Sinema -\u00fczerinde tart\u0131\u015f\u0131lsa da- yedinci sanat diye adland\u0131r\u0131lan, g\u00f6rsel ve i\u015fitsel bir sanat t\u00fcr\u00fcd\u00fcr. Sinemaya ge\u00e7meden \u00f6nce sanat nedir ve sanat ihtiyac\u0131 nereden do\u011fmu\u015ftur, buna de\u011finmek isterim.<\/p>\n
\u201cSanat bir duyguyu ya\u015fayan insan\u0131n, o duyguyu bilerek ve isteyerek ba\u015fkalar\u0131na aktarma olay\u0131d\u0131r.\u201d Bir ba\u015fka a\u00e7\u0131dan bakt\u0131\u011f\u0131m\u0131zda sanat asl\u0131nda i\u00e7te olan ve olu\u015fan duygular\u0131n, hislerin d\u0131\u015favurumudur. Picasso, kendisine \u201cSanat nedir?\u201d diye soranlara \u201cSanat ne de\u011fildir ki?\u201d demi\u015ftir. \u0130nsan \u00f6z\u00fc itibariyle yapt\u0131\u011f\u0131 her i\u015fte sanat yapma gayesi g\u00fcder.<\/p>\n
M\u00fctefekkir Salih Mirzabeyo\u011flu\u2019nun \u015eiir ve Sanat Hikemiyat\u0131 kitab\u0131ndan sanat ihtiyac\u0131na dair \u015fu paragraf\u0131 aktarmak isterim:<\/p>\n
\u201cKendinde, \u00f6te bir \u015fey olmak insan\u0131n \u00f6z\u00fcnde olmasayd\u0131, sanat \u00e7abas\u0131 bo\u015f ve manas\u0131z bir \u015fey olurdu; \u00e7\u00fcnk\u00fc bu durumda insan, bir fert olarak da \u201ctamam\u201d ve \u201colabilece\u011fi her \u015feyi olmu\u015f\u201d olurdu\u2026 \u0130nsan\u0131n \u00e7o\u011falmas\u0131 ve b\u00fct\u00fcnlenme iste\u011fi de g\u00f6steriyor ki, kendinde kendini a\u015fma memuriyetindedir insan; her an kendini olu\u015fturan ferdin b\u00fct\u00fcnle b\u00f6ylece kayna\u015fmas\u0131 i\u00e7in, sanat, vazge\u00e7ilmez bir ara\u00e7t\u0131r\u2026 Sanat ayn\u0131 zamanda, insan\u0131n say\u0131s\u0131z birle\u015fme, de\u011fi\u015fik hayatlar\u0131 ve d\u00fc\u015f\u00fcnceleri aksettirme kabiliyetini yans\u0131t\u0131r.\u201d<\/p>\n
Bizim nazar\u0131m\u0131zda ise bu ihtiya\u00e7 \u015f\u00f6yle a\u00e7\u0131klan\u0131r: Allah\u2019\u0131n nurundan bir par\u00e7a ta\u015f\u0131yan insan, (yani \u00f6z\u00fc itibariyle g\u00fczele ilgi duyan insan) \u2018Mutlak\u2019 olandan ayr\u0131lmas\u0131yla birlikte tekrar \u2018Mutlak\u2019 olana y\u00f6nelmek i\u00e7in, belirli usullere ba\u015fvurarak bir \u00e7aba\/aray\u0131\u015f i\u00e7erisine girmi\u015ftir. Bu \u00e7aba\/aray\u0131\u015fa biz sanat deriz. Yani insan\u0131n i\u00e7inde Mutlak G\u00fczel\u2019den bir par\u00e7a vard\u0131r. Kumandan\u2019\u0131n \u015eiir ve Sanat Hikemiyat\u0131 kitab\u0131nda da b\u00f6yle bir tan\u0131ma rastl\u0131yoruz:\u00a0 \u201cZira g\u00fczel, Mutlak Varl\u0131k\u2019\u0131n ruhlarla e\u015fya \u00fczerinde yans\u0131mas\u0131 ve efsunlu bir g\u00f6steri halinde belirmesidir; g\u00fczele duydu\u011fumuz ilgi de, asl\u0131m\u0131z\u0131 olu\u015fturan B\u0130R\u2019e, birinciye d\u00f6nme arzumuzdan ve asl\u0131m\u0131za yaln\u0131z hasselerimizin etkisiyle de\u011fil, kendi ruhumuzla \u00f6zel bir benzerli\u011fi oldu\u011fu i\u00e7in g\u00fczeldir, \u00e7\u00fcnk\u00fc biz de, Mutlak Varl\u0131\u011f\u0131n nefesinden \u00fcfledi\u011fini buyurdu\u011fundan ba\u015fka bir \u015fey de\u011filiz. \u201c<\/p>\n
