{"id":21699,"date":"2020-08-08T17:18:05","date_gmt":"2020-08-08T14:18:05","guid":{"rendered":"http:\/\/candname.com\/tr\/?p=21699"},"modified":"2021-02-20T13:58:18","modified_gmt":"2021-02-20T10:58:18","slug":"kurt-sinemasinin-kodlari-ve-gerceklikle-imtihani-soner-sert","status":"publish","type":"post","link":"https:\/\/candname.com\/tr\/?p=21699","title":{"rendered":"K\u00fcrt Sinemas\u0131n\u0131n Kodlar\u0131 ve Ger\u00e7eklikle \u0130mtihan\u0131 – Soner Sert"},"content":{"rendered":"
K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131n\u0131, K\u00fcrt halk\u0131n\u0131n ge\u00e7mi\u015fi ve bug\u00fcn\u00fc meydana getirdi: \u2018Vatans\u0131zl\u0131k\u2019, \u2018s\u0131n\u0131r\u2019 ve \u2018\u00f6l\u00fcm\u2019. K\u00fcrtlerin \u00f6zg\u00fcrl\u00fck m\u00fccadelesi ile sinemas\u0131 yan yana y\u00fcr\u00fcmeyi bilmi\u015f ve birbirlerinden beslendi.<\/div>\n
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K\u00fcrt Sinemas\u0131, varl\u0131\u011f\u0131n\u0131 par\u00e7alanm\u0131\u015f bir vatana, vatan\u0131 par\u00e7alayan s\u0131n\u0131rlara ve bu s\u0131n\u0131rlar\u0131 a\u015fmak isteyen insanlar\u0131n temalar\u0131n\u0131 olu\u015fturdu\u011funu bir ulusal sinema hareketidir. Bu ya\u015fanm\u0131\u015fl\u0131k ve k\u00fclt\u00fcr bi\u00e7imi K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131n\u0131 \u2018vatans\u0131zl\u0131k\u2019, \u2018s\u0131n\u0131r\u2019 ve \u2018\u00f6l\u00fcm\u2019 olarak belirlemi\u015ftir.<\/p>\n

Yakla\u015f\u0131k bin sene \u00f6nce yaz\u0131lan Ka\u015fgarl\u0131 Mahmut\u2019un Divan-\u0131 L\u00fcgatit T\u00fcrk isimli eserinde K\u00fcrtlerin yo\u011fun olarak ya\u015fad\u0131\u011f\u0131 b\u00f6lge \u2018K\u00fcrtlerin Topra\u011f\u0131\u2019 olarak nitelendirilmi\u015ftir. \u00c7e\u015fitli aral\u0131klarla resmi kay\u0131tlara ge\u00e7en ve son olarak K\u00fcrdi-stan (Fars\u00e7a yer, yurt anlam\u0131na gelir) ad\u0131n\u0131 ta\u015f\u0131yan b\u00f6lge, K\u00fcrtlerin yo\u011fun olarak ya\u015fad\u0131\u011f\u0131 yer anlam\u0131na gelmektedir. Bu b\u00f6lge Lozan Antla\u015fmas\u0131\u2019nda T\u00fcrkiye, Suriye, Irak ve \u0130ran h\u00fck\u00fcmetlerinin ortak \u00e7abas\u0131 ile par\u00e7alara b\u00f6l\u00fcnm\u00fc\u015f ve K\u00fcrtlerin k\u00fclt\u00fcrel, siyasal ve sosyal haklar\u0131 ellerinden al\u0131nm\u0131\u015ft\u0131r. Bu haklar\u0131 dile getiren her K\u00fcrt ya da T\u00fcrk(\u0130smail Be\u015fik\u00e7i \u00f6rne\u011fin), b\u00f6lgedeki \u00fcniter devletlerin gazab\u0131na u\u011fram\u0131\u015ft\u0131r: Diyarbak\u0131r Cezaevi, Halep\u00e7e Katliam\u0131, El- Enfal Operasyonu\u2026 Ancak b\u00fct\u00fcn bu ya\u015fananlar bir ulus sinemas\u0131n\u0131n do\u011fu\u015funu m\u00fcjdelemi\u015ftir. Y\u0131lmaz G\u00fcney\u2019in \u2018S\u00fcr\u00fc\u2019 ve \u2018Yol\u2019 ile \u00e7er\u00e7evesini \u00e7izdi\u011fi K\u00fcrt Sinemas\u0131, belgesel ve kurmaca esteti\u011fini harmanlam\u0131\u015f ve \u00f6zg\u00fcn sinemas\u0131n\u0131 k\u00fclt\u00fcrel kodlar\u0131n\u0131 da yerle\u015ftirerek ger\u00e7ekle\u015ftirmeye ba\u015flam\u0131\u015ft\u0131r. Bug\u00fcn t\u00fcm d\u00fcnyada filmleri ilgi ile kar\u015f\u0131lanan Bahman Ghobadi, Hiner Saleem ve H\u00fcseyin Karabey gibi y\u00f6netmenler K\u00fcrt Sinemas\u0131\u2019n\u0131n ger\u00e7ek ile imtihan\u0131 ve evrensel kodlar\u0131n\u0131 ustaca filmlerinde kullanmaktad\u0131rlar.<\/p>\n

T\u00fcrkiye Sinemas\u0131 kapsam\u0131nda da K\u00fcrtler motif olarak folklorik \u00f6zellikleri a\u011f\u0131r basacak bir bi\u00e7imde K\u00fcrt olmayan y\u00f6netmenler arac\u0131l\u0131\u011f\u0131 ile beyazperdeye ba\u015far\u0131l\u0131 bir bi\u00e7imde yans\u0131t\u0131lm\u0131\u015ft\u0131r: Mem \u00fc Zin (\u00dcmit El\u00e7i), G\u00fcne\u015fe Yolculuk (Ye\u015fim Ustao\u011flu), B\u00fcy\u00fck Adam K\u00fc\u00e7\u00fck A\u015fk (Handan \u0130pek\u00e7i)\u2026 \u015e\u00fcphesiz ki bu filmlerin ortak \u00f6zelli\u011fi, K\u00fcrtleri, \u00fclkenin do\u011fusunda ya\u015fayan T\u00fcrkler olarak da de\u011fil de K\u00fcrt olarak resmetmeleridir.<\/p>\n

T\u00fcrkiye Sinemas\u0131\u2019nda K\u00fcrt hik\u00e2yelerini konu alan filmler \u00e7eken baz\u0131 K\u00fcrt y\u00f6netmenler ise, sadece T\u00fcrkiye K\u00fcrtlerinin ya\u015fad\u0131\u011f\u0131 s\u0131k\u0131nt\u0131lar\u0131 konu edinmi\u015f ve tematik olarak \u2018dil\u2019 ve \u2018k\u00fclt\u00fcr\u2019 sorunlar\u0131n\u0131 ele alm\u0131\u015flard\u0131r. \u015e\u00fcphesiz ki bu filmlerde K\u00fcrt Sinemas\u0131\u2019n\u0131n i\u00e7ine girer fakat K\u00fcrt Sinemas\u0131\u2019n\u0131n evrensel kodlar\u0131n\u0131 ta\u015f\u0131maz.<\/p>\n

