Publication: Türk sineması’nda politik belgesel: geçmişten bugüne tarihsel bir inceleme
Abstract
Belgesel sinema, kaynağını gerçeklikten edindiği için kurmaca ya da deneysel film türlerine göre politik olanla daha yakın temas halindedir. Söz konusu bağlantı, belgesel sinemanın daha ilk yıllarından itibaren İngiltere, Almanya, Fransa, Sovyetler Birliği gibi ülkeler tarafından keşfedilmiş ve öykülü sinema henüz emekleme aşamasındayken söz konusu coğrafyalarda belgesel film yönetmenleri birbirinden yetkin çalışmalarla gerçeklikle örülü anlatımlar gerçekleştirmiştir. Bu bağlamda, çalışmanın ilk bölümünde “politik film” kavramı tanımlandıktan sonra belgesel sinema özelinde bir tür olarak “politik belgesel”, tarihsel gelişim süreci içerisinde kapsamlı olarak incelenmiştir. Toplumsal olay ve sorunların anlatımında hiçbir film türünün etkili olamayacağı kadar etkili olabilen belgesel sinema, tarihsel süreç içerisinde pek çok ülke ve sineması için toplumsal sorunların etkili bir biçimde anlatıldığı ve bu oranda da politikleştiği bir alan olmuştur. Belgeselin politik olanla sürekli etkileşim halindeki evriminin Türk siyasal yaşamı bağlamında Türk politik belgesel sineması tarihine yansıyıp yansımadığının incelendiği çalışmanın ikinci bölümünde, Türk siyasi tarihinin toplumsal yaşamda büyük kırılmalara yol açan olaylarından yola çıkılarak bu kırılmaların Türk politik belgesel sineması için ne anlama geldiğinin izi sürülmüştür. Çalışmanın üçüncü ve son bölümünde ise 2000 sonrasında film yapım maliyetlerinin düşmesi ve teknolojinin gelişmesi ile filmlerin alternatif gösterim alanlarına kavuşması bağlamında Türk siyasal yaşamında ortaya çıkan değişikliklerin belgesel sinema üzerindeki etkileri ve belgesel film yönetmenlerinin hangi konular üzerine yoğunlaştıkları anlatılmış, bu dönemde vizyona giren belgesel film örnekleri üzerinden Türkiye’de politik belgeselin Türk toplumsal yaşamını derinden etkileyen olay ya da sorunlara etkili biçim ve buna uygun bir içerik aracılığıyla reaksiyon göstermekte henüz yetersiz olduğu sonucuna ulaşılmıştır.
ince documentary cinema acquires its resource from reality, it is in closer relationship with the political issues when compared to fictitious or empirical types of films. The given connections were discovered during the first year of the documentary cinema by the countries such as the UK, Germany, France, and Soviet Russia and the directors of documentary cinema conducted narrations which were plotted with reality through competent researches throughout the period when narrative cinema is in its infancy. Within this context, the term “political film” was defined primarily and then “the political documentary” was analyzed in detail as a part of documentary cinema within its historical process. The documentary cinema which can be more effective than any other types of film in narrating social events and problems has become a field where social problems are effectively narrated for numerous countries and their cinema industry and became politicized throughout its historical process. In the second chapter of the study where the reflections of the revolution of the documentary which is in a continuous interaction with political one on the history of Turkish political documentary cinema, the meaning of the huge break ups in the social life of the history of Turkish politics were hunted after considering the events which caused the aforementioned break ups. In the third and final chapter of the study, the influences of the changes which emerge in Turkish political life within the context of the decline of the costs of film production after the year 2000 and the development of technology which both lead to the emerging of alternative display areas for films and the fields on which the directors are focused on were narrated and, through the examples of documentary films came out during this period, it was concluded that the political documentary in Turkey was insufficient in reacting to the events or problems which deeply influence Turkish life through effective forms or a convenient content.
ince documentary cinema acquires its resource from reality, it is in closer relationship with the political issues when compared to fictitious or empirical types of films. The given connections were discovered during the first year of the documentary cinema by the countries such as the UK, Germany, France, and Soviet Russia and the directors of documentary cinema conducted narrations which were plotted with reality through competent researches throughout the period when narrative cinema is in its infancy. Within this context, the term “political film” was defined primarily and then “the political documentary” was analyzed in detail as a part of documentary cinema within its historical process. The documentary cinema which can be more effective than any other types of film in narrating social events and problems has become a field where social problems are effectively narrated for numerous countries and their cinema industry and became politicized throughout its historical process. In the second chapter of the study where the reflections of the revolution of the documentary which is in a continuous interaction with political one on the history of Turkish political documentary cinema, the meaning of the huge break ups in the social life of the history of Turkish politics were hunted after considering the events which caused the aforementioned break ups. In the third and final chapter of the study, the influences of the changes which emerge in Turkish political life within the context of the decline of the costs of film production after the year 2000 and the development of technology which both lead to the emerging of alternative display areas for films and the fields on which the directors are focused on were narrated and, through the examples of documentary films came out during this period, it was concluded that the political documentary in Turkey was insufficient in reacting to the events or problems which deeply influence Turkish life through effective forms or a convenient content.