{"id":34254,"date":"2015-04-02T02:56:46","date_gmt":"2015-04-02T07:56:46","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=34254"},"modified":"2015-04-02T02:56:53","modified_gmt":"2015-04-02T07:56:53","slug":"kesikin-actigi-yerden-kat-kat-notlar","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=34254","title":{"rendered":"Kesik\u2019in A\u00e7t\u0131\u011f\u0131 Yerden: Kat Kat Notlar"},"content":{"rendered":"

\"Kesik\"<\/a>Umut T\u00fcmay Arslan<\/b><\/p>\n

T\u00fcrkiye sinemas\u0131n\u0131n Ermeni Soyk\u0131r\u0131m\u0131 konusundaki sessizlik yeminini bozan Kesik \u00fczerine farkl\u0131 mecralarda pek \u00e7ok yaz\u0131 kaleme al\u0131nd\u0131. Fatih Ak\u0131n\u2019\u0131n filmi etraf\u0131ndaki tart\u0131\u015fmalar, hi\u00e7bir epik anlat\u0131n\u0131n ba\u015f edemeyece\u011fi bir temsil krizini g\u00f6zler \u00f6n\u00fcne seriyor. <\/i><\/b><\/p>\n

Canl\u0131 \u015fimdinin bu kendi kendisinin \u00e7a\u011fda\u015f\u0131-olamama durumu olmaks\u0131z\u0131n, canl\u0131 \u015fimdinin gizli gizli ayar\u0131n\u0131 bozan \u015fey olmaks\u0131z\u0131n, orada olmayanlara kar\u015f\u0131, art\u0131k mevcut olmayan ve ya\u015famayanlar ya da hen\u00fcz mevcut olmayan ve ya\u015famayanlar i\u00e7in adalete duyulan bu sayg\u0131 ve sorumluluk olmaks\u0131z\u0131n \u2018nereye?\u2019, \u2018yar\u0131n nereye?\u2019 sorusunu y\u00f6neltmenin ne anlam\u0131 olacakt\u0131r ki?\u20091<\/p>\n

Anlama ihtiyac\u0131 duydu\u011fumuz \u015fey tam olarak nedir? Kay\u0131pt\u0131r ku\u015fkusuz. Neyin Kayb\u0131? Bu \u00e7al\u0131\u015fmam s\u0131ras\u0131nda pek \u00e7ok form\u00fclasyon denedim. Onlar\u0131 g\u00f6zden ge\u00e7irelim. a) Kayb\u0131 dile getirme kapasitesinin kayb\u0131, yani olay\u0131 kendi ad\u0131 olan \u201cFelaket\u201d kelimesi ile adland\u0131rma kapasitesinin kayb\u0131; b) \u201cAffediyorum\u201d s\u00f6z\u00fcn\u00fc telaffuz etme olana\u011f\u0131n\u0131n kayb\u0131; c) Yas tutma g\u00fcc\u00fcn\u00fcn kayb\u0131; d) Yorum yapma g\u00fcc\u00fcn\u00fcn kayb\u0131. Bu d\u00f6rt boyutta; adland\u0131rma, affetme, yas ve yorum boyutlar\u0131nda sizinle birlikte enine boyuna gezindim. Asl\u0131nda bunlar \u201cben\u201din d\u00f6rt boyutudur.2<\/p>\n

Fatih Ak\u0131n\u2019\u0131n Kesik\u2019i (2014) 1915 Mardin\u2019inde ba\u015fl\u0131yor, 1923 Ruso\u2019sunda, Arsine Manukyan\u2019\u0131n mezar\u0131 ba\u015f\u0131nda bitiyor. 1915\u2019le, Ermeni Soyk\u0131r\u0131m\u0131\u2019yla yol hik\u00e2yesine ba\u015flayan film, Anadolu\u2019dan, burada kendilerine reva g\u00f6r\u00fclen ak\u0131l almaz \u015fiddetten ka\u00e7arak d\u00fcnyan\u0131n d\u00f6rt bir taraf\u0131na da\u011f\u0131lmak zorunda b\u0131rak\u0131lan ve birbirlerini arayan Anadolulu Ermenilerin Ermeni diasporas\u0131 olma hik\u00e2yelerini, kahraman\u0131 Nazaret Manukyan\u2019\u0131n k\u0131zlar\u0131n\u0131 aray\u0131\u015f yolculu\u011fuyla temsil ediyor. Soyk\u0131r\u0131mdan kurtulanlar\u0131n, hayatta kalanlar\u0131n tan\u0131kl\u0131klar\u0131nda tekrar tekrar dile gelen organize \u015fiddet bi\u00e7imlerine ve bunlar\u0131n dolayl\u0131 devasa etkilerine filmde Nazaret Manukyan\u2019la birlikte tan\u0131k oluyoruz: \u00d6nce erkeklerin toplanmas\u0131, zorla \u00e7al\u0131\u015ft\u0131r\u0131lmalar\u0131, ya\u015fad\u0131klar\u0131 yerlerden, kentlerden uzakta \u0131ss\u0131z noktalarda topluca, sistemli bir bi\u00e7imde \u00f6ld\u00fcr\u00fclmeleri, bu cinayetleri i\u015flemeleri i\u00e7in sal\u0131nan mahk\u00fbmlar, kad\u0131nlar\u0131n ve \u00e7ocuklar\u0131n \u00f6l\u00fcm y\u00fcr\u00fcy\u00fc\u015flerine maruz b\u0131rak\u0131lmalar\u0131, ka\u00e7\u0131r\u0131lma ve tecav\u00fczler, \u00f6l\u00fcm kuyular\u0131, din de\u011fi\u015ftirmeye zorlanma ve b\u00fct\u00fcn hayati imk\u00e2nlardan, sa\u011fl\u0131k ko\u015fullar\u0131ndan yoksun \u00fccra yerlerde s\u00fcrg\u00fcnlerin bir arada tutuldu\u011fu, salg\u0131n hastal\u0131klar\u0131n yay\u0131lmas\u0131n\u0131 kolayla\u015ft\u0131racak \u00f6l\u00fcm kamplar\u0131,3 yetim kalan \u00e7ocuklarla dolup ta\u015fan yetimhaneler, \u00f6ld\u00fcr\u00fclen Ermenilerden geriye kalan mallar\u0131n gasp edilmesi\u2026<\/p>\n

Bunlar\u0131n hi\u00e7birini ilk defa duymuyoruz. Bir s\u00fcredir, belki bir on be\u015f y\u0131ld\u0131r, Ermeni Soyk\u0131r\u0131m\u0131 \u00fczerine konu\u015fmaya \u00e7al\u0131\u015f\u0131yoruz da \u2013kimi zaman y\u00fczy\u0131ll\u0131k yalan\u0131n, y\u00fczy\u0131ll\u0131k ink\u00e2r\u0131n mazeretleriyle, kimi zaman yeni mazeretler kurgulayarak! Lakin ink\u00e2r\u0131n t\u00fcrl\u00fc bi\u00e7imleri oldu\u011funu yeni fark ediyor oldu\u011fumuz gibi, \u015fimdinin b\u00fcnyesindeki ge\u00e7mi\u015fin ger\u00e7ekli\u011fimizin bi\u00e7imini bozuyor olu\u015funa da, daha can ac\u0131tan ama kat kat ve daha derin bir ger\u00e7eklik kavray\u0131\u015f\u0131na da ayn\u0131 anda tan\u0131k oluyoruz. Kolektif ink\u00e2r ve bast\u0131rman\u0131n \u2013yak\u0131n tarihimiz hakk\u0131ndaki vahim bilgisizli\u011fimizin, ge\u00e7mi\u015fle de \u015fimdiyle de kurdu\u011fumuz ili\u015fkideki n\u00f6tr ger\u00e7eklik yan\u0131lsamas\u0131n\u0131n ve kendi ger\u00e7ekli\u011fimizi \u0131rk\u00e7\u0131l\u0131k ve ayr\u0131mc\u0131l\u0131ktan azade bir tarafs\u0131z b\u00f6lge gibi g\u00f6rmek bahsindeki \u0131srar ve tekrar\u0131n\u2013 dolayl\u0131 ama devasa bir etkisi \u015fuydu belki de: kendi \u00fczerimize d\u00fc\u015f\u00fcnmenin kad\u00fck kal\u0131\u015f\u0131.<\/p>\n

Kesik, T\u00fcrkiye sinemas\u0131ndaki sessizlik yeminini bozuyor. T\u00fcrkl\u00fck perdesinin soyk\u0131r\u0131m bahsindeki sessizli\u011finin k\u00f6t\u00fcl\u00fc\u011f\u00fcn\u00fc if\u015fa ederek konu\u015fmaya ba\u015fl\u0131yor. Fatih Ak\u0131n\u2019\u0131n s\u00f6yledi\u011fi gibi \u2013Polanski\u2019nin Piyanist\u2019ini (The Pianist, 2002) \u00f6rnek veriyor mesela\u2013 bir \u00f6n kabulle kar\u015f\u0131s\u0131nday\u0131z filmin: Soyk\u0131r\u0131m oldu\u2026 Bu etik karara sadakatle tarihsel gerek\u00e7elendirme yoluna sapm\u0131yor film. Yani b\u00fct\u00fcn bu olan bitene tarihsel mazeretler bulma, \u2013\u201cT\u00fcrkler de \u015fiddete u\u011frad\u0131, sava\u015f ko\u015fullar\u0131 vard\u0131, \u015fiddet kar\u015f\u0131l\u0131kl\u0131yd\u0131 vb.\u201d\u2013 yoluna girmiyor. Mardinli bir demirci ustas\u0131 nas\u0131l g\u00f6rm\u00fc\u015f, nas\u0131l ya\u015fam\u0131\u015f olabilir bu zalimli\u011fi, onu anlatmak istemi\u015f Fatih Ak\u0131n.4<\/p>\n