K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131n\u0131, K\u00fcrt halk\u0131n\u0131n ge\u00e7mi\u015fi ve bug\u00fcn\u00fc meydana getirmi\u015ftir: \u2018Vatans\u0131zl\u0131k\u2019, \u2018s\u0131n\u0131r\u2019 ve \u2018\u00f6l\u00fcm\u2019. K\u00fcrtlerin \u00f6zg\u00fcrl\u00fck m\u00fccadelesi ile sinemas\u0131 yan yana y\u00fcr\u00fcmeyi bilmi\u015f ve birbirlerinden beslenmi\u015ftir. Ancak bug\u00fcn dile getirilen K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131, olas\u0131 bir ortak vatan a\u015famas\u0131nda ya da herhangi bir siyasal de\u011fi\u015fimde kendini de\u011fi\u015ftirebilir, yenileyebilir. \u00d6rne\u011fin, \u2018s\u0131n\u0131r\u2019 temas\u0131 ortadan kalkabilir. De\u011fi\u015fen temalar\u0131n yerine nelerin konulaca\u011f\u0131n\u0131 ise ancak zaman g\u00f6sterebilir.<\/p>\n

Ger\u00e7ek, hakikat ve yan\u0131lsama<\/h2>\n

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Ger\u00e7eklik, ilk\u00e7a\u011flardan itibaren filozoflar\u0131n d\u00fc\u015f\u00fcn ama\u00e7lar\u0131ndan biri olmu\u015ftur. Antik \u00e7a\u011f\u0131n ilk d\u00fc\u015f\u00fcn\u00fcrlerinden Protagoras (M.\u00d6. 485-410) ger\u00e7e\u011fin toplumlara g\u00f6re de\u011fil tek tek bireylere g\u00f6re de\u011fi\u015fti\u011fini iddia eder. Ona g\u00f6re, t\u00fcm bilgilerimiz duyumdan gelir ve duyum bireye g\u00f6re de\u011fi\u015fir. Bu durumu: \u2018\u2019 Her bir \u015fey bana nas\u0131l g\u00f6r\u00fcn\u00fcrse benim i\u00e7in b\u00f6yledir, sana nas\u0131l g\u00f6r\u00fcn\u00fcrse yine senin i\u00e7in de \u00f6yle\u2026 \u00dc\u015f\u00fcyen insan i\u00e7in r\u00fczg\u00e2r so\u011fuk, \u00fc\u015f\u00fcmeyen insan i\u00e7in so\u011fuk de\u011fildir.\u2019\u2019 diyerek insan\u0131 her \u015feyin \u00f6l\u00e7\u00fcs\u00fc yapar. Platon (M.\u00d6. 429- 347) ger\u00e7ekli\u011fi iki b\u00f6l\u00fcme ay\u0131r\u0131r. \u0130lk b\u00f6l\u00fcm, duyular d\u00fcnyas\u0131d\u0131r. Bu d\u00fcnya hakk\u0131ndaki yakla\u015f\u0131k ve m\u00fckemmel olmayan bilgilerimizi, be\u015f duyumuzu kullanarak edinebiliriz. Duyular d\u00fcnyas\u0131ndaki her \u015fey i\u00e7in \u2018\u2019her \u015feyin de\u011fi\u015fti\u011fi\u2019\u2019 ve hi\u00e7bir \u015feyin sonsuza dek var olmad\u0131\u011f\u0131 ger\u00e7e\u011fi ge\u00e7erlidir. Duyular d\u00fcnyas\u0131ndaki hi\u00e7bir \u015fey var de\u011fildir; burada bir \u015fey ortaya \u00e7\u0131kar ve sonra ortadan kaybolur. \u0130kinci b\u00f6l\u00fcm idealar d\u00fcnyas\u0131d\u0131r. Akl\u0131m\u0131z\u0131 kullanarak bu d\u00fcnya hakk\u0131nda kesin bilgilere ula\u015fabiliriz. \u0130dealar d\u00fcnyas\u0131, duyularla alg\u0131lanamaz. Buna kar\u015f\u0131l\u0131k idealar mutlak ve de\u011fi\u015fmezdir.<\/p>\n

Platon\u2019a g\u00f6re anla\u015f\u0131labilir d\u00fcnyay\u0131 topluca kavramay\u0131 sa\u011flayan y\u00fcce bilgi, diyalektiktir. \u0130dealar, birbirinden ayr\u0131 ger\u00e7eklikler de\u011fil, ayn\u0131 ile ba\u015fkan\u0131n, bir ile \u00e7okun, son ile sonsuzun kar\u0131\u015fmas\u0131ndan olu\u015fan kar\u0131\u015f\u0131mlard\u0131r. Dolay\u0131s\u0131yla, idea ve anla\u015f\u0131labilir ger\u00e7ek de birer kar\u0131\u015f\u0131md\u0131r.<\/p>\n

Aristo (M.\u00d6. 384- 322) \u201cGer\u00e7ekte var olan nedir?\u201d sorusuna \u201c\u015eu g\u00f6rm\u00fc\u015f oldu\u011fumuz tek tek nesnelerdir; \u015fu insan, \u015fu masa, \u015fu a\u011fa\u00e7 gibi fertlerdir. Yoksa Platon\u2019un dedi\u011fi gibi g\u00f6remedi\u011fimiz idealar de\u011fildir\u201d cevab\u0131n\u0131 verir.<\/p>\n

Platon i\u00e7in ger\u00e7eklik akl\u0131m\u0131zla d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fcz bir \u015fey iken, Aristo i\u00e7in ger\u00e7eklik duyular\u0131m\u0131zla alg\u0131lad\u0131\u011f\u0131m\u0131z bir \u015feydir.<\/p>\n

Hegel ise, bilincin d\u00fcnya \u00f6l\u00e7e\u011finde kendi kendini s\u0131nad\u0131\u011f\u0131n\u0131 ve yal\u0131n bir \u00f6znel kesinlik ile kendi kendinin nesnel bilgisine ula\u015ft\u0131\u011f\u0131n\u0131 iddia eder.<\/p>\n

Hakikat ise, nesnel ger\u00e7e\u011fin d\u00fc\u015f\u00fcncedeki yans\u0131s\u0131d\u0131r ve daha kapsay\u0131c\u0131d\u0131r. Hakikat ger\u00e7e\u011fe g\u00f6re, \u00f6zneldir. \u00d6rne\u011fin, aya\u011f\u0131m\u0131za giydi\u011fimiz ayakkab\u0131 ger\u00e7ek, ayakkab\u0131n\u0131n zihnimizdeki yans\u0131s\u0131 hakikattir. Bu sebeple de \u00f6zneldir. Ancak bu \u00f6znellik, ger\u00e7e\u011fin kendisinden ba\u011f\u0131ms\u0131z de\u011fildir ama t\u0131pa t\u0131p ayn\u0131s\u0131 da de\u011fildir. Yakla\u015f\u0131kt\u0131r, bu sebeple de g\u00f6relidir.<\/p>\n