Hz. Mevlana\u2019n\u0131n ney metaforunda remzedildi\u011fi gibi, kayna\u011f\u0131ndan kopar\u0131lan her varl\u0131k ac\u0131 ac\u0131 inleyerek kayna\u011f\u0131n\u0131 arar. E\u011fer bu arama eylemi son bulursa, kopar\u0131lan nesne usul usul \u00e7\u00fcr\u00fcmeye y\u00fcz tutar. Ac\u0131 ac\u0131 inlemek tabirine burada e\u015fittir sanat diyebiliriz. Bu ac\u0131 ac\u0131 inlemeler son bulunca sanat da olmaz ve \u00e7\u00fcr\u00fcme ba\u015flar.<\/p>\n
Bunlara ek olarak \u00dcstad Necip Faz\u0131l K\u0131sak\u00fcrek\u2019in bir beyiti:<\/p>\n
“Anlad\u0131m i\u015fi, sanat Allah’\u0131 aramakm\u0131\u015f;<\/p>\n
Marifet bu gerisi yaln\u0131z \u00e7elik \u00e7omakm\u0131\u015f.”<\/p>\n
\u00dcstad, sanat anlay\u0131\u015f\u0131n\u0131 yine sanatlar\u0131n anas\u0131 olan \u015fiir ile ifade ediyor.<\/p>\n
Tabi\u00ee ki her d\u00fcnya g\u00f6r\u00fc\u015f\u00fcne g\u00f6re sanat, belli ba\u015fl\u0131 d\u00fc\u015f\u00fcnceler ile a\u00e7\u0131klanm\u0131\u015ft\u0131r ve uygulanm\u0131\u015ft\u0131r. Ama \u015fu bir ger\u00e7ek ki hi\u00e7 bir sanat faaliyeti din fakt\u00f6r\u00fc olmadan yani k\u00f6k\u00fc olmadan hayat bulamam\u0131\u015ft\u0131r. Dinin oldu\u011fu yerde bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc de muhakkak vard\u0131r.<\/p>\n
Buradan do\u011fal olarak \u015fu yorumu \u00e7\u0131karabiliriz: Hi\u00e7 bir sanat, bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fcnden ba\u011f\u0131ms\u0131z d\u00fc\u015f\u00fcn\u00fclemez.<\/p>\n
Biz sanat\u0131 kendi d\u00fcnya g\u00f6r\u00fc\u015f\u00fcm\u00fcze nispetle bir vas\u0131ta arac\u0131 olarak g\u00f6r\u00fcr\u00fcz. \u00dcstad\u0131n tan\u0131mlamas\u0131yla: \u201cSanat ki, bizim g\u00f6z\u00fcm\u00fczde en \u00e7evik ve en gizli usulle Allah\u2019\u0131 araman\u0131n m\u00fcessesesidir, nam\u00fctenahi m\u00fccerrede, y\u00e2ni asl\u00ee gayesine yakla\u015ft\u0131k\u00e7a \u0130slam\u2019da de\u011fer bulur.\u201d<\/p>\n
\u0130slam sanata davan\u0131n en sihirli telkin vas\u0131tas\u0131 g\u00f6z\u00fcyle bakar ve onlar\u0131 hem m\u00fc\u015fahhas hizmet ve faaliyetleri hem de m\u00fccerret k\u0131ymet ve hikmetleri bak\u0131m\u0131ndan tamam\u0131yla benimser.<\/p>\n
\u0130slam ink\u0131lab\u0131nda ger\u00e7ek sanat\u00e7\u0131, tamam\u0131yla serbest olarak her hususta devletin zimmet ve kefareti alt\u0131ndad\u0131r ve me\u015fru \u00f6l\u00e7\u00fcyle, tek nefesinin, tek duygu ve d\u00fc\u015f\u00fcnce an\u0131n\u0131n hakk\u0131na kadar her cihetten emniyettedir. O daima me\u015fru \u00f6l\u00e7\u00fcyle, diledi\u011fi hayat\u0131 s\u00fcrmekte h\u00fcr, sadece k\u0131s\u0131rl\u0131\u011fa ve uyu\u015fuklu\u011fa d\u00fc\u015fmeden eser vermekle m\u00fckelleftir.<\/p>\n
Bat\u0131’da “Sanat nedir?” sorusuna verilen ilk cevap, sanat\u0131 bir yans\u0131tma, benzetme veya taklit olarak g\u00f6rme e\u011filimindeydi. Sanat\u00e7\u0131 d\u00fcnyaya bir ayna tutar. (\u0130dealar aleminden yans\u0131yanlar\u0131 yans\u0131t\u0131r. Taklidin taklidini yapar.)<\/p>\n
Platoncu bu sanat anlay\u0131\u015fa bakt\u0131\u011f\u0131m\u0131zda da bir s\u0131n\u0131r g\u00f6r\u00fcyoruz asl\u0131nda. Sanat\u00e7\u0131 bir ayna tutucudur en fazla. Sanat\u00e7\u0131ya bundan daha fazla bir rol y\u00fcklenmemi\u015ftir. Yani sanat\u00e7\u0131n\u0131n, R\u00f6nesans ile ba\u015flayan H\u00fcmanizm ak\u0131m\u0131 ve insan\u0131 merkezile\u015ftirme (Tanr\u0131-\u0130nsan) s\u00fcrecine kadar s\u0131n\u0131r\u0131 \u00e7izilmi\u015fti. Yarat\u0131l\u0131\u015ftan bir yarat\u0131\u015f \u00e7\u0131karma rol\u00fcndeki insan daha sonralar\u0131 direkt yarat\u0131c\u0131 rol\u00fcn\u00fc \u00fcstlenecektir.<\/p>\n