Yorumlay\u0131c\u0131 Repertuar Olarak T\u00fcrkl\u00fck<\/strong><\/p>\n

Filmin nas\u0131l yorumland\u0131\u011f\u0131, hangi kavramlar\u0131n, hangi yorumlay\u0131c\u0131 repertuar\u0131n, kolektif ve \u00f6rt\u00fck uzla\u015f\u0131mlar\u0131n devreye sokuldu\u011fu ve elbette film \u00fczerine baz\u0131 tart\u0131\u015fmalar\u0131n, baz\u0131 kavramlar\u0131n T\u00fcrkiye\u2019de neden hi\u00e7 olmad\u0131\u011f\u0131 Kesik \u00fczerine d\u00fc\u015f\u00fcnme faaliyetinin d\u0131\u015far\u0131da b\u0131rakamayaca\u011f\u0131m\u0131z bir par\u00e7as\u0131 olmal\u0131 bana kal\u0131rsa.<\/p>\n

\u0130nk\u00e2r s\u00f6ylemi galiba en \u00e7ok renk k\u00f6rl\u00fc\u011f\u00fcne benziyor. Renk k\u00f6r\u00fc oldu\u011funuzu bilmenize ra\u011fmen \u00f6yle g\u00f6rmeye devam ediyorsunuz \u00e7\u00fcnk\u00fc. Daha \u00f6nce de belirtti\u011fim gibi film, \u201cSoyk\u0131r\u0131m olmad\u0131\u201dya dair inanc\u0131 ya da \u201cSoyk\u0131r\u0131m oldu\u201dya dair inan\u00e7s\u0131zl\u0131\u011f\u0131 ask\u0131ya al\u0131yor. Bu ask\u0131ya alma i\u015fi, film seyretme deneyiminin kendisinde i\u015fleyen inan\u00e7\/inan\u00e7s\u0131zl\u0131k b\u00f6l\u00fcnmesiyle \u00fcst \u00fcste d\u00fc\u015f\u00fcyor, \u00e7ak\u0131\u015f\u0131yor. Dolay\u0131s\u0131yla film hakk\u0131nda s\u00f6ylemin \u00e7er\u00e7evesini \u00e7izen yorumlay\u0131c\u0131 repertuar, soyk\u0131r\u0131ma dair ne d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fcz\u00fc, ona dair tefekk\u00fcr\u00fcn s\u0131n\u0131rlar\u0131n\u0131 if\u015fa ediyor. \u015ea\u015f\u0131rt\u0131c\u0131 olmasa gerek: Kesik\u2019e dair h\u00e2kim yorumlama \u00e7er\u00e7eveleri, Kesik\u2019in etik karar\u0131n\u0131 tan\u0131m\u0131yor ya da onun gerisinden geliyor.5<\/p>\n

Elbette ilk s\u0131raya, kendi bak\u0131\u015flar\u0131n\u0131n tarafgirli\u011fini, toplumsal ger\u00e7ekli\u011fi kurarken \u00e7arp\u0131t\u0131\u015f\u0131n\u0131 gizlemek, sanki n\u00f6tr bir toplumsal ger\u00e7eklik i\u00e7inde ya\u015f\u0131yormu\u015fuz ya da vaktiyle ya\u015fam\u0131\u015f\u0131z yan\u0131lsamas\u0131n\u0131 bir kez daha, kendi tarihsel-\u00f6znelli\u011fimiz lehine kurmak \u00fczere, filmi, \u201cT\u00fcrk d\u00fc\u015fman\u0131\u201d, \u201cnefret s\u00f6ylemi var\u201d, \u201cpropaganda\u201d, \u201ctarafl\u0131\u201d, \u201cdiaspora \u00e7ekse b\u00f6yle tek tarafl\u0131 \u00e7ekmezdi\u201d olarak tan\u0131mlayanlar\u0131 koymal\u0131.6 Pe\u015fi s\u0131ra, filmin \u201colaylar\u0131n\u201d perde arkas\u0131n\u0131, altyap\u0131s\u0131n\u0131 yeterince vermedi\u011fi i\u00e7in ba\u015far\u0131s\u0131z oldu\u011fu iddias\u0131 geliyor.7 Kurgudan soyk\u0131r\u0131m\u0131 ispat etmesi, kan\u0131tlamas\u0131 talebini, nihayetinde ink\u00e2ra geri d\u00f6nd\u00fcren bu arzuyu (\u201c\u0130spat edemiyorsan yoktur\u201d) \u00fcretenin de ink\u00e2r\u0131n ta kendisi oldu\u011fu a\u00e7\u0131k de\u011fil mi? Oysa kurgu, en basit ifadeyle, belirli bir etik ya da estetik kararla, nesnel-toplumsal ger\u00e7ekli\u011fe \u00f6znelliklerimizin d\u00fc\u015f\u00fcrd\u00fc\u011f\u00fc lekeleri tan\u0131mam\u0131z\u0131 sa\u011flar. G\u00fcndelik hayat\u0131n toplumsal etkile\u015fimleri i\u00e7inde g\u00f6remedi\u011fimiz bu lekeleri tarif edebilmek i\u00e7in de her g\u00fcnk\u00fc dilin, tarafs\u0131z b\u00f6lge olarak g\u00f6rmeye yatk\u0131n oldu\u011fumuz g\u00fcndelik ger\u00e7ekli\u011fin i\u00e7inde kalamaz. \u201cYahudi Soyk\u0131r\u0131m\u0131\u2019n\u0131n ba\u015fyap\u0131ta yol a\u00e7mas\u0131\u201d (son derece savruk\u00e7a ve \u00f6zensiz, renk k\u00f6rl\u00fc\u011f\u00fc i\u00e7eren bir ifade oldu\u011funu s\u00f6ylemeden ge\u00e7mek imk\u00e2ns\u0131z), buna kar\u015f\u0131l\u0131k 1915 filmlerinin \u201coldu mu olmad\u0131 m\u0131 ispat et, edemiyorsan ba\u015far\u0131s\u0131zs\u0131n, demek ki soyk\u0131r\u0131m olmad\u0131\u201d denklemi i\u00e7ine s\u0131k\u0131\u015ft\u0131r\u0131lmas\u0131, kurgunun hi\u00e7bir zaman olguyla\/olayla e\u015fitlenemeyece\u011fini, her zaman geride kalanlar\u0131n onunla ili\u015fkisi \u00fczerine olu\u015funu, buradaki a\u015f\u0131lamaz mesafeyi g\u00f6rmemize, kavramam\u0131za engel olmakla kalm\u0131yor; daha vahimi (soyk\u0131r\u0131m\u0131) ink\u00e2rdan yap\u0131lm\u0131\u015fl\u0131\u011f\u0131m\u0131z ve kurgudan \u00e7\u0131kan hakikat \u00fczerine d\u00fc\u015f\u00fcnmemize ket vuruyor. Demek oluyor ki temsil etmenin etik-estetik-politik boyutlar\u0131n\u0131 g\u00f6rebilmek, n\u00f6tr toplumsal ger\u00e7eklik yan\u0131lsamas\u0131ndan kurtulabilmek bahsinde k\u00f6rl\u00fck ya\u015f\u0131yoruz.<\/p>\n

Kurgu-olgu e\u015fitlik denklemi, asl\u0131nda, ge\u00e7mi\u015fi, tarihte ya\u015fanm\u0131\u015f katliamlar\u0131\/felaketleri d\u00fc\u015f\u00fcnme \u00e7er\u00e7evemize dair s\u0131n\u0131r\u0131 g\u00f6steriyor. \u0130nsanl\u0131\u011f\u0131n bu t\u00fcrden katliamlar \u00fczerine d\u00fc\u015f\u00fcnen ve eyleyen etik-politik iradesi, ulusal su\u00e7lar \u00fczerine tefekk\u00fcr\u00fc, g\u00f6rmezden gelinmi\u015f, hal\u0131lar\u0131n alt\u0131na s\u00fcp\u00fcr\u00fclm\u00fc\u015f katliamlar\u0131 b\u00fct\u00fcn bir insanl\u0131\u011f\u0131n haf\u0131zas\u0131 yapman\u0131n yollar\u0131n\u0131 arayan estetik tahayy\u00fcller, ink\u00e2rla, yoklukla, susturulamayan suskunluk olarak s\u00fcrekli konu\u015fuyor oldu\u011fumuz ge\u00e7mi\u015fin tasallutuna u\u011frayan bir \u015fimdi kavray\u0131\u015f\u0131, s\u00f6z\u00fcn\u00fc etti\u011fim s\u0131n\u0131r\u0131n \u00f6te taraf\u0131nda kal\u0131yor hep. Belki de, bir de\u011fil bir bu\u00e7uk \u00e7er\u00e7eve var bu t\u00fcr yaz\u0131larda. Aslen kendi ink\u00e2r\u0131 \u00fczerine hi\u00e7 d\u00fc\u015f\u00fcnmedi\u011fi ya da ink\u00e2r etti\u011fini ink\u00e2r etti\u011fi i\u00e7in, filmin \u00e7oktan geride b\u0131rakt\u0131\u011f\u0131 bir bulan\u0131kl\u0131ktan filme bak\u0131yorlar. Bu y\u00fczden de ink\u00e2rla ikrar aras\u0131nda dolanan bir dil ortaya \u00e7\u0131k\u0131yor.<\/p>\n