Ger\u00e7e\u011fin yan\u0131lsamas\u0131 ise, ger\u00e7e\u011fin sahne \u00fczerindeki de\u011fi\u015fme ve yan\u0131lsama halidir.<\/p>\n

Doku- Drama Nedir?<\/h2>\n

<\/p>\n

1895 y\u0131l\u0131nda Paris\u2019te Lumiere Karde\u015fler taraf\u0131ndan g\u00f6sterimi yap\u0131lan ilk film olan \u2018Trenin Gara Giri\u015fi\u2019 bir belgesel filmdir. Bu filmden sonra yakla\u015f\u0131k 10-15 y\u0131l kadar\u0131 ile ortaya \u00e7\u0131kan filmlerin hemen hemen y\u00fczde 80\u2019i belgesel film \u00f6zelli\u011fi ta\u015f\u0131m\u0131\u015ft\u0131r. \u00c7\u00fcnk\u00fc ger\u00e7e\u011fin yan\u0131lsamas\u0131n\u0131, ger\u00e7e\u011fe sad\u0131k kalarak, belgesel t\u00fcr\u00fc ile ekrana yans\u0131tm\u0131\u015flard\u0131r. O d\u00f6nemde yap\u0131lan belgesel ve kurmaca filmlerin \u00e7o\u011fu \u00e7ekim yap\u0131lan mek\u00e2nlar\u0131n boyutlar\u0131n\u0131 seyirciye sunmu\u015f ve o mek\u00e2n\u0131n i\u00e7erisinde var olan ki\u015fi ya da karakterleri ona g\u00f6re resmetmi\u015flerdir.<\/p>\n

Profesyonel anlamda yap\u0131lan ilk belgesel film ise Robert Flaherty\u2019nin 1920\u2019de yapt\u0131\u011f\u0131 \u2018Kuzeyli Nanok\u2019 isimli filmdir. Bu filmi Vertov\u2019un \u2018sinema-g\u00f6z\u2019 denemeleri takip etmi\u015ftir. Vertov \u2018Drama burjuvazinin afyonudur.\u2019 diyerek insan g\u00f6z\u00fcn\u00fcn girdi\u011fi her yere kameray\u0131 sokarak ger\u00e7e\u011fi oldu\u011fu gibi kaydetmeye \u00e7al\u0131\u015fm\u0131\u015ft\u0131r.<\/p>\n

1940\u2019lara gelindi\u011finde ise \u0130talyan Yeni Ger\u00e7ek\u00e7ilerinin mek\u00e2nlar\u0131 oldu\u011fu gibi resmetme ve ger\u00e7e\u011fi drama yolu ile \u00f6yk\u00fcle\u015ftirme \u00e7al\u0131\u015fmalar\u0131 g\u00f6z\u00fcm\u00fcze \u00e7arpar. \u0130kinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda ve sonras\u0131nda ger\u00e7e\u011fin ard\u0131na d\u00fc\u015fen De Sica, Rosellini gibi \u0130talyan y\u00f6netmenler filmlerini dekorlarda de\u011fil, ger\u00e7ek mek\u00e2nlarda \u00e7ekmi\u015fler ve geni\u015f planlara bolca yer vermi\u015flerdir.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc D\u00fcnya Sinemas\u0131, y\u00f6netmenleri de kendi \u00fclke ger\u00e7e\u011fini gerek kendi seyircilerine, gerek d\u00fcnyaya yaymak amac\u0131yla filmler \u00e7ekmi\u015fler ve kafalar\u0131ndaki meseleyi yaymak amac\u0131 ile ger\u00e7e\u011fe olabildi\u011fince sad\u0131k kalm\u0131\u015flard\u0131r. Fernando Solanas 1960\u2019larda Arjantin\u2019i \u2018K\u0131zg\u0131n F\u0131r\u0131nlar\u0131n Saati\u2019 ile resmetmi\u015f, Osman Sembene \u00fclke meselelerini t\u00fcm d\u00fcnyaya duyurmu\u015f, Y\u0131lmaz G\u00fcney, yeni-ger\u00e7ek\u00e7ili\u011fi T\u00fcrkiye Sinemas\u0131\u2019na uyarlam\u0131\u015f ve \u00f6zg\u00fcn sinemac\u0131 kimli\u011fini yerel motifler \u00fczerine kurarak yaratm\u0131\u015ft\u0131r. \u00dc\u00e7\u00fcnc\u00fc D\u00fcnya Sinemas\u0131 y\u00f6netmenleri, ya\u015fad\u0131klar\u0131 co\u011frafyalar\u0131n ac\u0131lar\u0131n\u0131 ve umutlar\u0131n\u0131, ger\u00e7ekten ayr\u0131lmayarak resmetmi\u015ftir. Bunu, bazen belgesel bazen kurmaca film yolu ile yapm\u0131\u015flard\u0131r. Bu filmlerde, belgesellerin ve kurmacalar\u0131n ayr\u0131lmaz olan \u00f6zelli\u011fi mek\u00e2nlar\u0131n boyutlar\u0131n\u0131 g\u00f6z \u00f6n\u00fcnde tutmalar\u0131 ve ki\u015filerini, karakterlerini bu mek\u00e2nlar i\u00e7erisinde resmetmeleridir.<\/p>\n

K\u00fclt\u00fcrel ve siyasi kodlar\u0131<\/h2>\n

K\u00fcrtler, ilk olarak Ka\u015fgarl\u0131 Mahmut\u2019un Divan-i Lugatit T\u00fcrk adl\u0131 eserinde (1074), kendisinin \u00e7izdi\u011fi haritada, Ard\u2019ul Ekrad\u2019ta yani \u2018K\u00fcrtlerin Topra\u011f\u0131\u2019nda ya\u015fayan halk olarak resmedilmi\u015ftir. O tarihten sonra ilk kez 12.y\u00fczy\u0131lda Sel\u00e7uklu sultan\u0131 Sencer taraf\u0131ndan, K\u00fcrtlerin yo\u011fun olarak ya\u015fad\u0131\u011f\u0131 yer (Urmiye, Siverek, Diyarbak\u0131r, Van, Musul) K\u00fcrdistan olarak dile getirilmi\u015ftir. 16. y\u00fczy\u0131lda ise Kanuni Sultan S\u00fcleyman\u2019\u0131n mektuplar\u0131nda K\u00fcrdistan ad\u0131na rastlanmaktad\u0131r. 1893\u2019te ise Abd\u00fclhamit\u2019in \u00e7izdirdi\u011fi haritada da, K\u00fcrdistan ismine rastlan\u0131r.<\/p>\n