Buradan sinemaya ge\u00e7ecek olursak, medeniyet krizi ya\u015fanan zamanlarda medeniyet krizini ya\u015fayan medeniyetler, ya\u015fanan krizin boyutlar\u0131n\u0131 g\u00f6sterebilecek b\u00fcy\u00fck formlar geli\u015ftirirler. Sinema bu kriz zamanlar\u0131n\u0131n sanat ve tefekk\u00fcr formudur.<\/p>\n
Sinema, g\u00f6r\u00fcnt\u00fclerin veya \u00e7izilmi\u015f desenlerin \u0131\u015f\u0131kla bir perdeye d\u00fc\u015f\u00fcr\u00fclerek hareketli g\u00f6r\u00fcnt\u00fcler elde edilmesi temeline dayanan sanat dal\u0131d\u0131r.<\/p>\n
Sineman\u0131n sanat ve ticaret ortam\u0131na giri\u015fi 1903\u2019de B\u00fcy\u00fck Soygun (The Great Train Robbery) filmiyle ba\u015flam\u0131\u015ft\u0131r.<\/p>\n
Tarihsel s\u00fcre\u00e7te \u00f6nem olarak b\u00fcy\u00fck bir ivme kazanmas\u0131yla sinema, her t\u00fcrl\u00fc emele alet edilen bir sanat t\u00fcr\u00fc oldu. Sinema bir medeniyet meselesidir incelikli olarak. Sinema b\u00fct\u00fcn sanat t\u00fcrleri gibi, d\u00fc\u015f\u00fcnce yolculuklar\u0131 yahut bilimsel ke\u015fifler gibi, ancak bir medeniyetin i\u00e7inden yap\u0131lan, hem o medeniyetin varl\u0131\u011f\u0131n\u0131 idame ettiren, hem de t\u00fcrl\u00fc sorunlar\u0131n\u0131 tart\u0131\u015fmaya a\u00e7an, o medeniyet varl\u0131\u011f\u0131n\u0131n ve varolu\u015funun hem ifadesi hem de ifade edicisi bir olay\/olgu\u201ddur.<\/p>\n
Sinema da en nihayetinde ba\u011fl\u0131 oldu\u011fu gayeye g\u00f6re de\u011fer kazan\u0131r. Kullanan\u0131n amac\u0131na g\u00f6re bir hikmet, iyilik, g\u00fczellik arac\u0131 olabilece\u011fi gibi; \u00e7irkinlik, k\u00f6t\u00fcl\u00fck, manip\u00fclasyon arac\u0131 da olabilir. Sinema bize ait bir form olmad\u0131\u011f\u0131 i\u00e7in al\u0131rken veya kullan\u0131rken elekten ge\u00e7irmek ve ta\u015flar\u0131n\u0131 ay\u0131rmak elzemdir.<\/p>\n
\u00dcstad sinemay\u0131 \u015f\u00f6yle tan\u0131ml\u0131yor:<\/p>\n
\u201cSinema bizzat sanat m\u00fcessesesi olarak \u015eeriat\u0131n hi\u00e7bir surette itiraz etmedi\u011fi, yaln\u0131z i\u00e7ine \u015eeriat\u00e7a yasak unsurlar girdi\u011fi nispette (Hollywood filmleri) yasaklanmas\u0131n\u0131 gerektirdi\u011fi, m\u00fccerret as\u0131llar\u0131 ve mahiyetleriyle kabahatsiz, fakat m\u00fc\u015fahhas halleri ve fiilleriyle m\u00fcthi\u015f su\u00e7lu vas\u0131talard\u0131r.\u201d<\/p>\n
Sinema cephelerden bir cephedir. Amerika bunun fark\u0131nda olacak ki bir sinema politikas\u0131 geli\u015ftirmi\u015ftir.<\/p>\n
Sinemada ilk b\u00fcy\u00fck geli\u015fmeleri Avrupa kaydetmi\u015ftir; ancak bir s\u00fcre sonra bu alandaki \u00fcst\u00fcnl\u00fc\u011f\u00fcn\u00fc ABD\u2019ye kapt\u0131rm\u0131\u015f. Daha sonra Hollywood\u2019un \u00f6nlenemez y\u00fckseli\u015fi ba\u015flam\u0131\u015ft\u0131r. 1900\u2019lerin ba\u015f\u0131nda Amerikan i\u00e7 pazar\u0131nda yabanc\u0131 filmler h\u00fck\u00fcm s\u00fcrm\u00fc\u015ft\u00fcr: \u00d6rne\u011fin 1907\u2019de ABD\u2019de piyasaya s\u00fcr\u00fclen 1200 filmden yaln\u0131zca 400 kadar\u0131 yerliydi. Bunun fark\u0131na varan Amerikan sinema end\u00fcstrisi Moving Picture World\u2019\u00fc