Kesik\u2019e dair yorumlay\u0131c\u0131 repertuar\u0131n \u00fczerinde durmak istedi\u011fim tekrarlar\u0131ndan sonuncusu ise Kesik\u2019in aksine Atom Egoyan\u2019\u0131n Ararat\u2019\u0131n\u0131n (2002) \u201cT\u00fcrk d\u00fc\u015fman\u0131\u201d, \u201c\u00f6fkeli ve tarafl\u0131\u201d oldu\u011fu ya da d\u00fc\u015fmanl\u0131k etti\u011fi ve diyalogdan yana olmad\u0131\u011f\u0131 y\u00f6n\u00fcndeki uzla\u015fma.8 Bu uzla\u015fman\u0131n da, \u00f6yle de\u011filmi\u015f gibi g\u00f6z\u00fckse de, etik-estetik-politik m\u00fctalaan\u0131n hep s\u0131n\u0131r\u0131n \u00f6te taraf\u0131nda kalmas\u0131yla, yoklu\u011fuyla bir ili\u015fkisi olmal\u0131. Ama bir kat daha inmek gerekiyor burada: Ararat\u2019\u0131 \u201cT\u00fcrk d\u00fc\u015fman\u0131\u201d g\u00f6rmekle Kesik\u2019i \u201cT\u00fcrk d\u00fc\u015fman\u0131\u201d g\u00f6rmek aras\u0131ndaki mesafe san\u0131ld\u0131\u011f\u0131 kadar da b\u00fcy\u00fck de\u011fil. B\u00fct\u00fcn\u00fcyle neyin, ne kadar konu\u015fulaca\u011f\u0131n\u0131n s\u0131n\u0131r\u0131n\u0131 \u00e7izen tarihsel-s\u00f6ylemsel \u00e7er\u00e7eveden bak\u0131yor olu\u015fumuzu, tarihsel-\u00f6znelli\u011fimizin g\u00f6rd\u00fcklerimiz \u00fczerine d\u00fc\u015f\u00fcrd\u00fc\u011f\u00fc lekeyi g\u00f6r\u00fcn\u00fcr k\u0131l\u0131yor bu \u201cd\u00fc\u015fmanl\u0131k\u201d alg\u0131s\u0131. S\u00f6ylemeye hacet yok, diye d\u00fc\u015f\u00fcnenler olabilir; ama s\u00f6z konusu olan temsilin ve T\u00fcrkl\u00fc\u011f\u00fcm\u00fcz\u00fcn kurdu\u011fu ger\u00e7eklik evreninin s\u0131n\u0131rlar\u0131 ise, yani Ararat ise, l\u00fczumlu h\u00e2le geliyor: Sinema\/estetik, sessizlik yeminiyle hat\u0131rlamamay\u0131 se\u00e7ti\u011fimiz, topra\u011f\u0131n alt\u0131na g\u00f6merek kurtulmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z sakl\u0131 su\u00e7la y\u00fczle\u015fmeye, ge\u00e7mi\u015fin ge\u00e7mi\u015fte kalamay\u0131\u015f\u0131, s\u0131f\u0131rdan ba\u015flamay\u0131 talep eden bir diyalog \u00e7a\u011fr\u0131s\u0131n\u0131n kabul edilemezli\u011fi ve affedilemez olan \u00fczerine tefekk\u00fcr etmeye zorlamayacaksa, bu konuda neyi konu\u015facak? Sahiden neyi anlamaya \u00e7al\u0131\u015faca\u011f\u0131m\u0131z\u0131 d\u00fc\u015f\u00fcn\u00fcyoruz?<\/p>\n

Bu y\u00fczden, g\u00fc\u00e7 asimetrisini hesaba katmadan, Ermenilerin y\u00fczy\u0131ll\u0131k yaln\u0131zl\u0131\u011f\u0131 hilaf\u0131na kazand\u0131\u011f\u0131m\u0131z imtiyazlar\u0131n bahsini bile etmeden, ya\u015fand\u0131-bitti gibi d\u00fc\u015f\u00fcnemeyece\u011fimiz bu ak\u0131l almaz \u0131rk\u00e7\u0131 \u015fiddeti adland\u0131rmadan, \u015fiddetin kurbanlar\u0131n\u0131n \u00f6fkesini tan\u0131madan ve buradaki kopu\u015fa sayg\u0131 duymadan dostluk daveti, en hafifinden \u201chepimiz karde\u015fiz\u201d yalan\u0131ndan ibaret kal\u0131yor. Ayda Erbal ve Talin Suciyan\u2019\u0131n ifadesiyle, diyalogdan kar\u015f\u0131m\u0131zdakinin sadakatini, zay\u0131f pozisyonunu devam ettirmesini anlaman\u0131n, ancak belirli bir ko\u015fulla, uygun dille konu\u015fuldu\u011funda dinleyece\u011fini s\u00f6ylemenin, fail ile kurban\u0131 belirsizle\u015ftiren \u201cortak ac\u0131\u201d metaforlar\u0131n\u0131n, \u201ciyi Ermeni-k\u00f6t\u00fc Ermeni\u201d ayr\u0131mlar\u0131n\u0131n ve bunlar\u0131n politik taleplerle, politik olarak meydan okuyucu pozisyonlarla ili\u015fkili olarak yap\u0131lmas\u0131n\u0131n, g\u00fcndelik-normalle\u015fmi\u015f \u0131rk\u00e7\u0131l\u0131\u011f\u0131n\/ayr\u0131mc\u0131l\u0131\u011f\u0131n \u00fczerinde uzla\u015f\u0131lm\u0131\u015f ve g\u00f6r\u00fcnmeyen arka plan\u0131 olarak i\u015fledi\u011fini de eklemek zorunday\u0131z buraya.9<\/p>\n

\u0130mk\u00e2ns\u0131z-m\u00fcmk\u00fcn G\u00f6sterim<\/strong><\/p>\n

Bir film, estetik bir nesne olarak, \u00e7o\u011fu zaman i\u00e7inde yer ald\u0131\u011f\u0131 tarihsel ko\u015fullara ya da ba\u011flama tam oturmuyor. Kimi zaman kendi ba\u011flam\u0131n\u0131 da beraberinde getiriyor. Ba\u011flam\u0131n ya da seyircinin filmle ili\u015fkisini, film metnine d\u0131\u015fsal bir ili\u015fki olarak d\u00fc\u015f\u00fcnemeyece\u011fimiz gibi b\u00fct\u00fcn\u00fcyle film taraf\u0131ndan belirlenen bir ili\u015fki olarak da d\u00fc\u015f\u00fcnemiyoruz bu y\u00fczden.<\/p>\n

Kesik\u2019in beraberinde getirdi\u011fi, deyim yerindeyse \u00e7a\u011f\u0131rd\u0131\u011f\u0131 ba\u011flam\u0131 da, onu tart\u0131\u015f\u0131rken ihmal edemeyiz. Bu ba\u011flam, \u015fu iki soruyla ve bunlara cevap aray\u0131\u015f\u0131yla \u00f6zetlenebilir: 1) Soyk\u0131r\u0131m nas\u0131l temsil edilebilir? Onu izah etmenin, anlatman\u0131n bir yolu var m\u0131d\u0131r (temsil krizi)? 2) Siyasi adalet a\u00e7\u0131s\u0131ndan soyk\u0131r\u0131m\u0131 \u015fimdide d\u00fc\u015f\u00fcn\u00fcyor olmam\u0131z\u0131n anlam\u0131 nedir? Bu ge\u00e7mi\u015f, \u015fimdiyi nas\u0131l s\u0131n\u0131rlamakta, \u00fcretmekte veya i\u015fgal etmektedir? (Ge\u00e7mi\u015fe do\u011fru geri \u00e7ekilmeyi kabul etmeyerek canl\u0131 kalan bir \u015feylerden s\u00f6z ediyoruz, ge\u00e7mi\u015fin tasallutuna u\u011frayan \u015fimdiden). T\u00fcrkiye\u2019de ink\u00e2r\u0131n \u015fiddeti, i\u00e7kinli\u011fi, dolamba\u00e7l\u0131l\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde bu ba\u011flam, bu estetik-etik-politik bahis, ilk bak\u0131\u015fta, filmi tart\u0131\u015fmak i\u00e7in l\u00fcks g\u00f6r\u00fclebilir. Ama bu tart\u0131\u015fmalar\u0131n yoklu\u011funun da ink\u00e2r s\u00f6yleminin a\u015f\u0131r\u0131-mevcutlu\u011fuyla, i\u00e7kin ve dolamba\u00e7l\u0131 bir pratik olarak T\u00fcrkl\u00fc\u011f\u00fcm\u00fcz\u00fcn ger\u00e7eklik evrenini biteviye yeniden tesis edi\u015fiyle kopar\u0131lamaz bir ba\u011f\u0131 var.<\/p>\n

Nazaret\u2019in Mardin\u2019de ba\u015flayan, Resulayn (\u015fimdiki Ceylanp\u0131nar), Halep, L\u00fcbnan, Havana, Minneapolis, Kuzey Dakota ve Ruso\u2019ya uzanan tan\u0131kl\u0131k, yol ve aray\u0131\u015f hik\u00e2yesi sinemaskop ve 35 mm \u00e7ekilmi\u015f. Hik\u00e2yesine uygun sinematografik dili ve duygusal co\u011frafyay\u0131 westernde buluyor Fatih Ak\u0131n. Bu b\u00fcy\u00fck b\u00fct\u00e7eli filmi, onu etkileyen y\u00f6netmen-babalara selam g\u00f6nderdi\u011fi \u2013Elia Kazan, Sergio Leone, Clint Eastwood, Martin Scorsese, Bernardo Bertolucci, Terrence Malick\u2013, sinema tarihinde ki\u015fisel yolculu\u011fu gibi g\u00f6rd\u00fc\u011f\u00fcn\u00fc de s\u00f6yl\u00fcyor bir yerde.10<\/p>\n