Osmanl\u0131 \u0130mparatorlu\u011fu\u2019nun 1. D\u00fcnya Sava\u015f\u0131\u2019nda yenilmesi \u00fczerine Wilson Prensipleri yay\u0131nlanm\u0131\u015f ve az\u0131nl\u0131klar\u0131n kendi \u00fclkelerini kurma haklar\u0131n\u0131n tan\u0131nmas\u0131 \u00fczerine maddeler ortaya \u00e7\u0131km\u0131\u015ft\u0131r. \u00d6zellikle Sevr Antla\u015fmas\u0131 ile K\u00fcrtlerin kendi kaderlerini tayin etme hakk\u0131 vard\u0131r. Ancak Kurtulu\u015f Sava\u015f\u0131 ile yenilgiye u\u011frayan \u0130tilaf Devletleri, Lozan\u2019a yenik gitmi\u015flerdir. Suriye ve Irak ile s\u0131n\u0131rlar \u00e7izilmi\u015f ve \u0130ran s\u0131n\u0131r\u0131 netle\u015ftirilmi\u015ftir. K\u00fcrdistan\u2019da ya\u015fayan K\u00fcrtler, bu d\u00f6rt \u00fclke taraf\u0131ndan payla\u015f\u0131lm\u0131\u015ft\u0131r. Atat\u00fcrk, zamanla K\u00fcrtlere vadetti\u011fi \u00f6zerklik s\u00f6z\u00fcnden vazge\u00e7mi\u015f ve \u2018T\u00fcrkiye\u2019de do\u011fan herkes T\u00fcrk\u2019t\u00fcr.\u2019 maddesi anayasaya eklenmi\u015ftir. Dolay\u0131s\u0131yla d\u00f6rt par\u00e7aya ayr\u0131lan bir b\u00f6lge olu\u015fmu\u015f, kimlik ve dil sorunu K\u00fcrtlerin oldu\u011fu bu d\u00f6rt b\u00f6lgede bir sava\u015f meselesi haline gelmi\u015ftir.<\/p>\n

K\u00fcrt Sinemas\u0131, yukar\u0131da say\u0131lan b\u00fct\u00fcn bu nedenlerden \u00f6t\u00fcr\u00fc \u2018Vatans\u0131zl\u0131k\u2019, \u2018S\u0131n\u0131r\u2019 ve \u2018\u00d6l\u00fcm\u2019 temalar\u0131 yolu ile ortaya \u00e7\u0131km\u0131\u015ft\u0131r. \u2018Vatans\u0131zl\u0131k\u2019 bir devlete olan \u00f6zlemi, \u2018S\u0131n\u0131r\u2019 par\u00e7alara ayr\u0131lm\u0131\u015f ancak hala ekonomik ve k\u00fclt\u00fcrel anlamda b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc koruyan b\u00f6lgenin i\u00e7inden ge\u00e7en dikenli telleri, \u2018\u00d6l\u00fcm\u2019 ise siyasi, ekonomik ve k\u00fclt\u00fcrel konularda hak talep edildi\u011fi anda \u00fcniter devletlerin gazab\u0131na u\u011frayan K\u00fcrt halk\u0131n\u0131n kaderini temsil etmi\u015ftir.<\/p>\n

\u201cErmenistan\u2019da Ermeni y\u00f6netmen Amo Bek Nazaryan taraf\u0131ndan \u00e7ekilen ve bir K\u00fcrt kad\u0131n\u0131n\u0131 ele alan Zare(1926) adl\u0131 film, tarihte K\u00fcrtleri konu edinen ilk film olarak kabul edilir.\u201d (Arslan, 2009: 5)<\/p>\n

\u2018Film, Ermenistan Sinemas\u0131n\u0131n kurucusu Hamo Beknazaryan taraf\u0131ndan filme \u00e7ekilmi\u015ftir.\u2019<\/p>\n

\u2018Zare adl\u0131 film, Elegez da\u011f\u0131 eteklerindeki K\u00fcrt k\u00f6ylerinde \u00e7ekilmi\u015ftir. Film, Zare isimli bir K\u00fcrt gen\u00e7 hayat\u0131 ve sevdas\u0131n\u0131 anlat\u0131r. \u201c\u0130ki sevdal\u0131 y\u00fcrek, suba\u015f\u0131nda kayna\u015f\u0131rlar. Temur bey aralar\u0131na fesatl\u0131k sokmak ister. \u00c7oban Seydo\u2019ya dadan\u0131r. Zare\u2019den vazge\u00e7mesi i\u00e7in \u00e7oban Seydo\u2019ya bask\u0131 yapar. Seydo k\u0131zar, Temur Bey tabancas\u0131n\u0131 \u00e7eker. Zare korkusuzca gelir, ortalar\u0131nda durur. Temur Beyin akrabalar\u0131 Zare\u2019yi ka\u00e7\u0131r\u0131r ve d\u00fc\u011f\u00fcn yaparlar. Temur bey misafirlerin \u00f6n\u00fcnde Zare\u2019yi rezil r\u00fcsva eder ve ho\u015f olmayan s\u00f6zler sarf eder. Zare art\u0131k namussuzdur. K\u00fcrtlerin eski adetlerine g\u00f6re Zare\u2019nin y\u00fcz\u00fcne is s\u00fcrerler. Daha sonra e\u015fe\u011fin s\u0131rt\u0131na bindirip k\u00f6y\u00fcn i\u00e7inde gezdirirler. K\u00f6yl\u00fcler, \u2018namussuz\u2019 gelinin y\u00fcz\u00fcne t\u00fck\u00fcr\u00fcr, onu lanetler, beddua ederler. Seydo\u2019nun arkada\u015flar\u0131 biraraya gelir, onu ka\u00e7\u0131r\u0131rlar. Ancak k\u00fc\u00e7\u00fck karde\u015fi X\u0131d\u0131r, Temur beyi \u00f6ld\u00fcr\u00fcr, Zare\u2019yi elinden kurtar\u0131r. (Arslan, 2009: 35)<\/p>\n

Zare\u2019den sonra K\u00fcrt temsillerine rastlanan di\u011fer filmler; Ermenistan\u2019da \u00e7ekilen 1933 yap\u0131m\u0131 \u2018K\u00fcrt Ezidiler\u2019 isimli kurmaca film, 1948 y\u0131l\u0131nda H. Ko\u00e7eryan ve Heciye Cindi adl\u0131 yazarlar taraf\u0131ndan kaleme al\u0131nan ve Ermenistan\u2019\u0131n Mirek isimli bir k\u00f6y\u00fcnde \u00e7ekimleri yap\u0131lan \u2018Sovyet Ermenistan\u0131 K\u00fcrtler\u2019i isimli belgeseldir. \u00a01953 y\u0131l\u0131nda \u0130talyan y\u00f6netmen Guido Brigno taraf\u0131ndan y\u00f6netilen \u2018Beyaz \u015eeytan\u0131n O\u011flu \u0130van\u2019 filminde K\u00fcrtler, 1800\u2019l\u00fc y\u0131llarda Erzurum b\u00f6lgesinde Ermenilere sald\u0131ranlar olarak resmedilmi\u015ftir. 1959 y\u0131l\u0131nda ise Ermeni y\u00f6netmen C.Jamharyan y\u00f6netiminde \u2018Ermenistan K\u00fcrtleri\u2019 isimli belgesel \u00e7ekilmi\u015f, Ermenistan\u2019da ya\u015fayan K\u00fcrtlerin son k\u0131rk y\u0131lda ya\u015fad\u0131\u011f\u0131 ekonomik, toplumsal ve k\u00fclt\u00fcrel de\u011fi\u015fimler konu al\u0131nm\u0131\u015ft\u0131r. 1967 y\u0131l\u0131nda da \u2018Vah\u015fi K\u00fcrdistan\u2019 ve \u2018K\u00fcrtlerin Sald\u0131r\u0131s\u0131\u2019 adl\u0131 iki film Franz Josef Gottlieb isimli Alman y\u00f6netmen taraf\u0131ndan filme \u00e7ekilmi\u015ftir. Bu filmler Alman gezginci Karl May\u2019in \u2018Vah\u015fi K\u00fcrdistan\u2019a Yolculuk\u2019 isimli kitab\u0131ndan uyarlanm\u0131\u015ft\u0131r. K\u00fcrt temsillerine rastlanan di\u011fer filmler ise Leyle\u011fin Geciken Ad\u0131m\u0131- 1991 (Theo Angelopoulos), R\u00fczg\u00e2r Bizi S\u00fcr\u00fckleyecek- 1999 (Abbas Kiarostami), Kara Tahta- 2000 (Samira Malkmalbaf), Babil\u2019in O\u011flu- 2009 (Mohamed Al Daradji)\u2019dur.<\/p>\n

