Publication: Toplumsal hafıza, belgesel, sansür : Bakur örneği
Abstract
Bu tez temel olarak Kürt sorunu bağlamında belgesel, sansür ve hafızanın kesişimselliği üzerineodaklanmaktadır. İlk olarak, bu çalışma belgesel ve hafıza arasındaki ilişkiyi irdeleyerek, belgesellerinsansürlenmesinin ne tür bir anlam yarattığı üzerine çeşitli önerilerde bulunmaktadır. İkinci olarak, buçalışma Türkiye’nin en uzun soluklu sorunlarından birisi olan Kürt sorununun, Kürt kimliğininsinemadaki yansımalarını takip ederek, Kürt kimliğinin sinemadaki temsilini tartışmaktadır. Bu noktada,Türk sinemasının yanı sıra, 1990'ların sonunda başlayıp, 2009 yılında Adalet ve Kalkınma Partisidöneminde deklare edilen “Açılım” süreci ile ivme kazanan Kürt filmleri içerisindeki Kürt kimliğinintemsiline dair bir çerçeve çizmektedir. Ayrıca, bu çalışma 2000'li yıllarda artan Kürt filmleri içerisindekibelgesel sinemaya olan yoğun ilgiyi hafıza nosyonu ile birlikte ele almaktadır. Bu bakımdan, Kürtbelgesellerine yönelik uygulanan sansür uygulumalarına dikkat çekerek, sansür ve hafıza arasındakiilişkiyi ve dolayısıyla kamusal alanda Kürt sorunun hafızasına değinmektedir. Son olarak, bu tezinkapsamında, yönetmenliğini Çayan Demirel ve Ertuğrul Mavioğlu'nun yaptığı Bakur (Kuzey, 2015)belgeseli vaka çalışması olarak seçilmiştir. Açılım süreci ile üretilmeye başlanan Bakur, Açılımsürecinin sona ermesi ile sansürlendi. Bu noktada, bu çalışma bir taraftan Bakur’un Kürt sorununa birbelgesel olarak nasıl yaklaştığını analiz ederken, diğer taraftan sansürü Türkiye’nin siyasi değişim vedönüşümlerinin bir parçası olarak okumaktadır. Ayrıca, Bakur’un sansürlenmesinden sonra hükümetinsansür politikalarına karşı ortaya çıkan tepkileri hafıza kavramı çerçevesinde yorumlamaktadır.Yöntemsel olarak, bu tez anlatımsal ve metinsel metodolojiden yararlanmaktadır. Son zamanlarda Kürtfilmleri üzerine yapılan çalışmaların birçoğu sıklıkla Kürt filmlerini hafıza kavramı ile tartışmaktadır.Bu bakımdan bu tez, yapılan çalışmalara sansür kavramını ekleyerek, Kürt filmlerini belgesel, hafıza vesansür kesişimselliğinde tartışmakla var olan literatüre katkı sunmayı hedeflemektedir.
This thesis mainly concentrates on the intersectionality between documentary, memory and censorshipin the context of the Kurdish question, which is one of the long-standing issues in Turkey. Initially, byanalyzing the relationship between documentary cinema and memory this research makes varioussuggestions on what kind of meaning the censorship of documentaries creates. Secondly, following thereverberations of the Kurdish question, Kurdish identity in cinema, this research discusses the cinematicrepresentations of the Kurdish identity. At this point, this study draws a framework concerning therepresentation of the Kurdish identity in Turkish cinema and in Kurdish films, started at the end of 90sand gained momentum with the declaration of the Opening process, launched during the AKP (Adaletve Kalkınma Partisi/ Justice and Development Party) era. In addition, this study deals with the tendencytowards documentary films within Kurdish films, together with the notion of memory. Thirdly, bydrawing attention to the censorship practices towards Kurdish documentaries, this research focuses onthe relationship between censorship and memory and thus the memory of the Kurdish question in thepublic sphere. Finally, within the scope of this research the documentary Bakur (North, 2015) directedby Çayan Demirel and Ertuğrul Mavioğlu was chosen as a case study. Bakur started to be produced withthe declaration of the Opening process and was censored after the collapse of the Opening. In thiscontext, this thesis analyzes how Bakur as a documentary approaches the Kurdish question and readsthe censorship policies of the government as a part of political changes and transformations in Turkey.Also, this thesis interprets the reactions to the censorship policies of the government that emerged afterthe censorship of Bakur with the notion of memory. Methodologically, this thesis is composed ofnarrative and contextual analysis. Recent studies on Kurdish documentaries frequently highlightdocumentary’s strong relationship with the notion of memory. In this respect, by adding the notion ofcensorship to the existing literature, this thesis aims to offer a wider reading of the Kurdish questionwithin the framework of censorship, documentary and memory.
This thesis mainly concentrates on the intersectionality between documentary, memory and censorshipin the context of the Kurdish question, which is one of the long-standing issues in Turkey. Initially, byanalyzing the relationship between documentary cinema and memory this research makes varioussuggestions on what kind of meaning the censorship of documentaries creates. Secondly, following thereverberations of the Kurdish question, Kurdish identity in cinema, this research discusses the cinematicrepresentations of the Kurdish identity. At this point, this study draws a framework concerning therepresentation of the Kurdish identity in Turkish cinema and in Kurdish films, started at the end of 90sand gained momentum with the declaration of the Opening process, launched during the AKP (Adaletve Kalkınma Partisi/ Justice and Development Party) era. In addition, this study deals with the tendencytowards documentary films within Kurdish films, together with the notion of memory. Thirdly, bydrawing attention to the censorship practices towards Kurdish documentaries, this research focuses onthe relationship between censorship and memory and thus the memory of the Kurdish question in thepublic sphere. Finally, within the scope of this research the documentary Bakur (North, 2015) directedby Çayan Demirel and Ertuğrul Mavioğlu was chosen as a case study. Bakur started to be produced withthe declaration of the Opening process and was censored after the collapse of the Opening. In thiscontext, this thesis analyzes how Bakur as a documentary approaches the Kurdish question and readsthe censorship policies of the government as a part of political changes and transformations in Turkey.Also, this thesis interprets the reactions to the censorship policies of the government that emerged afterthe censorship of Bakur with the notion of memory. Methodologically, this thesis is composed ofnarrative and contextual analysis. Recent studies on Kurdish documentaries frequently highlightdocumentary’s strong relationship with the notion of memory. In this respect, by adding the notion ofcensorship to the existing literature, this thesis aims to offer a wider reading of the Kurdish questionwithin the framework of censorship, documentary and memory.