Bu \u00f6zellikleriyle Kesik, soyk\u0131r\u0131m\u0131 temsil edebilme bahsine dair hi\u00e7bir soru i\u00e7ermiyor; kendi temsilinin s\u0131n\u0131rlar\u0131n\u0131, k\u0131smili\u011fini g\u00f6rmek-g\u00f6stermek konusunda bir \u00e7abas\u0131 da yok. \u201cBir varm\u0131\u015f bir yokmu\u015f\u201d ile ba\u015flayan bu b\u00fcy\u00fck anlat\u0131, kendisinden beklenece\u011fi \u00fczere, yar\u0131-mutlu sonla ve \u201cge\u00e7mi\u015fin hesab\u0131n\u0131\u201d kapatarak bitiyor. Hamid Dabashi ele\u015ftirisini tam da bunun \u00fczerine kurmu\u015ftu.11 Fatih Ak\u0131n, y\u00f6netmen-babalara selam g\u00f6nderme tela\u015f\u0131ndaki gen\u00e7 (acemi?) y\u00f6netmen olmaya \u00e7al\u0131\u015f\u0131rken, bu b\u00fcy\u00fck felaket \u00fczerine ciddi bir s\u00f6z s\u00f6yleme imk\u00e2n\u0131n\u0131 da kaybediyordu. T\u0131pk\u0131 Holokost ve Nakba gibi Ermeni Soyk\u0131r\u0131m\u013112 i\u00e7in de \u015funu d\u00fc\u015f\u00fcnmeden s\u00f6ze ba\u015flamak nas\u0131l m\u00fcmk\u00fcn olabilirdi? Hi\u00e7bir epik anlat\u0131n\u0131n g\u00f6r\u00fcn\u00fcr k\u0131lmay\u0131 ba\u015faramayaca\u011f\u0131 bir temsil krizi bu ak\u0131l almaz b\u00fcy\u00fckl\u00fckteki felaketlerin hepsine i\u00e7kindir.<\/p>\n

Oysa Atom Egoyan\u2019\u0131n Ararat\u2019\u0131 bu temsil krizini tam kalbinde ta\u015f\u0131yan bir filmdir. Soyk\u0131r\u0131m\u0131n b\u00fcy\u00fck anlat\u0131 i\u00e7ine, b\u00fct\u00fcnl\u00fckl\u00fc bir resmin i\u00e7ine s\u0131\u011fd\u0131r\u0131lmay\u0131\u015f\u0131, onu i\u00e7eriden infilak ettiri\u015fi, par\u00e7alay\u0131\u015f\u0131, \u00fczerine konu\u015fulamaz olan\u0131n konu\u015fulamazl\u0131\u011f\u0131 film i\u00e7inde \u00e7ekilen film olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r. Dahas\u0131 Egoyan, soyk\u0131r\u0131m\u0131 b\u00fct\u00fcnl\u00fckl\u00fc bir resmin i\u00e7ine yerle\u015ftiren b\u00fcy\u00fck anlat\u0131n\u0131n zaman nosyonunu da geride b\u0131rak\u0131r. Ge\u00e7ip gitmi\u015f bir ge\u00e7mi\u015fle de\u011fil, \u015fimdinin b\u00fcnyesindeki ge\u00e7mi\u015fle kar\u015f\u0131 kar\u015f\u0131yay\u0131zd\u0131r.13 D\u00f6rt ku\u015fak i\u00e7in trajedi elde kalan par\u00e7alarla tekrar ve yeniden yaz\u0131l\u0131r. Buradaki dolay\u0131m sadece film i\u00e7inde film olarak de\u011fil, tan\u0131kl\u0131kla olay aras\u0131ndaki mesafenin s\u00fcrekli hat\u0131rlat\u0131lmas\u0131yla da kat kat bir duygusal evren yaratacakt\u0131r: D\u00f6rd\u00fcnc\u00fc ku\u015fak Raffi\u2019nin Ani harabelerindeki, metruk co\u011frafyadaki g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc, video kameradan izledi\u011fimiz o sahne mesela: \u201cVe art\u0131k i\u00e7imde bir \u015fey de \u00f6ld\u00fc. Bu harabelere bakt\u0131\u011f\u0131mda ne hissetmem bekleniyor? Peki zamanla y\u0131k\u0131ld\u0131klar\u0131na m\u0131 inanay\u0131m? Yoksa kasten yok edildiklerine mi? Bu ne oldu\u011funun kan\u0131t\u0131 m\u0131? \u00d6fke duymam m\u0131 gerekiyor? Babam\u0131n hissetti\u011fi \u00f6fkeyi hissedebilir miyim? Bu yerleri g\u00f6r\u00fcnce ne kadar kaybetti\u011fimizi fark ediyorum; sadece topraklar\u0131 ve hayatlar\u0131 de\u011fil. Hat\u0131rlanacak her \u015feyin kayb\u0131n\u0131\u2026\u201d<\/p>\n

Dabashi\u2019ye g\u00f6re, Ak\u0131n, Ermeni Soyk\u0131r\u0131m\u0131\u2019n\u0131n nas\u0131l anlat\u0131lamayaca\u011f\u0131n\u0131 \u00f6\u011frenmek i\u00e7in Egoyan\u2019\u0131n filmini daha dikkatle izlemeliydi. Ger\u00e7ekten de o zaman, soyk\u0131r\u0131m\u0131n b\u00fcy\u00fck anlat\u0131ya tahvil edilemezli\u011fini, dolay\u0131s\u0131yla soyk\u0131r\u0131m\u0131n ne demek oldu\u011funu, yani anlama ihtiyac\u0131 duydu\u011fumuz \u015feyin tam olarak ne oldu\u011funu da daha iyi kavram\u0131\u015f olacak, soyk\u0131r\u0131ma tan\u0131kl\u0131k anlat\u0131lar\u0131n\u0131n vicdanlar\u0131 alt\u00fcst etti\u011fi bir d\u00fcnya inanc\u0131n\u0131n sars\u0131lmas\u0131yla, vicdanlar\u0131n hi\u00e7 de alt\u00fcst olmad\u0131\u011f\u0131 ger\u00e7e\u011fiyle y\u00fczle\u015fecek, temsilin estetik-politik sorumluluklar\u0131 \u00fczerine de d\u00fc\u015f\u00fcnm\u00fc\u015f olacakt\u0131. Hem sinema hem de edebiyat ba\u011flam\u0131nda soyk\u0131r\u0131m, ancak b\u00fcy\u00fck anlat\u0131lar\u0131n i\u00e7inde a\u00e7\u0131lan deliklerle, sineman\u0131n\/edebiyat\u0131n kendi temsil s\u0131n\u0131rlar\u0131 \u00fczerine d\u00fc\u015f\u00fcnmesiyle, insan\u0131n yol a\u00e7t\u0131\u011f\u0131 felaketlerin epik anlat\u0131ya tahvil edilmesinde ger\u00e7ekli\u011fi yeniden kuramad\u0131\u011f\u0131m\u0131z imk\u00e2ns\u0131zl\u0131k noktalar\u0131 oldu\u011funu fark etmemizle, yokluk olarak, kay\u0131p esteti\u011fi i\u00e7ine yerle\u015febiliyordu. Costa-Gavras\u2019\u0131n Amen\u2019ini (2002) Steven Spielberg\u2019\u00fcn Schindler\u2019in Listesi\u2019nden (1993), Istv\u00e1n Szab\u00f3\u2019nun Mephisto\u2019sunu (1981) Roman Polanski\u2019nin Piyanist\u2019inden daha iyi bir film yapan, soyk\u0131r\u0131m\u0131, kolayca yaslanabilece\u011fimiz ve g\u00fcvenli\u011fimizi garanti alt\u0131na alan ahlaki bir arka plan olmaktan \u00e7\u0131karman\u0131n yollar\u0131n\u0131 aramalar\u0131, nas\u0131l olmu\u015ftur da \u015fiddetin k\u00f6t\u00fcl\u00fc\u011f\u00fcn\u00fcn bu kadar normalle\u015fti\u011fi bir evrende herkes kendini masum g\u00f6rebilmi\u015ftir sorusuna cevap aramalar\u0131, esteti\u011fin ve eti\u011fin birbirinden ayr\u0131lamaz alanlar oldu\u011funu g\u00f6stermeleri de\u011fil midir? B\u00fcy\u00fck anlat\u0131ya yaslanman\u0131n kolayc\u0131l\u0131\u011f\u0131n\u0131 bir yana b\u0131rakan, ahlaki hakl\u0131l\u0131k ve tan\u0131kl\u0131ktan ibaret olmayan bir esteti\u011fe sahip Ararat\u2019\u0131 iyi bir film yapan da tam olarak bu de\u011fil midir?<\/p>\n

\u015eu da yok mu? Dilsel ya da imgesel edim, bir kez tan\u0131kl\u0131ktan kurtulan bir bak\u0131\u015fa kavu\u015ftu\u011funda, zaman kronolojik ve statik olmaktan \u00e7\u0131k\u0131yor; soyk\u0131r\u0131m\u0131n sembolik yoklu\u011funun etraf\u0131, onu \u015fimdide ink\u00e2r etmenin t\u00fcrl\u00fc bi\u00e7imlerini anlatmakla \u00e7evrelenebiliyordur. Bu yolla tefekk\u00fcr\u00fcn \u00e7er\u00e7evesi, su\u00e7 sahnesinin ne oldu\u011funa de\u011fil, bu su\u00e7la imtiyaz sahibi gruplar\u0131n ili\u015fkisine, su\u00e7un \u015fimdideki tezah\u00fcrleriyle bizim ne yapt\u0131\u011f\u0131m\u0131za do\u011fru kayarak geni\u015fleyip derinle\u015fiyordur.<\/p>\n