T\u00fcrkiye Sinemas\u0131\u2019nda ise ilk olarak Y\u0131lmaz G\u00fcney\u2019in 1968 y\u0131l\u0131nda y\u00f6netti\u011fi ve oynad\u0131\u011f\u0131 \u2018Seyyit Han\u2019 filminde K\u00fcrt ismine rastlan\u0131r: Keje. G\u00fcn\u00fcm\u00fczde bile K\u00fcrtler baz\u0131 sinema filmlerinde ve dizilerde do\u011fu T\u00fcrk\u2019\u00fc olarak ge\u00e7erken, o d\u00f6nemde karakterin isminin Keje olarak nitelendirilmesi Y\u0131lmaz G\u00fcney\u2019in sonraki yap\u0131mlar\u0131n\u0131n da habercisi olacakt\u0131r. 1974\u2019te y\u0131l\u0131nda senaryosunu yazd\u0131\u011f\u0131 \u2018Endi\u015fe\u2019 isimli filminde kan davas\u0131yla ba\u015f\u0131 derde giren mevsimlik tar\u0131m i\u015f\u00e7isinin kar\u0131s\u0131n\u0131n ad\u0131 \u2018Fate\u2019dir; Cevher ve ailesi o d\u00f6nemde yap\u0131lan di\u011fer filmlere nazaran do\u011fudan gelen K\u00fcrt olarak nitelendirilmi\u015ftir. Kamyon arkalar\u0131nda kilometrelerce yolu \u00e7al\u0131\u015fmak i\u00e7in gelen K\u00fcrt k\u00f6yl\u00fclerinin cesur bir foto\u011fraf\u0131n\u0131 olu\u015fturmu\u015ftur \u2018Endi\u015fe\u2019 filmi. \u2018S\u00fcr\u00fc\u2019 ise karakterlerinin ismi bir yana (\u015eiwan, Hamo, Berivan), d\u00f6nemin yar\u0131-feodal K\u00fcrdistan toplumuna derin bak\u0131\u015f\u0131 ve doku- drama olan bi\u00e7imsel yan\u0131 ile K\u00fcrt Sinemas\u0131\u2019n\u0131n \u00e7er\u00e7evesini \u00e7izmi\u015ftir. \u2018S\u00fcr\u00fc, asl\u0131nda, K\u00fcrt halk\u0131n\u0131n tarihidir, ama bu filmi K\u00fcrt\u00e7e \u00e7ekmem daha m\u00fcmk\u00fcn de\u011fildi.\u2019\u2019 (Arslan, 2009: 132) 1982\u2019de yap\u0131lan \u2018Yol\u2019 filmi ise, K\u00fcrt Sinemas\u0131\u2019n\u0131n bug\u00fcnk\u00fc kodlar\u0131n\u0131n oturtuldu\u011fu ilk filmdir. \u2018Vatans\u0131zl\u0131k\u2019 \u00d6mer karakterinin gitti\u011fi yeri \u2018K\u00fcrdistan\u2019 tabelas\u0131 ile g\u00f6stermesi ve \u00d6mer\u2019in topra\u011f\u0131 g\u00f6r\u00fcr g\u00f6rmez e\u011filerek \u00f6pmesinde kar\u015f\u0131m\u0131za \u00e7\u0131kar. \u2018S\u0131n\u0131r\u2019 \u00d6mer\u2019in her daim akl\u0131nda \u00f6zg\u00fcrl\u00fc\u011fe giden at olmas\u0131, mahk\u00fbm de\u011filken at \u00fczerinde s\u0131n\u0131r ticareti yapmas\u0131, finalde hapse d\u00f6nmek yerine da\u011flara \u00e7\u0131kmas\u0131nda belirir. \u2018\u00d6l\u00fcm\u2019 ise \u00d6mer\u2019in a\u011fabeyinin ka\u00e7ak\u00e7\u0131l\u0131k s\u0131ras\u0131nda(s\u0131n\u0131rlar y\u00fcz\u00fcnden) \u00f6lmesi temalar\u0131nda birle\u015fmi\u015f bir filmdir. K\u00fcrt Sinemas\u0131 \u00fcslubunu ve esteti\u011fini ta\u015f\u0131yacak b\u00fct\u00fcn filmler, bu kodlar\u0131 takip etmi\u015ftir. \u2018Da\u011f\u2019 fig\u00fcr\u00fc K\u00fcrt Sinemas\u0131\u2019n\u0131n olmazsa olmaz\u0131n\u0131 olu\u015fturur. Zira bug\u00fcn benzer temalar\u0131 kullanarak K\u00fcrt Sinemas\u0131 yapan Bahman Ghobadi, Hiner Saleem, H\u00fcseyin Karabey, Karzan Kader isimli y\u00f6netmenlerin filminde da\u011f fig\u00fcr\u00fc bolca yer al\u0131r.<\/p>\n