kurmu\u015f ve \u00f6ncelikle i\u00e7 pazara yo\u011funla\u015fm\u0131\u015ft\u0131r. I. D\u00fcnya Sava\u015f\u0131n\u0131n Avrupa\u2019daki pek \u00e7ok \u00fclke i\u00e7in getirdi\u011fi s\u0131k\u0131nt\u0131lar ve ambargolar da ABD\u2019nin sinema sekt\u00f6r\u00fcnde Avrupa\u2019ya g\u00f6re g\u00fc\u00e7lenmesine \u00f6nemli \u00f6l\u00e7\u00fcde katk\u0131 sa\u011flam\u0131\u015ft\u0131r. Sava\u015f, Avrupa i\u00e7in ticaret a\u011flar\u0131n\u0131 yok etmekle kalmam\u0131\u015f, ayn\u0131 zamanda film \u00fcretimi i\u00e7in son derece \u00f6nemli olan insan hayat\u0131, malzeme ve devam eden deneyler bak\u0131m\u0131ndan da Avrupa\u2019ya a\u011f\u0131r bir bedel \u00f6detmi\u015ftir. ABD, 1914 y\u0131l\u0131nda sinema sekt\u00f6r\u00fcnde bir numara olmas\u0131n\u0131 sa\u011flayacak uluslararas\u0131 bir yay\u0131lma kampanyas\u0131 ba\u015flatm\u0131\u015ft\u0131r.<\/p>\n
1910\u2019larda bir\u00e7ok film \u015firketi k\u00fc\u00e7\u00fck Hollywood banliy\u00f6s\u00fc ve civar\u0131na yerle\u015fmeye ba\u015flam\u0131\u015f ve on y\u0131l i\u00e7inde ortaya \u00e7\u0131kartt\u0131klar\u0131 sistem sadece Birle\u015fik Devletler de de\u011fil, t\u00fcm d\u00fcnya da sinemaya egemen olmu\u015ftur. Bu kadar h\u0131zl\u0131 yay\u0131lmalar\u0131 ger\u00e7ekten \u00e7ok ilgi \u00e7ekicidir. Sineman\u0131n kitlelere hitap eden bir sanat dal\u0131 ve kuvvetli bir propaganda arac\u0131 olmas\u0131 bu h\u0131zl\u0131 sistemle\u015fmeyi beraberinde getirmi\u015f.<\/p>\n
1944\u20131945 y\u0131llar\u0131na gelindi\u011finde ise, Avrupa yeni bir sava\u015fla y\u00fcz y\u00fcze gelmi\u015f ve ekonomik, siyasi ve toplumsal s\u0131k\u0131nt\u0131lar tekrar kendini hissettirmeye ba\u015flam\u0131\u015ft\u0131r. II. D\u00fcnya Sava\u015f\u0131 sona erdi\u011finde, sava\u015f\u0131n kendi topraklar\u0131na sirayet etmemesi sebebiyle ekonomisini g\u00fc\u00e7lendirerek \u00e7\u0131kan tek \u00fclke ABD olmu\u015ftur. 1946 y\u0131l\u0131nda Hollywood gi\u015fe gelirlerini 1.7 milyar dolara \u00e7\u0131karm\u0131\u015ft\u0131r. Bu d\u00f6nemde g\u00fcndemde olan Marshall Yard\u0131mlar\u0131n\u0131n bir par\u00e7as\u0131n\u0131 da ABD filmlerinin yard\u0131m kapsam\u0131ndaki \u00fclkelere g\u00fcmr\u00fck k\u0131s\u0131tlamas\u0131 olmadan girebilmesi olu\u015fturmu\u015ftur. B\u00f6ylece Amerikan filmlerine ayr\u0131lan kotalar\u0131n artt\u0131r\u0131lmas\u0131 hedeflenmi\u015ftir. Fransa, \u0130talya, \u0130ngiltere ve Almanya gibi sinema sekt\u00f6r\u00fcnde \u00f6nemli bir yere sahip \u00fclkeler dayatmalarla kar\u015f\u0131 kar\u015f\u0131ya kalm\u0131\u015ft\u0131r. Bir s\u00fcre sonra ulusal sinemalar etkinliklerini yitirerek Hollywood\u2019a yenik d\u00fc\u015fm\u00fc\u015fler ve Amerikan sinemas\u0131 tek ba\u015f\u0131na dev bir end\u00fcstri haline gelmi\u015ftir.<\/p>\n
Hollywood sinemas\u0131, Amerikan hegemonyas\u0131n\u0131n en \u00f6nemli ara\u00e7lar\u0131ndan biri olarak kullan\u0131l\u0131yor. Amerika\u2019n\u0131n d\u00fcnya \u00fczerindeki g\u00fcc\u00fcn\u00fc, \u00e7ok \u00f6nemli oranlarda, Hollywood \u00fczerinden \u00fcretti\u011fi Amerikan imgesinin ve k\u00fclt\u00fcrel\u00a0 hakimiyetinin b\u00fcy\u00fck bir pay\u0131 vard\u0131r.<\/p>\n