Egoyan\u2019\u0131n b\u00fcy\u00fck anlat\u0131y\u0131 infilak ettirerek (film olarak kendi ger\u00e7ekli\u011fini\/kendi inand\u0131r\u0131c\u0131l\u0131\u011f\u0131n\u0131 nas\u0131l kurdu\u011fu \u00fczerine de d\u00fc\u015f\u00fcnmesi) belirli bir imk\u00e2ns\u0131zl\u0131\u011f\u0131n etraf\u0131n\u0131 \u00e7evrelemesine benzer \u015fekilde, Marc Nichanian\u2019\u0131n da Felaket ile Soyk\u0131r\u0131m, olay ile olgu aras\u0131nda yapt\u0131\u011f\u0131 ayr\u0131m, soyk\u0131r\u0131m\u0131n i\u00e7erdi\u011fi zalimliklerin toplam\u0131n\u0131n, b\u00fct\u00fcnl\u00fckl\u00fc bir resminin \u00e7\u0131kar\u0131lmas\u0131n\u0131n imk\u00e2ns\u0131zl\u0131\u011f\u0131 \u00fczerine kurulu. Ya\u015fanm\u0131\u015f felaket, \u00f6yk\u00fclendi\u011fi, diegesis\u2019e d\u00f6n\u00fc\u015febildi\u011fi, sembolik alana tahvil edilebildi\u011fi anda o olay olmayacakt\u0131r art\u0131k. Dil b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc tehlikeye d\u00fc\u015f\u00fcren, dil b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc bozan olay, nas\u0131l olur da dil b\u00fct\u00fcnl\u00fc\u011f\u00fc bozulmam\u0131\u015f gibi anlat\u0131lacakt\u0131r? \u201cHi\u00e7bir \u00f6yk\u00fcleme, hi\u00e7bir anlat\u0131, hi\u00e7bir \u00f6yk\u00fc dil b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fcn bozulmas\u0131 olay\u0131n\u0131 belli bir dille b\u00fct\u00fcnle\u015ftiremez.\u201d14 Bu y\u00f6n\u00fcyle, Felaket, tan\u0131\u011f\u0131n saf d\u0131\u015f\u0131 b\u0131rak\u0131lmas\u0131, olay\u0131n, tarihsel varolu\u015f talep eden olaylar\u0131n yer ald\u0131\u011f\u0131 uygar alandan d\u0131\u015flanmas\u0131d\u0131r.15 Biraz uzunca bir al\u0131nt\u0131:<\/p>\n

Felaket, hayatta kalanlar\u0131n tan\u0131kl\u0131\u011f\u0131yla s\u00f6ylenebileceklerin kesinlikle \u00e7ok \u00f6tesindedir. Evet, hayatta kalanlar\u0131n tan\u0131kl\u0131klar\u0131nda yak\u0131nlar\u0131n kayb\u0131, cinayetler, tehcir s\u0131ras\u0131nda kat edilen yollar, kitlesel katliamlar, erkeklerin \u00f6ld\u00fcr\u00fclmesi, kad\u0131nlar\u0131n sistemli tecav\u00fcze maruz kalmalar\u0131 anlat\u0131labilir. Buna kar\u015f\u0131n tan\u0131kl\u0131klar, insani dilin b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fcn bozulmas\u0131 ya da tan\u0131\u011f\u0131n yok edilmesi hakk\u0131nda insani dili kullanarak herhangi bir fikir veremezler. Tan\u0131klar\u0131n tan\u0131kl\u0131k etti\u011fi varsay\u0131l\u0131r.16<\/p>\n

O h\u00e2lde tan\u0131kl\u0131\u011f\u0131n \u00f6tesindeki bir dilsel edime, dilin s\u0131n\u0131rlar\u0131nda konumlanan, \u00e7aresizli\u011fi ve imk\u00e2ns\u0131zl\u0131\u011f\u0131 kendi b\u00fcnyesinde deneyimleyen bir dilsel edime ihtiya\u00e7 vard\u0131r.17<\/p>\n

Geriye d\u00f6n\u00fcp Kesik\u2019e bakt\u0131\u011f\u0131m\u0131zda ger\u00e7eklik duygumuzu sarsmayan t\u00fcrsel kodlarla, d\u00fcnya kar\u015f\u0131s\u0131ndaki yerimizi kolayca tayin edebilece\u011fimiz b\u00fct\u00fcnl\u00fckl\u00fc bir evren kar\u015f\u0131m\u0131zda duruyor. Anlatmak \u00fczere yola \u00e7\u0131kt\u0131\u011f\u0131 trajedi insan\u0131n Tanr\u0131\u2019ya, her t\u00fcrden b\u00fcy\u00fck anlat\u0131ya inanc\u0131n\u0131 k\u0131ran, ger\u00e7ekli\u011fimizi yeniden kuramayaca\u011f\u0131m\u0131z e\u015fikler\/imk\u00e2ns\u0131zl\u0131klar, delilikler i\u00e7erirken, film, bu imk\u00e2ns\u0131zl\u0131\u011f\u0131 kendi \u00fczerine d\u00fc\u015f\u00fcnd\u00fcrecek bir s\u0131n\u0131ra dayand\u0131rmak yerine onu, Nazaret\u2019in g\u00f6ky\u00fcz\u00fcne ta\u015f atmas\u0131yla, \u201cTanr\u0131\u2019n\u0131n merhameti kalmam\u0131\u015f\u201d s\u00f6zleriyle temsile \u00e7eviriyor.18 Daha do\u011frusu, temsil edebilece\u011fine inanmak istiyor. T\u0131pk\u0131 o sahnede oldu\u011fu gibi, kesi\u011fi a\u00e7\u0131yor, g\u00f6steriyor, kabul ediyor, ama sonra hi\u00e7bir tarihsel gerek\u00e7enin a\u00e7\u0131klayamayaca\u011f\u0131 bu a\u015f\u0131r\u0131l\u0131kla, \u2018tan\u0131\u011f\u0131 olmayan olay\u2019\u0131n deh\u015fetiyle ba\u015f edebilmek\/ba\u015f edebilmemiz i\u00e7in bizi sinema a\u015fk\u0131na, sinema inanc\u0131na, ustalara sayg\u0131ya davet ediyor.<\/p>\n

Fatih Ak\u0131n\u2019\u0131n film \u00fczerine s\u00f6yle\u015filerde de Ermeni Soyk\u0131r\u0131m\u0131 adland\u0131rmas\u0131n\u0131 konu\u015fman\u0131n \u00e7er\u00e7evesi i\u00e7inde tutma karar\u0131 k\u0131ymetli lakin Olay\u2019\u0131 westerne uygun ve sinematografik buldu\u011funu s\u00f6ylemesi de ilham\u0131n\u0131 bu Olay\u2019dan al\u0131yor olman\u0131n kendisi \u00fczerine tefekk\u00fcr\u00fcn yoklu\u011funu g\u00f6stermiyor mu? Kesik hem T\u00fcrkl\u00fck perdesinde soyk\u0131r\u0131ma yer a\u00e7\u0131yor, onu konu\u015fmaya, anlatmaya ba\u015fl\u0131yor, hem de anlatman\u0131n kendisine i\u00e7kin imk\u00e2ns\u0131zl\u0131\u011f\u0131, kopu\u015fu, reddedi\u015fi bertaraf ediyor. Anlatmaya ve konu\u015fmaya ba\u015flaman\u0131n kendisinin ayn\u0131 zamanda Olay\u2019a ihanet etmek de oldu\u011funu g\u00f6rmekten, sakl\u0131 ge\u00e7mi\u015ften gelen de\u011fil tam da anlat\u0131ya d\u00f6n\u00fc\u015ft\u00fcrme \u00e7abas\u0131nda ortaya \u00e7\u0131kan, kurtulunamayacak utan\u00e7tan, devredilemeyecek y\u00fckten kendini de bizi de uzak tutuyor. Daha \u00e7ok, ge\u00e7mi\u015fte ya\u015fanm\u0131\u015f soyk\u0131r\u0131m\u0131 kabul edip, anlat\u0131p, konu\u015farak \u00f6zg\u00fcrle\u015febilece\u011fimize, s\u0131f\u0131rdan ba\u015flayabilece\u011fimize dair sars\u0131lmam\u0131\u015f inanca yat\u0131r\u0131m yap\u0131yor. Bu y\u00fczden olsa gerek Fatih Ak\u0131n, \u201cbir y\u00fck\u00fcm vard\u0131, onu seyirciye b\u0131rakt\u0131m\u201d diyordu. Lakin seyirci de etik karar\u0131 ask\u0131ya al\u0131p bu y\u00fck\u00fc b\u00fcy\u00fck anlat\u0131ya geri g\u00f6ndermenin pe\u015fine d\u00fc\u015febiliyor, \u00e7\u00fcnk\u00fc anlat\u0131 iyiler-k\u00f6t\u00fcler ayr\u0131m\u0131na yaslanmam\u0131za (Nazaret\u2019i \u00f6ld\u00fcremeyen ve onun hayat\u0131n\u0131 kurtaran, borcunu, kefaretini b\u00f6yle \u00f6deyen su\u00e7lu Mehmet, tehcir s\u0131ras\u0131nda sakat kalan Lucin\u00e9e\u2019yle evlenmek istemeyen zengin Ermeni ya da K\u0131z\u0131lderili gen\u00e7 kad\u0131na tecav\u00fcz etmeye \u00e7al\u0131\u015fan erkek i\u015f\u00e7iler), soyk\u0131r\u0131m\u0131 \u00fcreten tikel \u015fiddeti \u00f6rtbas edebilen \u015fu ortak insanl\u0131k t\u0131rabzan\u0131na tutunmam\u0131za, \u201cfarkl\u0131l\u0131klar\u0131m\u0131za ra\u011fmen hepimiz insan\u0131z\u201d d\u00fczleminin rahatlat\u0131c\u0131l\u0131\u011f\u0131na kendimizi b\u0131rakmam\u0131za (\u00f6zellikle de Ararat\u2019la fark\u0131n\u0131n devreye sokulabiliyor olmas\u0131nda: \u201cd\u00fc\u015fmanl\u0131k yapm\u0131yor, intikam alm\u0131yor, evrensel ortak dil, vb.\u201d) izin veriyor, g\u00f6z yumuyor. Filmin sadakatle sahiplendi\u011fi etik karar, ask\u0131ya al\u0131narak, yokmu\u015f gibi yap\u0131larak konu\u015fmaya devam edilebiliyor ya da Kesik\u2019in \u201colmu\u015flu\u011fu\u201d ya da \u201colmam\u0131\u015fl\u0131\u011f\u0131\u201d \u00fczerine konu\u015fma, hakikate dokunman\u0131n etik-estetik-politik bir mesele olu\u015funa do\u011fru a\u00e7\u0131lmak bir yana, ispat y\u00fck\u00fcyle ya da y\u00fckten kurtulmakla s\u0131n\u0131rl\u0131 bir \u00e7er\u00e7eveye hapsolabiliyor.<\/p>\n