Y\u0131lmaz G\u00fcney ise, K\u00fcrt Sinemas\u0131\u2019n\u0131n \u00e7er\u00e7evesini \u00e7izerken \u2018Ben kendi filmlerimi T\u00fcrk filmi, kendi sinemam\u0131 da T\u00fcrk Sinemas\u0131 olarak g\u00f6rm\u00fcyorum. Ben, T\u00fcrkiye Sinemas\u0131\u2019n\u0131 kurman\u0131n, olu\u015fturman\u0131n ilk ad\u0131mlar\u0131n\u0131 at\u0131yorum. T\u00fcrkiye \u00e7okuluslu bir \u00fclkedir. Bu nedenle, sosyal \u00e7eli\u015fmeler, ulusal farkl\u0131l\u0131klar nedeniyle, T\u00fcrk filmi de\u011fil, T\u00fcrkiye filmi yapmak, T\u00fcrk Sinemas\u0131 de\u011fil, T\u00fcrkiye Sinemas\u0131 kurmak zorunday\u0131z\u2019 (G\u00fcney, 2004: 35) demi\u015ftir. Buradan yola \u00e7\u0131karak \u015funu diyebiliriz: Y\u0131lmaz G\u00fcney\u2019in T\u00fcrkiye K\u00fcrtlerinin sorunlar\u0131n\u0131 ele al\u0131rken, \u0130ran, Irak ve Suriye K\u00fcrtlerinin de benzer sorunlar\u0131 oldu\u011funu (vatans\u0131zl\u0131k, s\u0131n\u0131r ve \u00f6l\u00fcm) biliyor olmas\u0131, \u2018S\u00fcr\u00fc\u2019 ve \u2018Yol\u2019 filmlerindeki K\u00fcrt hik\u00e2yelerini g\u00fc\u00e7lendirmi\u015ftir. \u201cB\u00fct\u00fcn \u00fclkelerin K\u00fcrtleri birle\u015fin slogan\u0131, milli kurtulu\u015f a\u00e7\u0131s\u0131ndan evet, tabi, \u00f6zellikle Suriye, T\u00fcrkiye, \u0130ran\u2019daki ve Irak\u2019taki K\u00fcrtlerin ulusal kurtulu\u015f m\u00fccadelesinde \u015feyleri gereklidir, dayan\u0131\u015fmalar\u0131 gereklidir. Bu yap\u0131lmal\u0131d\u0131r da. Ancak ben K\u00fcrt orijini bir insan olarak K\u00fcrt, T\u00fcrk ve di\u011fer halklar\u0131n, \u00f6zellikle T\u00fcrkiye\u2019de ilk ba\u015fta \u00f6n\u00fcm\u00fczdeki g\u00f6rev olarak ortak m\u00fccadelelerinden yanay\u0131m.\u201d (G\u00fcney, 2009: 00.00: 04.00)<\/p>\n

Y\u0131lmaz G\u00fcney\u2019i Adana\u2019dan beri tan\u0131yan yak\u0131n arkada\u015f\u0131 \u015fair ve oyuncu Nihat Ziyalan, O\u2019nun a\u011fz\u0131ndan ilk kez K\u00fcrt kelimesini 1968\u2019de duydu\u011funu aktar\u0131r. 1968 y\u0131l\u0131 Y\u0131lmaz G\u00fcney\u2019in \u2018Seyyit Han\u2019\u0131 yapt\u0131\u011f\u0131 ve oynatt\u0131\u011f\u0131 karaktere Keje ismini verdi\u011fi y\u0131ld\u0131r. Sonras\u0131nda ise K\u00fcrt k\u00fclt\u00fcr\u00fc, tarihi ve ekonomik sorunlar\u0131n\u0131 derinlemesine g\u00f6zlemi\u015f ve K\u00fcrt ulusal sinemas\u0131n\u0131n kodlar\u0131n\u0131 ve temalar\u0131n\u0131 \u00e7izmi\u015ftir. Bunu yaparken, \u0130talyan Yeni Ger\u00e7ek\u00e7ilerinin, Sovyet Sosyalist Ger\u00e7ek\u00e7ili\u011finin yapt\u0131\u011f\u0131 gibi, mek\u00e2n ve birey ili\u015fkilerini incelemi\u015f, var olan nesnel ger\u00e7ekli\u011fin i\u00e7erisine kurmaca Hamo, \u015eiwan, Berivan, \u00d6mer, Seyit Ali, Mehmet isimli hayali karakterlerini yerle\u015ftirmi\u015ftir.<\/p>\n

G\u00fcn\u00fcm\u00fcz temsilcileri ve ger\u00e7eklik muhasebesi<\/h2>\n

K\u00fcrt Sinemas\u0131, Y\u0131lmaz G\u00fcney\u2019den sonra uzun s\u00fcre eser \u00e7\u0131karamam\u0131\u015ft\u0131r. \u00dcmit El\u00e7i\u2019nin 1991 y\u0131l\u0131nda yapt\u0131\u011f\u0131 Mem \u00fc Zin ve \u015eahin G\u00f6k\u2019\u00fcn 1991 y\u0131l\u0131nda yapt\u0131\u011f\u0131 Siyabend \u00fc Xece filmleri K\u00fcrt k\u00fclt\u00fcr\u00fcne dair \u00f6nemli \u00f6\u011feler ta\u015f\u0131sa da K\u00fcrt Sinemas\u0131 diyemeyiz. 1992 y\u0131l\u0131nda s\u00fcrg\u00fcnde olan sanat\u00e7\u0131 Nizamettin Ar\u0131\u00e7\u2019\u0131n \u2018Klamek J\u0131 Bo Beko- Beko \u0130\u00e7in Bir T\u00fcrk\u00fc\u2019 filmi, tamam\u0131 K\u00fcrt\u00e7e \u00e7ekilen ilk filmdir ve yukar\u0131da sayd\u0131\u011f\u0131m\u0131z \u2018vatans\u0131zl\u0131k, s\u0131n\u0131r ve \u00f6l\u00fcm\u2019 temalar\u0131n\u0131n tamam\u0131n\u0131 filme yerle\u015ftirme ba\u015far\u0131s\u0131 g\u00f6stermi\u015ftir. 1996 y\u0131l\u0131nda ise Reis \u00c7elik\u2019in ilk filmi \u2018I\u015f\u0131klar S\u00f6nmesin\u2019 g\u00f6ze \u00e7arpar. Yer yer K\u00fcrt\u00e7e diyaloglar\u0131n olmas\u0131 ve gerillan\u0131n o d\u00f6nemlerde beyazperdede g\u00f6r\u00fcnmesi a\u00e7\u0131s\u0131ndan cesur bir film olan \u2018I\u015f\u0131klar S\u00f6nmesin\u2019, karakterlerin karikat\u00fcrize olmas\u0131 ve K\u00fcrt sorununun y\u00fczeysel olarak ele al\u0131nmas\u0131 bak\u0131m\u0131ndan s\u0131n\u0131fta kalm\u0131\u015ft\u0131r. 2001 y\u0131l\u0131nda ise Kaz\u0131m \u00d6z\u2019\u00fcn ilk filmi \u2018Foto\u011fraf\u2019 dikkate de\u011ferdir. Ancak \u2018Foto\u011fraf\u2019 da daha \u00e7ok T\u00fcrkiye Sinemas\u0131 kapsam\u0131 girer. \u00c7\u00fcnk\u00fc K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131ndan ziyade, T\u00fcrkiye Sinemas\u0131\u2019n\u0131n kimlik ve sava\u015f gibi temalar\u0131n\u0131 ele alm\u0131\u015ft\u0131r.<\/p>\n