Sineman\u0131n tesirine dair bir \u00f6rnek olarak, pizzan\u0131n T\u00fcrkiye\u2019ye giri\u015f hikayesi \u00e7ok ilgin\u00e7tir:<\/p>\n
\u201c1989 y\u0131l\u0131nda T\u00fcrkiye ilk defa pizza d\u00fckkanlar\u0131yla tan\u0131\u015f\u0131r. T\u00fcrkiye\u2019ye birka\u00e7 d\u00fckkan a\u00e7arak pazar\u0131n nabz\u0131n\u0131 yoklayan \u00fcnl\u00fc marka ald\u0131\u011f\u0131 sonu\u00e7la \u015foka girer. Bekledikleri gibi olmaz. Bo\u011faz\u0131na d\u00fc\u015fk\u00fcn oldu\u011fu i\u00e7in pizzay\u0131 sevece\u011fini d\u00fc\u015f\u00fcnd\u00fckleri T\u00fcrk t\u00fcketicisi, pizzay\u0131 sevmez. D\u00fckk\u00e2nlar kapat\u0131l\u0131r. Geri d\u00f6n\u00fcl\u00fcr.<\/p>\n
1991 y\u0131l\u0131. Murakami-Wolf-Swenson Productions\u2019\u0131n \u00fcretti\u011fi bir \u00e7izgi film d\u00fcnyada b\u00fcy\u00fck ilgi g\u00f6r\u00fcr. Yap\u0131mc\u0131 \u015firket T\u00fcrkiye\u2019deki bir \u00f6zel kanala bu \u00e7izgi filmi teklif eder. Kanal \u015fa\u015fk\u0131nd\u0131r, fiyat ger\u00e7ekten olmas\u0131 gerekenin %10\u2019udur.Adeta kapandaki peynir gibi duran bu teklifi ka\u00e7\u0131rmaz \u00f6zel kanal. Yay\u0131nlanmaya ba\u015flar. \u00c7izgi film T\u00fcrkiye\u2019de de \u00e7ok tutulur. Oyuncaklar\u0131, rozetleri, kartpostallar\u0131, defterleri ve kitap kaplar\u0131 ile m\u00fcthi\u015f bir pazarlama da beraberinde gelir.<\/p>\n
1994 y\u0131l\u0131na gelindi\u011finde \u00e7izgi film\u00a0 milyonlarca \u00e7ocu\u011fu ve genci etkisi alt\u0131na alm\u0131\u015ft\u0131r. Bu \u00e7ocuklar tuhaf bir bi\u00e7imde annelerinden pizza pi\u015firmesini istemeye ba\u015flar. T\u00fcrk anneleri pizzay\u0131 nas\u0131l yapaca\u011f\u0131n\u0131 bilmez. Talep gitgide artar. Derken pizza zinciri d\u00fckkanlar\u0131n\u0131 yeniden aktif hale getirir, yeni d\u00fckkanlar a\u00e7ar. \u00c7ocu\u011fu yemek yemeyen anneler mecburen pizza sipari\u015f eder. Liseli, \u00fcniversiteli gen\u00e7ler aras\u0131nda bir itibar nesnesi haline gelir. T\u00fcrk mutfa\u011f\u0131n\u0131n demode lahmacunu, pidesi terk edilmi\u015f, gen\u00e7ler gruplar halinde pizza d\u00fckkanlar\u0131na gider hale gelmi\u015ftir.\u201d<\/p>\n
Bir \u00e7izgi filmin pizzay\u0131 t\u00fcm d\u00fcnyaya tan\u0131tmas\u0131 tabiri caizse dayatmas\u0131, bize sineman\u0131n g\u00fcc\u00fcn\u00fc a\u00e7\u0131k\u00e7a g\u00f6steriyor.<\/p>\n
Bu \u00e7izgi film, hepimizin tan\u0131d\u0131\u011f\u0131 Ninja Kaplumba\u011falar\u2019d\u0131r.<\/p>\n
B\u00fct\u00fcn sanatlar\u0131n amac\u0131; okuru, izleyiciyi, dinleyiciyi etkileyen, insan\u0131n duyular\u0131n\u0131 \u00e7e\u015fitli y\u00f6nlerden uyaran, onlar\u0131 belirli bir tepkiye y\u00f6nelten bir \u00fcr\u00fcn ortaya koymakt\u0131r. Ancak sinema, g\u00f6r\u00fcnt\u00fclerin ve sesin istenildi\u011fi gibi kullan\u0131labilmesi olana\u011f\u0131n\u0131 ta\u015f\u0131d\u0131\u011f\u0131ndan ve bunun sa\u011flad\u0131\u011f\u0131 inand\u0131r\u0131c\u0131l\u0131ktan dolay\u0131 bir propaganda arac\u0131 olarak di\u011fer sanatlardan \u00fcst\u00fcnd\u00fcr.<\/p>\n