Bu sebeple Kesik\u2019i yaz\u0131n\u0131n ba\u015f\u0131nda s\u00f6z etti\u011fim etik karar\u0131n\u0131n gerisine d\u00fc\u015fmeden, bu karar\u0131 tan\u0131yarak ele\u015ftirmeye, onun estetik tercihinin s\u0131n\u0131rlar\u0131n\u0131 g\u00f6rmeye, onu Ararat\u2019a k\u0131yasla ge\u00e7 kalm\u0131\u015f bir epik anlat\u0131 yapan\u0131n ne oldu\u011funu anlamaya ihtiyac\u0131m\u0131z var. Jean-Luc Godard\u2019\u0131n Schindler\u2019in Listesi hakk\u0131ndaki ele\u015ftirilerini hat\u0131rlamal\u0131y\u0131z belki de.19 Holokost\u2019un yeniden yarat\u0131larak temsil edilemeyecek bir olay oldu\u011funu, \u00fczerine konu\u015fulamayacak olan\u0131 konu\u015famayaca\u011f\u0131m\u0131z\u0131 s\u00f6yleyecektir Godard. Bir g\u00f6rsel tabudan s\u00f6z etmemektedir elbette. Allemagne 90 Neuf Z\u00e9ro (1991) filminde kamp kurbanlar\u0131n\u0131n g\u00f6r\u00fcnt\u00fclerini kullan\u0131r o da; ama Olay\u2019a ancak kurgu ile hakikat, varl\u0131k ile yokluk aras\u0131nda bir yerlerde dokunabilece\u011fimizi fark ettirmek \u00fczere oradad\u0131r bu g\u00f6r\u00fcnt\u00fcler. Oysa, ar\u015fiv g\u00f6r\u00fcnt\u00fclerine sanki olay\u0131n ger\u00e7ekli\u011fini temsil ediyorlarm\u0131\u015f gibi bakt\u0131\u011f\u0131m\u0131zda, her \u015feyi g\u00f6rd\u00fc\u011f\u00fcm\u00fcz inanc\u0131n\u0131n, buradaki yan\u0131lsaman\u0131n fark\u0131na varmam\u0131z m\u00fcmk\u00fcn de\u011fildir.<\/p>\n

Yeniden kurarak g\u00f6rd\u00fc\u011f\u00fcm\u00fcz\u00fcn o Olay olamayaca\u011f\u0131na, temsil edilenle Olay aras\u0131ndaki a\u015f\u0131lamaz mesafeye dikkatimizi \u00e7ekecektir Godard. Bu mesafeyi kuran, toplama kamplar\u0131nda a\u015f\u0131r\u0131l\u0131\u011f\u0131n, a\u015f\u0131r\u0131-\u015fiddetin banalle\u015fmesi ya da s\u0131radanla\u015fmas\u0131, insan\u0131n buna al\u0131\u015fabilmesi ve deh\u015fetin g\u00fcndelik rutine, her g\u00fcnk\u00fc gibi olana d\u00f6n\u00fc\u015fmesidir.20 Her t\u00fcrden tarihsel gerek\u00e7elendirmeyi ge\u00e7ersizle\u015ftiren bu a\u015f\u0131r\u0131l\u0131\u011f\u0131, muktedir bir baban\u0131n kurtar\u0131c\u0131l\u0131\u011f\u0131yla gidermeyi se\u00e7en Schindler\u2019in Listesi ise ge\u00e7mi\u015f-\u015fimdi aras\u0131nda da do\u011frusal bir ili\u015fki kurar. Spielberg, ge\u00e7mi\u015fteki \u0131rk\u00e7\u0131 \u015fiddet ger\u00e7e\u011fini g\u00f6stererek, bug\u00fcne h\u00e2kim olan benzer davran\u0131\u015flar\u0131n cesaret ve g\u00fc\u00e7lerini k\u0131rabilece\u011fine inanmaktad\u0131r. Basit\u00e7e \u015funa da: Ge\u00e7mi\u015fteki \u0131rk\u00e7\u0131 \u00f6nyarg\u0131lar\u0131n i\u011fren\u00e7 sonu\u00e7lar\u0131n\u0131 g\u00f6ren insanlar bunlar\u0131n bug\u00fcnk\u00fc d\u0131\u015favurumlar\u0131na kar\u015f\u0131 da harekete ge\u00e7eceklerdir. Peki ya, ge\u00e7ip gitmemi\u015f, bug\u00fcn burada bizimle olmaya devam eden, payla\u015f\u0131lan ve ortak olarak icra etti\u011fimiz \u00fcstelik de toplumsal ger\u00e7eklik alan\u0131n\u0131 n\u00f6tr bir alan gibi g\u00f6rmek konusunda belirli bir k\u00f6rl\u00fc\u011fe bizi s\u00fcrekli sevk eden dilsel, politik, tarihsel \u00f6zneler oldu\u011fumuzu ask\u0131ya almay\u0131 ba\u015faran bir \u015fimdi-ge\u00e7mi\u015f ala\u015f\u0131m\u0131ndan s\u00f6z ediyorsak \u015fayet?<\/p>\n

Kulaklar\u0131 Sa\u011f\u0131r Eden Sessizlik<\/strong><\/p>\n

Sinemada yayg\u0131n olan gelene\u011fin, yani ge\u00e7mi\u015fin perdedeki mevcudiyetinin inand\u0131r\u0131c\u0131l\u0131\u011f\u0131yla seyirciye seslenmenin tam kar\u015f\u0131 ucunda ise tarihi nesnenin, ge\u00e7mi\u015fin, imk\u00e2ns\u0131z stat\u00fcs\u00fcn\u00fc korumak yer al\u0131r. Bu t\u00fcrden filmler, ge\u00e7mi\u015fte olup bitenin namevcudiyeti etraf\u0131nda dolan\u0131rlar. Todd McGowan\u2019\u0131n deyi\u015fiyle Schindler Listesi\u2019nin kontrpuan\u0131 Claude Lanzmann\u2019\u0131n Shoah\u2019s\u0131d\u0131r (1985). Burada ge\u00e7mi\u015f, ele ge\u00e7irilemezli\u011fiyle, temsil edilemezli\u011fiyle film evreninde a\u00e7\u0131lm\u0131\u015f bir delik, imk\u00e2ns\u0131zl\u0131k noktas\u0131 olarak yer almakta, olan biteni temsil etme iddias\u0131 etik-politik-estetik bir tercihle, dokunulan ge\u00e7mi\u015fe duyulan sayg\u0131yla reddedilmektedir: \u201cShoah soyk\u0131r\u0131m\u0131 yeniden sahnelemeyi reddederek ve olaylara yaln\u0131zca hayatta kalanlar\u0131n, faillerin ya da ara\u015ft\u0131rmac\u0131lar\u0131n s\u00f6zleriyle yakla\u015fmakta \u0131srarc\u0131 olarak, tarihsel nesneye kendi tekilli\u011fi i\u00e7inde sayg\u0131 duymay\u0131 ama\u00e7lamaktad\u0131r.\u201d21<\/p>\n

Alain Resnais\u2019nin Gece ve Sis (Nuit et Brouillard, 1955) filmiyse bu imk\u00e2ns\u0131zl\u0131\u011f\u0131 mucizevi bir bi\u00e7imsel ke\u015fifle m\u00fcmk\u00fcne \u00e7evirir. Ortas\u0131nda ula\u015f\u0131lamaz bir delikle namevcudiyet boyutu ta\u015f\u0131yan \u015fimdinin evreninden, ge\u00e7mi\u015ften arda kalan izlerin, harabelerin, sessizli\u011fin \u015fimdiye ait renkli evreninden siyah beyaz ar\u015fiv g\u00f6r\u00fcnt\u00fcleriyle olu\u015fturulan ge\u00e7mi\u015fin evrenine ge\u00e7ilir. Hem dolays\u0131zca ar\u015fiv g\u00f6r\u00fcnt\u00fcleri g\u00f6stermenin hem de ge\u00e7mi\u015fi namevcudiyet boyutunda b\u0131rakman\u0131n olumsuzland\u0131\u011f\u0131 bu bi\u00e7imsel ke\u015fif, iki evreni i\u00e7 i\u00e7e ge\u00e7irir. B\u00f6ylelikle tarih\u00ee nesneyle, \u201cher \u015feyi g\u00f6rd\u00fcm\u201d ayart\u0131s\u0131na kap\u0131lacak bir bi\u00e7imde de\u011fil, imk\u00e2ns\u0131z nesne olarak kar\u015f\u0131la\u015f\u0131r\u0131z. Bak\u0131\u015f a\u00e7\u0131m\u0131z\u0131n bu yetersizli\u011fine maruz kalmak, kendi k\u0131r\u0131lganl\u0131\u011f\u0131m\u0131z\u0131, ger\u00e7ekli\u011fimizin k\u0131r\u0131lganl\u0131\u011f\u0131n\u0131 deneyimledi\u011fimiz etik bir konumdur. McGowan\u2019\u0131n ifadesiyle:<\/p>\n

