
Üçüncü Sinema, dünyanın sömürgeleştirilmiş ülkelerinde 1950’lerden sonra görülmeye başlayan bir sinema akımıdır. Üçüncü sinema üçüncü dünya diye tarif edilen ülkelerdeki sinema biçimi olarak ortaya çıkmıştır. Üçüncü Sinema akımı, sermayeden bağımsız, gerçek hayat hikâyelerinin perdeye yansıdığı, üretim, gösterim ve dağıtım araçlarının serbestçe dolaşımda olduğu bir sinema üretimidir. Bu sinema pratiğinin temel amacı dünyanın herhangi bir yerindeki emperyalist, otokratik ve sömürücü yönetim biçimlerini eleştirmektir. Bu sebeple militan ve devrimci bir sinema pratiğidir. Bu çalışma ilk olarak Üçüncü Sinema akımının tarihsel gelişim aşamalarına bakmaktadır. Sonra Türkiye’nin yakın tarihinde bu akımın özelliklerini taşıyan ne tip sanatsal ve fikirsel üretimler gerçekleştirilmiş onu ele almakta; araştırma kısmında da akımın Türkiye’deki güncel yansımaları belgesel filmler özelinde eleştirel söylem analizi metodunu kullanarak değerlendirme konusu yapmaktadır. Söz konusu yönetmenlerin belgeselleri incelendiğinde Üçüncü Sinema akımının özelliklerini üretim-gösterim ve dağıtım noktasında taşıdığı tespit edilirken özellikle kent-taşra ayrımı, kentsel dönüşüm ve mülkiyet hakkı, insan ve kadın hakları, fırsat eşitsizliği ve azınlık hakları gibi konuları işledikleri görülmüştür.
Anahtar Kelimeler: Üçüncü Sinema, Ümit Kıvanç, Yılmaz Güney, İmre Azem, Türk Sineması