Sinema eserleri, sosyal ger\u00e7ekli\u011fin \u015fu ya da bu \u015fekilde in\u015fa edilmesine zemin haz\u0131rlayan psikolojik duru\u015flar\u0131, d\u00fcnyan\u0131n ne oldu\u011fu ve ne olmas\u0131 gerekti\u011fine ili\u015fkin ortak d\u00fc\u015f\u00fcnceyi y\u00f6nlendirerek toplumsal kurumlar\u0131 ayakta tutan daha geni\u015f bir k\u00fclt\u00fcrel temsiller sisteminin bir par\u00e7as\u0131d\u0131r. \u0130\u00e7erik ger\u00e7ek\u00e7i olsun ya da olmas\u0131n, sinematografik anlat\u0131m her t\u00fcr i\u00e7eri\u011fi ger\u00e7ek k\u0131lmaktad\u0131r. Sinema bu a\u00e7\u0131dan ideolojik propaganda ba\u011flam\u0131nda en g\u00fc\u00e7l\u00fc ara\u00e7lardan biridir.<\/p>\n
Bu ba\u011flamda sinema, anlat\u0131s\u0131, t\u00fcr\u00fc ne olursa olsun hi\u00e7bir zaman de\u011fer yarg\u0131lar\u0131ndan, ideolojik hatta politik e\u011filimlerden uzak de\u011fildir.<\/p>\n
\u00d6zellikle Hollywood sinemas\u0131n\u0131n hemen her d\u00f6nemde egemen ideolojiye hizmet etti\u011fi s\u00f6ylenebilir. Bu durumun \u00e7arp\u0131c\u0131 \u00f6rneklerinden biri de Amerika\u2019n\u0131n Vietnam Sava\u015f\u0131 s\u00fcrecinde g\u00f6r\u00fclmektedir. 1960\u2019l\u0131 y\u0131llarda Vietnam Sava\u015f\u0131 b\u00fcy\u00fck bir halk muhalefetine konu olmu\u015ftur. Amerikan gen\u00e7li\u011fi haks\u0131z bir sava\u015fa kat\u0131lmay\u0131 reddetmi\u015f, 1970\u2019lere gelindi\u011finde ise, n\u00fcfusun b\u00fcy\u00fck \u00e7o\u011funlu\u011fu sava\u015f kar\u015f\u0131t\u0131 bir tav\u0131r sergilemeye ba\u015flam\u0131\u015ft\u0131r. Nihayet 1975\u2019te Saigon\u2019un ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131n\u0131 elde etmesiyle ABD, tarihinin ilk yenilgisini alm\u0131\u015ft\u0131r.<\/p>\n
Yeni Amerikan militarizmi olumlayan yap\u0131mlar i\u00e7inde en dikkate de\u011fer olanlar\u0131ndan biri Rambo\u2019dur. Rambo\u2019da yenilmez bir \u00f6l\u00fcm makinesi olarak resmedilen eski bir Amerikan askeri, Vietnam\u2019daki sava\u015f esirlerini kurtarmak \u00fczere g\u00f6revlendirilir. Kahramanca \u00e7abalar ve say\u0131s\u0131z Rus ve Vietnaml\u0131n\u0131n \u00f6l\u00fcm\u00fcne yol a\u00e7an ilkel \u015fiddet g\u00f6sterilerinin ard\u0131ndan g\u00f6rev ba\u015far\u0131yla tamamlan\u0131r. Bu film belli ba\u015fl\u0131 \u201cmuhafazakar\u201d \u00f6n yarg\u0131lara hizmet etmektedir. Birincisi, Uzakdo\u011fulu kom\u00fcnistler a\u015fa\u011f\u0131l\u0131k varl\u0131klar olarak tasvir edilirler, ikincisi, tarihin yorumlan\u0131\u015f bi\u00e7imi Amerika\u2019n\u0131n Vietnaml\u0131lara kar\u015f\u0131 ger\u00e7ekle\u015ftirdi\u011fi vah\u015feti hakl\u0131 g\u00f6stermeyi ama\u00e7lar. Son olarak, \u00f6zg\u00fcrl\u00fck i\u00e7in sava\u015ft\u0131\u011f\u0131 \u00f6ne s\u00fcr\u00fclen Amerikal\u0131lard\u0131r, Vietnaml\u0131lar de\u011fil\u2026<\/p>\n
Thanos : Bat\u0131\u2019n\u0131n \u0130\u00e7 Sesi<\/strong><\/p>\n \u00dczerine durulmas\u0131 gereken bir konu da, Marvel Sinemas\u0131n\u0131n son iki filmi \u201cAvanegers Infinity War\u201d ve \u201cAvanegers End Game\u201dde kar\u015f\u0131m\u0131za \u00e7\u0131kan \u2018Thanos\u2019 karakteridir. Bu karakter Marvel evreninin en g\u00fc\u00e7l\u00fc \u2018k\u00f6t\u00fc\u2019 karakterlerinden biri olarak bilinir. \u00d6nemli olan k\u0131s\u0131m Thanos\u2019un felsefesi. Bu son iki filmde bunu eylemleri ve s\u00f6ylemleri ile hissettirmesi ve fikirlerine ciddi bir taraftar bulmas\u0131 da bize g\u00f6re \u2018\u015fa\u015f\u0131rtan\u2019, bunu planlayanlara g\u00f6re de \u2018istenen\u2019 bir durum olsa gerek\u2026<\/p>\n Thanos, toplumsal ve iktisadi