Tarihsel nesneye ula\u015fabilmemiz, onun sadece ge\u00e7mi\u015fteki olaylar\u0131 de\u011fil, bug\u00fcn\u00fcn ba\u015far\u0131s\u0131zl\u0131klar\u0131n\u0131 somutla\u015ft\u0131rmas\u0131 nedeniyle m\u00fcmk\u00fcnd\u00fcr. Gece ve Sis\u2019teki anlat\u0131c\u0131n\u0131n son s\u00f6zleri, soyk\u0131r\u0131m\u0131n ge\u00e7mi\u015fte ya\u015fanm\u0131\u015f m\u00fcnferit bir vaka oldu\u011fu inanc\u0131n\u0131n sahteli\u011fini dile getirir. Film, soyk\u0131r\u0131m\u0131n, bug\u00fcn art\u0131k var olmad\u0131\u011f\u0131na inanan insanlar\u0131 itham eder: \u2018Sanki b\u00fct\u00fcn olan biten yaln\u0131zca bir kez, verili bir zamanda ve mek\u00e2nda ger\u00e7ekle\u015fmi\u015f gibi davran\u0131yoruz. Bizi ku\u015fatan \u015feylere kar\u015f\u0131 g\u00f6zlerimiz k\u00f6rle\u015fmi\u015f ve insanl\u0131\u011f\u0131n bitip t\u00fckenmez feryad\u0131na kar\u015f\u0131 kulaklar\u0131m\u0131z sa\u011f\u0131rla\u015fm\u0131\u015f durumda.\u2019\u200922<\/p>\n

Gece ve Sis bununla da kalm\u0131yor, Fransa\u2019y\u0131 Auschwitz aynas\u0131na yans\u0131t\u0131yor, Debarati Sanyal\u2019\u0131n ifadesiyle ad\u0131 konmam\u0131\u015f Cezayir Sava\u015f\u0131\u2019na alegorik bir y\u00fcz kazand\u0131r\u0131yordu. Resnais, sonras\u0131nda bu Cezayir ba\u011flam\u0131n\u0131 a\u00e7\u0131k\u00e7a ifade edecek, Cezayir sava\u015f\u0131n\u0131n ortas\u0131nda filmi yapt\u0131klar\u0131n\u0131, ge\u00e7mi\u015fte ne olmu\u015fsa \u015fimdide de, Fransa\u2019da, her \u015feyin yeniden olmaya ba\u015flad\u0131\u011f\u0131n\u0131 ifade edecekti.23<\/p>\n

Schindler\u2019in Listesi\u2019ni ele\u015ftiren Godard i\u00e7in Holokost sadece 20. y\u00fczy\u0131l tarihinde de\u011fil, sinema tarihinde de bir kopu\u015f yaratm\u0131\u015ft\u0131r. Bu kopu\u015f sineman\u0131n, farz etti\u011fimiz temel sorumlulu\u011funu (tan\u0131kl\u0131k etme) ba\u015fkalar\u0131na (siyasete) terk etti\u011fi \u00e2na i\u015faret eder. Godard estetik olarak k\u00f6t\u00fc bir filmin etik olarak da kabul edilemezli\u011fini defalarca s\u00f6yleyecektir. En uzla\u015fmac\u0131 ifadelerinden biri: \u201cEtik ile estetik aras\u0131nda bir tercih yapmak do\u011fru olabilir, ama \u015fu da daha az do\u011fru de\u011fildir: hangisini se\u00e7erse se\u00e7sin, biri, yolun sonunda di\u011feriyle kar\u015f\u0131la\u015facakt\u0131r.\u201d24 Estetik tercih, yolun sonunda eti\u011fi bulur. Tan\u0131kl\u0131\u011f\u0131n \u00f6tesinde bir dilsel edim aray\u0131\u015f\u0131, seyirciyi de \u201cher \u015feyi g\u00f6rd\u00fcm\u201d ayart\u0131s\u0131na kap\u0131lmaktan uzak tutman\u0131n yollar\u0131n\u0131 aray\u0131\u015f de\u011fil midir? Ger\u00e7eklik duygumuzu, b\u00fct\u00fcnl\u00fck alg\u0131m\u0131z\u0131 kaybetti\u011fimiz, ger\u00e7ekli\u011fimizi kuramad\u0131\u011f\u0131m\u0131z e\u015fikler\/imk\u00e2ns\u0131zl\u0131klar oldu\u011funu anlatmak, ger\u00e7ekli\u011fimizin tekrar tekrar, m\u00fczakere edilerek kuruldu\u011funu da anlatmak de\u011fil midir? Son olarak \u015fu: Felaket sadece \u2018tan\u0131\u011f\u0131 olmayan olay\u2019 de\u011fil, ayn\u0131 zamanda bir t\u00fcrl\u00fc yok edilemeyen, silinemeyen olay da de\u011fil midir? D\u00fcped\u00fcz \u015fimdiye musallat olan, tan\u0131mlanamayan ama g\u00f6m\u00fclemeyen de?<\/p>\n

Kesik\u2019in etik karar\u0131yla yola \u00e7\u0131kt\u0131k ama kar\u015f\u0131m\u0131za estetik tercih \u00e7\u0131kt\u0131: Kesik, temsil etti\u011fi \u015feyin namevcudiyetini, orada olamay\u0131\u015f\u0131n\u0131 da, temsilin hep ge\u00e7 kalm\u0131\u015fl\u0131\u011f\u0131n\u0131 da hesaba katmayan, bu y\u00fczden \u201cbir zamanlar, bir kereli\u011fine\u201d diyen sinema gelene\u011fine yaslan\u0131yor; anlatt\u0131\u011f\u0131 meselede temsilin imk\u00e2nlar\u0131\/imk\u00e2ns\u0131zl\u0131klar\u0131, temsilin etik-politik niteli\u011fi \u00fczerine \u00e7ok\u00e7a d\u00fc\u015f\u00fcnm\u00fc\u015f, seyircisini g\u00fcvenli bir ahlaki pozisyonda sadece seyirci olarak tutmaktansa onu su\u00e7luluk, sorumluluk, ithamla kar\u015f\u0131 kar\u015f\u0131ya b\u0131rakan, seyircisine musallat olman\u0131n yollar\u0131n\u0131 arayan tasallut sinemas\u0131 gelene\u011fine de\u011fil. Mesela Bir Zamanlar Anadolu\u2019da (2011) filminde durum tam tersi de\u011fil midir? Bast\u0131r\u0131lm\u0131\u015f bir hakikati a\u00e7\u0131\u011fa \u00e7\u0131karmakla hi\u00e7 ilgilenmez film. \u0130nsan\u0131n nas\u0131l su\u00e7 i\u015fleyebilece\u011fi falan de\u011fil, su\u00e7 sahnesine tan\u0131kl\u0131k ya da hakikatte ne oldu\u011fu hi\u00e7 de\u011fil, nas\u0131l olup da kendimizi su\u00e7suz hissedebildi\u011fimiz, kendi masumiyetimizin her daim ayart\u0131c\u0131 olu\u015fudur burada pe\u015fine d\u00fc\u015f\u00fclen. Bizim d\u0131\u015f\u0131m\u0131zda duran, bizi lekeleme ihtimali olmayan su\u00e7a bak\u0131\u015f\u0131m\u0131zla kendi su\u00e7umuza bak\u0131\u015f\u0131m\u0131z aras\u0131ndaki derin fark \u00fczerine tefekk\u00fcre zorlan\u0131r\u0131z. Kendi su\u00e7lar\u0131m\u0131zla ili\u015fkimize yalan\u0131 ve kendinden ho\u015fnutlu\u011fu, su\u00e7luluk duygusu ve ink\u00e2r\u0131, kay\u0131ts\u0131zl\u0131k ya da sorumsuzlu\u011fu sokan geni\u015f toplumsal a\u011f\u0131 tan\u0131maya. Bu y\u00fczden, co\u011frafyayla \u00e7er\u00e7evelenen film evreninde su\u00e7 sahnesi namevcuttur. K\u00f6t\u00fcl\u00fc\u011f\u00fc ya da a\u015f\u0131r\u0131l\u0131\u011f\u0131 belirli bir bak\u0131\u015fa, belirli bir bedene, belirli bir neden-sonu\u00e7 ili\u015fkisine ba\u011flay\u0131p g\u00fcvenli bir ahlaki alan kurmak yerine bu namevcutluk a\u015f\u0131r\u0131-mevcudiyetle (ta\u015fra b\u00fcrokrasisi) yan yana konmu\u015ftur burada. Filmin esteti\u011fi, toplumsal ger\u00e7ekli\u011fe d\u00fc\u015fen lekeyi anlama kavu\u015fturman\u0131n ters y\u00f6n\u00fcnde hareket eder; \u00f6znelli\u011fimizin g\u00f6r\u00fc\u015f alan\u0131n\u0131 kurdu\u011fu s\u0131rada \u00e7arp\u0131t\u0131\u015f\u0131n\u0131, (tarihsel-) \u00f6znelli\u011fin nesnel toplumsal ger\u00e7ekli\u011fin \u00fczerine d\u00fc\u015f\u00fcrd\u00fc\u011f\u00fc bu lekeyi tan\u0131mam\u0131z\u0131 sa\u011flayarak, n\u00f6tr bir toplumsal ger\u00e7eklik yan\u0131lsamas\u0131n\u0131 sarsar. Filmin zaman\u0131 ise y\u00f6netmenin s\u00f6zleriyle gelece\u011fin ge\u00e7mi\u015fidir.25 Film evreninde, filmin ad\u0131n\u0131n \u00e7er\u00e7eveledi\u011fi \u2018imk\u00e2ns\u0131z ge\u00e7mi\u015f\u2019 \u00f6ylesine kusursuz bir bi\u00e7imde namevcut k\u0131l\u0131nm\u0131\u015ft\u0131r ki, bu delikten, co\u011frafyada ya\u015fanm\u0131\u015f k\u00f6t\u00fcl\u00fcklerin, ses ve bak\u0131\u015flar\u0131n hayaletleri i\u00e7eri girer. Delik hem toplumsal belle\u011fe hem de \u00f6znel belle\u011fe a\u00e7\u0131l\u0131r ya da onlarla kapat\u0131l\u0131r.<\/p>\n