2007 y\u0131l\u0131nda H\u00fcseyin Karabey\u2019in y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131 \u2018Gitmek\/Benim Marlon ve Brandom\u2019 filmi ise K\u00fcrt Sinemas\u0131\u2019n\u0131n b\u00fct\u00fcn kodlar\u0131na ve temalar\u0131na sahiptir. Hama Ali\u2019nin \u00f6zg\u00fcr vatan i\u00e7in \u00e7arp\u0131\u015fmaya girmeyi beklemesi (vatans\u0131zl\u0131k), Ay\u00e7a\u2019n\u0131n Hama Ali\u2019ye ula\u015fmas\u0131 i\u00e7in T\u00fcrkiye- Irak ve \u0130ran- Irak s\u0131n\u0131rlar\u0131na gidip ge\u00e7ememesi ve Hama Ali\u2019nin Irak- \u0130ran s\u0131n\u0131r\u0131ndan ge\u00e7erken \u00f6ld\u00fcr\u00fclmesi (s\u0131n\u0131r), Hama Ali\u2019nin Ay\u00e7a\u2019n\u0131n yan\u0131na gitmek i\u00e7in s\u0131n\u0131rdan ge\u00e7erken \u00f6ld\u00fcr\u00fclmesi (\u00f6l\u00fcm)\u2026 Ay\u00e7a\u2019n\u0131n T\u00fcrkiye K\u00fcrdistan\u2019\u0131na girdi\u011fi andan itibaren da\u011f motifleri ile sar\u0131l\u0131 bir co\u011frafyada kendini bulmas\u0131 ise, filmin ba\u015fka kodlar\u0131ndan bir tanesidir. Da\u011f, K\u00fcrdistan\u2019\u0131 temsil eder. \u2018Gitmek\u2019 doku- draman\u0131n b\u00fct\u00fcn \u00f6zelliklerini ta\u015f\u0131r. Film, son ana kadar belgesel gibidir ki H\u00fcseyin Karabey de ger\u00e7ekten \u00f6lmeyen Hama Ali\u2019yi \u00f6yk\u00fc i\u00e7in \u00f6ld\u00fcrd\u00fc\u011f\u00fcn\u00fc s\u00f6yler. H\u00fcseyin Karabey, \u2018K\u00fcrt Sinemas\u0131, \u00f6zg\u00fcrl\u00fck \u00fczerinden tart\u0131\u015f\u0131l\u0131rsa bir mana ifade eder. Bir g\u00fcn K\u00fcrtlere uygulanan bask\u0131 bitti\u011finde ben K\u00fcrt sinemac\u0131 oldu\u011fumu s\u00f6ylemeyece\u011fim. Onun yerine, o d\u00f6nem kim bask\u0131 alt\u0131ndaysa onun ismini y\u00fcksek sesle belirtmeyi tercih edece\u011fim\u2026 Mesela ben filmlerimde, K\u00fcrt\u00e7e konu\u015fan karakterler koyuyorum \u00e7\u00fcnk\u00fc onlar K\u00fcrt\u00e7e konu\u015fuyor yani \u00f6zellikle K\u00fcrt\u00e7e konu\u015fturtmuyorum onlar\u0131. Halk neyi konu\u015fuyorsa onu konu\u015fturuyorum. Dizileri izliyorsunuz, K\u00fcrdistan\u2019da ge\u00e7iyor dizi, K\u00fcrt k\u00f6y\u00fcnde herkes \u00e7at\u0131r \u00e7at\u0131r T\u00fcrk\u00e7e konu\u015fuyor, komik bir aksanla.\u2019\u2019 (Karabey, 2013: 13.00- 19.00) s\u00f6zleri ile K\u00fcrt Sinemas\u0131\u2019n\u0131n ger\u00e7eklik ile imtihan\u0131 hakk\u0131nda kayda de\u011fer s\u00f6zler etmi\u015ftir.<\/p>\n

\u2018Bahoz\u2019 filmi ile Kaz\u0131m \u00d6z, 90\u2019l\u0131 y\u0131llar\u0131n yurtsever \u00f6\u011frencileri \u00fczerine bir film yapm\u0131\u015f, ancak K\u00fcrt Sinemas\u0131\u2019n\u0131n k\u00fclt\u00fcrel ve sinemasal kodlar\u0131 yerine, politik bir \u00f6\u011frenci grubunun T\u00fcrkiye devletinin bask\u0131c\u0131 ve fa\u015fizan tutumuna kar\u015f\u0131 \u00e7\u0131kan gen\u00e7lerin sinemas\u0131n\u0131, T\u00fcrkiye Sinemas\u0131\u2019n\u0131n \u2018\u00f6tekiler\u2019 grubu olarak \u00e7izmi\u015ftir. \u2018Bahoz\u2019 da yer yer ger\u00e7e\u011fe s\u0131rt\u0131n\u0131 dayam\u0131\u015f, o d\u00f6nem \u00f6\u011frencilerinin kurdu\u011fu ili\u015fkileri, gitti\u011fi mek\u00e2nlar\u0131 olabildi\u011fince hakikate yak\u0131n resmetmi\u015ftir.<\/p>\n

\u00d6zg\u00fcr Do\u011fan ve Orhan Eskik\u00f6y\u2019\u00fcn \u2018\u0130ki Dil Bir Bavul\u2019 ve Orhan Eskik\u00f6y ile Zeynel Do\u011fan\u2019\u0131n \u2018Babam\u0131n Sesi\u2019 isimli filmleri de tart\u0131\u015ft\u0131\u011f\u0131 dil, k\u00fclt\u00fcr ve devlet fa\u015fizmi a\u00e7\u0131s\u0131ndan T\u00fcrkiye Sinemas\u0131 kapsam\u0131na girer. Miraz Bezar\u2019\u0131n y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131 \u2018M\u0131n Dit\u2019 ise T\u00fcrkiye\u2019de \u00e7ekilen tamam\u0131 K\u00fcrt\u00e7e ilk film olmas\u0131, T\u00fcrkiye K\u00fcrdistan\u2019\u0131n\u0131n kanl\u0131 tarihini, 90\u2019l\u0131 y\u0131llardaki devlet fa\u015fizmini beyazperdeye yans\u0131tmas\u0131 a\u00e7\u0131s\u0131ndan ba\u015far\u0131l\u0131d\u0131r. Ancak K\u00fcrt Sinemas\u0131\u2019n\u0131n \u2018s\u0131n\u0131r\u2019 olgusuna hi\u00e7 de\u011finmemesi a\u00e7\u0131s\u0131ndan eksiklik g\u00f6stermektedir. Keza Erol Minta\u015f da 2014 yap\u0131m ilk filmi \u2018Annemin \u015eark\u0131s\u0131\u2019 ile Do\u011fubeyaz\u0131t\u2019tan \u0130stanbul\u2019a zorunlu g\u00f6\u00e7 ile gelen K\u00fcrt bir ailenin hik\u00e2yesini, hemen hemen K\u00fcrt\u00e7e olarak \u00e7ekmi\u015f ancak K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131n\u0131 kullanmam\u0131\u015ft\u0131r. Kald\u0131 ki Agos gazetesinden Lora Sar\u0131\u2019ya verdi\u011fi r\u00f6portajda yapt\u0131\u011f\u0131n\u0131n T\u00fcrkiye Sinemas\u0131 oldu\u011funu s\u00f6ylemi\u015ftir. (Sar\u0131, 2014: 6)<\/p>\n