g\u00f6r\u00fc\u015f\u00fc itibariyle Malthus\u2019a, inan\u00e7 olarak nihilist olmas\u0131 y\u00f6n\u00fcyle ise Nietzsche\u2019ye nispet eder. Malthus\u2019a g\u00f6re n\u00fcfus art\u0131\u015f\u0131 geometriktir (1,2,4,8\u2026) \u015feklinde artar; g\u0131da art\u0131\u015f\u0131 ise aritmetik (1,2,3,4) \u015feklinde artar. B\u00f6ylece zamanla n\u00fcfus ve g\u0131da kaynaklar\u0131nda b\u00fcy\u00fck bir dengesizlik olur. \u00d6nleyici kontrolleri \u201cge\u00e7 evliliktir\u201d. Sel, k\u0131tl\u0131k, sava\u015f, hastal\u0131k gibi afetleri de olumlu kontroller olarak g\u00f6r\u00fcr. T\u0131pk\u0131 bug\u00fcnlerde t\u00fcm d\u00fcnyay\u0131 tesiri alt\u0131na alan ve insanlar\u0131n \u00f6l\u00fcm\u00fcne sebep olan Covid-19 salg\u0131n\u0131 gibi. Malthus\u2019a g\u00f6re n\u00fcfusun belli bir k\u0131sm\u0131n\u0131n g\u0131da ve n\u00fcfus dengesini sa\u011flayacak \u015fekilde \u00f6lmesi\/yok olmas\u0131 gereklidir. B\u00fcsb\u00fct\u00fcn hatal\u0131, eksik ve i\u00e7inde canilik bar\u0131nd\u0131ran bu g\u00f6r\u00fc\u015f\u00fcn Thanos karakteri ile yeniden i\u015flenmesi ve t\u00fcm d\u00fcnyaya duyurulmas\u0131 \u00e7ok manidard\u0131r. Thanos karakterinin Malthus\u2019un bu yanl\u0131\u015f g\u00f6r\u00fc\u015f\u00fcn\u00fc olumlamaya ve hakl\u0131 \u00e7\u0131karmaya \u00e7al\u0131\u015fan bir karakter olmas\u0131 kuvvetle muhtemeldir. Bu teorinin y\u00fcr\u00fcrl\u00fc\u011fe konulmas\u0131 ve bug\u00fcn \u2018hakl\u0131\u2019 g\u00f6r\u00fclmesi i\u00e7in bir\u00e7ok geli\u015fmeler olmakta. Ge\u00e7 evlilikler, do\u011fum kontrolleri, toplu imha i\u00e7in \u00fcretilen hastal\u0131klar, geneti\u011fiyle oynanm\u0131\u015f, verimsizle\u015ftirilmi\u015f tohumlar ve g\u0131dalar vb\u2026<\/p>\n Bat\u0131, insanl\u0131\u011f\u0131 yaratt\u0131\u011f\u0131 ger\u00e7ekli\u011fe mahkum etmek i\u00e7in u\u011fra\u015f\u0131yor. Zehri \u015fekere bulay\u0131p sunmak, yanl\u0131\u015f\u0131 ve k\u00f6t\u00fcy\u00fc, g\u00fczel ile ambalajlamak\u2026\u00a0 Kumandan\u2019\u0131n dedi\u011fi gibi; \u201cZira g\u00fczellik, hesap ve kitap sordurmadan yakalay\u0131c\u0131, zapt ve fethedicidir.\u201d \u015eu an Bat\u0131 sinemas\u0131 insanlar\u0131 maalesef bu ill\u00fczyon i\u00e7ine hapsetmi\u015f durumda.<\/p>\n Bat\u0131\u2019n\u0131n bizi hapsetti\u011fi suni ger\u00e7ekli\u011fe kar\u015f\u0131 ilk \u00f6nce Sineman\u0131n hakikatini idrak ederek, hakikatin sinemas\u0131na do\u011fru bir yol \u00e7izmemiz ve o yolda y\u00fcr\u00fcmemiz gerekiyor. Ama kendi d\u00fcnya g\u00f6r\u00fc\u015f\u00fcm\u00fcz\u00fc sinemaya yans\u0131tabilece\u011fimiz ve devaml\u0131l\u0131\u011f\u0131n\u0131 sa\u011flayabilece\u011fimiz bir m\u00fcessesemiz var m\u0131 bu soru i\u015fareti? \u00c7\u00fcnk\u00fc Hollywood \u00f6rne\u011finde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi bu i\u015f ilk m\u00fcessese i\u015fi gibi duruyor kanaatimce.<\/p>\n Bunun T\u00fcrkiye\u2019den \u00f6rne\u011fi Ye\u015fil\u00e7am\u2019d\u0131r. Hollywood\u2019un ta\u015feron \u015firketi olarak d\u00fc\u015f\u00fcnebilece\u011fimiz Ye\u015fil\u00e7am\u2019\u0131n insan\u0131m\u0131z \u00fczerinde yapt\u0131\u011f\u0131 olumsuz tesiri ve 1000 y\u0131ld\u0131r s\u00fcregelen \u00f6rf, adeti, gelenekleri, inanc\u0131m\u0131z\u0131 nas\u0131l tepe taklak etti\u011fi malumdur.<\/p>\n Cumhuriyet ink\u0131laplar\u0131n\u0131 peki\u015ftirmek ve anlay\u0131\u015f\u0131n\u0131 empoze etmek i\u00e7in y\u00fczlerce film \u00e7ekilmi\u015ftir. Bug\u00fcne kadar sinemadan pek bir fayda dev\u015firemedik a\u00e7\u0131k\u00e7as\u0131. Tesirleri genelde olumsuz y\u00f6nde oldu. \u015euan da maalesef \u00f6yle oluyor. 2019\u2019da \u00e7\u0131kan filmlere g\u00f6z att\u0131\u011f\u0131m\u0131zda ve y\u00fcksek b\u00fct\u00e7eli filmlere bakt\u0131\u011f\u0131m\u0131zda, bu filmlerin sadece dram ve komedi t\u00fcr\u00fcnde oldu\u011funu g\u00f6r\u00fcyoruz. Ya \u015fuursuzca a\u011flatmak \u00fczere, ya da \u015fuursuzca g\u00fcld\u00fcrmek \u00fczere\u2026 Bu iki t\u00fcr en kolay gi\u015fe yapt\u0131ran ve para kazand\u0131ran t\u00fcrler maalesef. Bu iki t\u00fcrden tamamen soyutlanm\u0131\u015f ve bilerek, bilmeyerek g\u00f6z ard\u0131 edilen \u201ctefekk\u00fcr sinemas\u0131\u201d alan\u0131n\u0131n talibi yok denecek kadar az.<\/p>\n Sinema masrafl\u0131 bir sanat do\u011fal olarak. Fikri olan \u00e7o\u011fu M\u00fcsl\u00fcman da fikrini yans\u0131tabilece\u011fi b\u00fct\u00e7eyi bulam\u0131yor maalesef. M\u00fcsl\u00fcman sineman\u0131n \u00f6n\u00fcn\u00fc t\u0131kayan bir \u00e7ok sebep saymak m\u00fcmk\u00fcn ama ana sorunumuz \u0130sl\u00e2m\u2019a muhatap bir anlay\u0131\u015f \u00e7er\u00e7evesinde te\u015fekk\u00fcl etmi\u015f bir devlet yoklu\u011fu ve dolay\u0131s\u0131yla o devletin alt\u0131nda m\u00fcdir fikir etraf\u0131nda te\u015fekk\u00fcl etmi\u015f m\u00fcesseselerin kurulamamas\u0131… Bu problem \u00e7\u00f6z\u00fcme kavu\u015fmadan hi\u00e7bir \u015feyin \u00e7\u00f6z\u00fcme kavu\u015fmayaca\u011f\u0131n\u0131n fark\u0131nday\u0131z.<\/p>\n <\/p>\n KAYNAKLAR:<\/p>\n 1- Necip Faz\u0131l KISAK\u00dcREK, \u0130deolocya \u00d6rg\u00fcs\u00fc, B\u00fcy\u00fck Do\u011fu Yay\u0131nlar\u0131<\/p>\n 2- Salih M\u0130RZABEYO\u011eLU, \u015eiir ve Sanat Hikemiyat\u0131, \u0130BDA Yay\u0131nlar\u0131<\/p>\n 3- Enver G\u00dcL\u015eEN, Sineman\u0131n Hakikati, K\u00fclliyat Yay\u0131nlar\u0131<\/p>\n 4- Berna MORAN, Edebiyat Kuramlar\u0131 ve Ele\u015ftiri, Cem\/K\u00fclt\u00fcr Yay\u0131nlar\u0131<\/p>\n 5- GEN\u00c7ALP, H\u00fcseyin, Egemen \u0130deolojinin Yerle\u015ftirilmesinin Bir Arac\u0131 Olarak Sinema: \u00c7ocuk Y\u0131ld\u0131z Filmlerinde Egemen \u0130deolojinin \u0130\u015fleyi\u015fi, Konya \u2013 2011<\/p>\n 6- ORTA, Nermin, Hollywood Sinemas\u0131na Kar\u015f\u0131 Avrupa Film Politikalar\u0131 ve Geli\u015ftirilen Korumac\u0131 Tedbirler, \u0130leti\u015fim Dergisi<\/p>\n Ayl\u0131k Dergisi 187. Say\u0131, Nisan 2020<\/p>\n","protected":false},"excerpt":{"rendered":" Sinema -\u00fczerinde tart\u0131\u015f\u0131lsa da- yedinci sanat diye adland\u0131r\u0131lan, g\u00f6rsel ve i\u015fitsel bir sanat t\u00fcr\u00fcd\u00fcr. Sinemaya ge\u00e7meden \u00f6nce sanat nedir ve sanat ihtiyac\u0131 nereden do\u011fmu\u015ftur, buna de\u011finmek isterim. \u201cSanat bir duyguyu…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[],"ppma_author":[14,59],"class_list":["post-910","post","type-post","status-publish","format-standard","hentry","category-yazarlar","author-admin","author-muzaffer-ayvalioglu","no-post-thumbnail"],"yoast_head":"\n