\u0130ran K\u00fcrtlerinden Bahman Ghobadi K\u00fcrt Sinemas\u0131\u2019n\u0131n uluslararas\u0131 arenadaki en b\u00fcy\u00fck temsilci olarak g\u00f6r\u00fcl\u00fcr. Filmlerinde \u2018vatans\u0131zl\u0131k\u2019, \u2018s\u0131n\u0131r\u2019 ve \u2018\u00f6l\u00fcm\u2019 temalar\u0131 s\u0131k\u00e7a yer al\u0131r. \u2018Sarho\u015f Atlar Zaman\u0131\u2019 doku-draman\u0131n kullan\u0131m\u0131 konusunda muazzamd\u0131r. Irak K\u00fcrtlerinden ise Hiner Saleem K\u00fcrt Sinemas\u0131\u2019n\u0131n bug\u00fcnk\u00fc durumu i\u00e7inde bahsedilmesi gereken y\u00f6netmenlerinden biridir. \u2018S\u0131f\u0131r Kilometre\u2019 Cannes Film Festivali\u2019nde K\u00fcrdistan ad\u0131na yar\u0131\u015fan ilk filmdir. Film, K\u00fcrdistan Federal H\u00fck\u00fcmeti taraf\u0131ndan desteklenmi\u015ftir. Saleem\u2019in, Ghobadi\u2019nin ve K\u00fcrt Sinemas\u0131\u2019n\u0131n hakikatten ayr\u0131 tutulmas\u0131 m\u00fcmk\u00fcn de\u011fildir. \u00d6rne\u011fin hi\u00e7 bilimkurgu K\u00fcrt filmi g\u00f6remezsiniz. \u00c7\u00fcnk\u00fc K\u00fcrtler i\u00e7in sinema, \u2018vatans\u0131zl\u0131k\u2019 ve \u2018s\u0131n\u0131r\u2019 y\u00fcz\u00fcnden \u00e7ektikleri ac\u0131lar\u0131 (\u00f6l\u00fcmleri) d\u00fcnyaya duyurma maksad\u0131 ta\u015f\u0131maktad\u0131r. Bu filmler, muhakkak ger\u00e7e\u011fe dayan\u0131r. S\u0131n\u0131r Ticaretleri, Dil ve K\u00fclt\u00fcr, Devlet Fa\u015fizmi, M\u00fclteci Kamplar\u0131 sosyal ger\u00e7eklerdir. Halep\u00e7e Katliam\u0131, El-Enfal Operasyonu, Irak\u2019\u0131n \u0130\u015fgali, T\u00fcrk\u00e7e Konu\u015f \u00c7ok Konu\u015f Kampanyas\u0131, PKK\u2019nin devlet ile sava\u015f\u0131, Irak\u2019taki ve T\u00fcrkiye\u2019deki m\u00fclteci kamplar\u0131 bu sosyal olgular\u0131n pratikteki olaylar\u0131d\u0131r.<\/p>\n

Bahman Ghobadi, K\u00fcrtler ile sinema aras\u0131ndaki ili\u015fkiyi \u015fu s\u00f6zler ile dile getirir: \u201cOnlar\u0131n tarihleri s\u00fcrg\u00fcn ve g\u00f6\u00e7 tarihidir. S\u00fcrekli hareket halinde olan insanlar\u0131n tarihidir. Bu anlamda, hareketin sanat\u0131 olan sinemayla ortak \u00f6zellikleri vard\u0131r.\u201d (Arslan, 2009: 137) (SS\/HK)<\/p>\n

Soner Sert-Bianet<\/p>\n

Kaynak\u00e7a<\/em><\/strong><\/p>\n

Arslan, M\u00fcjde (2009) K\u00fcrt Sinemas\u0131: Yurtsuzluk, S\u0131n\u0131r ve \u00d6l\u00fcm, \u0130stanbul, Agora Kitapl\u0131\u011f\u0131<\/em><\/p>\n

G\u00fcney, Y\u0131lmaz (2004), \u0130nsan, Militan ve Sanat\u00e7\u0131 Y\u0131lmaz G\u00fcney, \u0130stanbul, G\u00fcney Yay\u0131nlar\u0131<\/em><\/p>\n

Karabey, H\u00fcseyin (2013), H\u00fcseyin Karabey ile K\u00fcrt Sinemas\u0131, Dipnot TV, <\/a><\/em><\/p>\n

G\u00fcney, Y\u0131lmaz (2009),<\/strong> Y\u0131lmaz G\u00fcney- K\u00fcrt Sorunu ve T\u00fcrk Solu, Paris<\/a>, <\/em><\/p>\n

Sar\u0131, Lora (2014), Erol Minta\u015f ile Agos Gazetesi i\u00e7in Yap\u0131lan R\u00f6portaj<\/a>, 28.08.2014, \u0130stanbul,<\/em><\/p>\n<\/div>\n

\n

Soner Sert<\/strong>, 9 Eyl\u00fcl \u00dcniversitesi G\u00fczel Sanatlar Fak\u00fcltesi Film Tasar\u0131m\u0131 B\u00f6l\u00fcm\u00fc’nde y\u00fcksek lisans \u00f6\u011frenimi yap\u0131yor. ‘Baba’ isimli i\u015f cinayetlerini konu alan bir k\u0131sa filmi 26. \u0130stanbul Uluslararas\u0131 K\u0131sa Film Festivali’nde Kurmaca Dal\u0131 J\u00fcri \u00d6zel \u00d6d\u00fcl\u00fc kazand\u0131.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131n\u0131, K\u00fcrt halk\u0131n\u0131n ge\u00e7mi\u015fi ve bug\u00fcn\u00fc meydana getirdi: \u2018Vatans\u0131zl\u0131k\u2019, \u2018s\u0131n\u0131r\u2019 ve \u2018\u00f6l\u00fcm\u2019. K\u00fcrtlerin \u00f6zg\u00fcrl\u00fck m\u00fccadelesi ile sinemas\u0131 yan yana y\u00fcr\u00fcmeyi bilmi\u015f ve birbirlerinden beslendi. K\u00fcrt Sinemas\u0131, varl\u0131\u011f\u0131n\u0131 par\u00e7alanm\u0131\u015f bir vatana, vatan\u0131 par\u00e7alayan s\u0131n\u0131rlara ve bu s\u0131n\u0131rlar\u0131 a\u015fmak isteyen insanlar\u0131n temalar\u0131n\u0131 olu\u015fturdu\u011funu bir ulusal sinema hareketidir. Bu ya\u015fanm\u0131\u015fl\u0131k ve k\u00fclt\u00fcr bi\u00e7imi K\u00fcrt Sinemas\u0131\u2019n\u0131n kodlar\u0131n\u0131 …<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1084],"tags":[],"class_list":["post-21699","post","type-post","status-publish","format-standard","","category-arastirma"],"_links":{"self":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/posts\/21699","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=21699"}],"version-history":[{"count":0,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/posts\/21699\/revisions"}],"wp:attachment":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=21699"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=21699"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=21699"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}