Gelece\u011fin Ge\u00e7mi\u015fi<\/strong><\/p>\n

\u2018Tan\u0131\u011f\u0131 olmayan olay\u2019\u0131 anlatabilmek i\u00e7in ke\u015ffedilen estetik yollara dair elbette upuzun bir tart\u0131\u015fma, hem sinema hem de d\u00fc\u015f\u00fcnce gelene\u011fi var. Bir yandan bu gelene\u011fin estetik ve politik olarak gerisinde kalan, di\u011fer yandan Bir Zamanlar Anadolu\u2019da filminin kontrpuan\u0131 gibi d\u00fc\u015f\u00fcnebilece\u011fimiz Kesik\u2019i, bir ba\u015f\u0131na \u2018ge\u00e7 kalm\u0131\u015f epik anlat\u0131\u2019 olarak adland\u0131rmakta yine de zorlan\u0131yorum; T\u00fcrkl\u00fck perdesinin y\u00fczy\u0131ll\u0131k ink\u00e2r\u0131n\u0131 ask\u0131ya al\u0131p ba\u015flayan film bittikten sonra, \u015fimdide ink\u00e2ra yeniden d\u00f6nsek de, T\u00fcrkl\u00fc\u011f\u00fcm\u00fcz\u00fcn ger\u00e7eklik evreni i\u00e7ine, dopdolu mevcudiyetin i\u00e7ine geri d\u00f6nd\u00fcr\u00fclemez bir kesik ya da kopu\u015f sokuyor oldu\u011fu i\u00e7in. Filmin etik karar\u0131n\u0131n \u00e7ok gerisinde kalan, onu ask\u0131ya alan yorumlay\u0131c\u0131 repertuar\u0131 g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131\u011f\u0131, n\u00f6tr toplumsal ger\u00e7eklik\/tarih yalan\u0131n\u0131 if\u015fa edecek bir y\u00fczey a\u00e7t\u0131\u011f\u0131 i\u00e7in.<\/p>\n

Corry Guttstadt, Ermeni Soyk\u0131r\u0131m\u0131 ile Shoah\u2019y\u0131 ayn\u0131la\u015ft\u0131rmadan, kar\u015f\u0131la\u015ft\u0131rarak tart\u0131\u015fman\u0131n gere\u011finden bahsederken bir, hatta iki \u00f6nko\u015fuldan s\u00f6z edecektir \u2013sadece Ermeni Soyk\u0131r\u0131m\u0131\u2019na dair ink\u00e2r politikas\u0131n\u0131n sona ermesinden de\u011fil, ayn\u0131 zamanda Shoah\u2019yla ciddi bir bi\u00e7imde me\u015fgul olmaktan.26 O zaman ink\u00e2r\u0131n ve hat\u0131rlaman\u0131n birbirinin kar\u015f\u0131t\u0131 olarak net bir bi\u00e7imde hi\u00e7bir zaman kar\u015f\u0131m\u0131za \u00e7\u0131kmad\u0131\u011f\u0131n\u0131, ge\u00e7mi\u015fle y\u00fczle\u015fmenin devletin ink\u00e2r politikas\u0131ndan vazge\u00e7mesinden ibaret olmad\u0131\u011f\u0131n\u0131, ink\u00e2r\u0131n devlet politikas\u0131yla s\u0131n\u0131rl\u0131 d\u00fc\u015f\u00fcn\u00fclemeyece\u011fini, Holokost\u2019a dair Almanya\u2019da anma siyasetinin hayatta kalan Yahudilerin, antifa\u015fist ve demokrat aktivistlerin ve bilim insanlar\u0131n\u0131n m\u00fccadelesiyle m\u00fcmk\u00fcn k\u0131l\u0131nd\u0131\u011f\u0131n\u0131,27 boyutlar\u0131 ancak 1980\u2019lerin sonlar\u0131nda ve 1990\u2019larda kavranan Holokost\u2019un bug\u00fcn h\u00e2l\u00e2 hat\u0131rlama m\u00fccadelesinin bir par\u00e7as\u0131 oldu\u011funu (herhangi bir anlat\u0131da sorumsuzca ve kolaya ka\u00e7an bir ahlaki arka plan olarak kullan\u0131lmas\u0131ndan ve banalle\u015ftirilmesinden m\u00fczelik bir olaya indirgenmesine, kurban hiyerar\u015filerinden 20. y\u00fczy\u0131l\u0131n ilk soyk\u0131r\u0131m\u0131 Herero ve Nama Soyk\u0131r\u0131m\u0131\u2019n\u0131n tan\u0131nmay\u0131\u015f\u0131na, s\u00f6m\u00fcrgelerdeki cinayetlerin ink\u00e2r\u0131na kadar) g\u00f6rebilme, insana \u00f6zg\u00fc bu ak\u0131l almaz a\u015f\u0131r\u0131l\u0131klar \u00fczerine tefekk\u00fcr edebilmenin farkl\u0131 yollar\u0131n\u0131 bulabilece\u011fiz.<\/p>\n

T\u00fcrkiye sinemas\u0131nda insana \u00f6zg\u00fc a\u015f\u0131r\u0131l\u0131klar ve k\u00f6t\u00fcl\u00fckler \u00fczerine d\u00fc\u015f\u00fcnmenin belirli bir y\u00fczeyde, belirli bir katta biteviye as\u0131l\u0131 kal\u0131\u015f\u0131n\u0131n da i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z co\u011frafyadaki, Anadolu\u2019daki k\u00f6t\u00fcl\u00fckler, kimli\u011fimizin \u00e7oktan bir par\u00e7as\u0131 olmu\u015f, elimizin, kolumuzun s\u00fcrekli tak\u0131ld\u0131\u011f\u0131 a\u015f\u0131r\u0131l\u0131klar \u00fczerine yeterince d\u00fc\u015f\u00fcnmemi\u015f olmakla, \u0131rk\u00e7\u0131l\u0131\u011f\u0131\/\u0131rk\u00e7\u0131 \u015fiddeti co\u011frafyan\u0131n s\u0131n\u0131rlar\u0131 i\u00e7inde biz dedi\u011fimiz hayal\u00ee toplulukla ilgili bir mesele olarak yeterince d\u00fc\u015f\u00fcnmemi\u015f olmakla da bir ili\u015fkisi olsa gerek. Ya da ben b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fcn sars\u0131lmas\u0131na meydan okuyan, kayb\u0131n kayb\u0131n\u0131 ink\u00e2r eden ben yan\u0131lsamas\u0131yla? Utan\u00e7 e\u015fi\u011fimizin epeyce y\u00fcksek olmas\u0131yla? Kendi masumiyetimize duydu\u011fumuz sars\u0131lmaz inan\u00e7la?<\/p>\n

Etik-politik karar\u0131n, insani iradenin kurucu rol\u00fc de burada, bu zaman kavray\u0131\u015f\u0131nda bana kal\u0131rsa. Marc Nichanian\u2019la Wendy Brown\u2019\u0131, estetikle siyaseti ayn\u0131 katlarda kar\u015f\u0131la\u015ft\u0131ran zaman kavray\u0131\u015f\u0131nda: Ge\u00e7mi\u015fte ya\u015fanm\u0131\u015f olay, ancak gelecekten bize ula\u015fabilir.28 O bizim ge\u00e7mi\u015fimiz de\u011fil, gelecek zaman\u0131n ge\u00e7mi\u015fidir. Hangi gelece\u011fin ge\u00e7mi\u015fi olaca\u011f\u0131n\u0131 haz\u0131rlayacak olan ise etik-politik kararlar\u0131m\u0131zd\u0131r \u2013Olay\u2019\u0131n bu karardan hep arda kalan olaca\u011f\u0131n\u0131n fark\u0131nda. Estetikle etik aras\u0131ndaki giderilemez gerilimi kabullenmeye haz\u0131r olarak.<\/p>\n

Akl\u0131n k\u00f6t\u00fcmserli\u011fi, iradenin iyimserli\u011fi: Kesik, bir hayalet \u00e7a\u011f\u0131rd\u0131. Kat kat, uzun ve me\u015fakkatli bir yola d\u00fc\u015fmemiz gerekti\u011fini f\u0131s\u0131ldayan.<\/p>\n

Yaz\u0131ya katk\u0131lar\u0131ndan dolay\u0131 \u00d6zg\u00fcr Sevgi G\u00f6ral, Nurdan G\u00fcrbilek, Mehmet Ali \u00c7al\u0131\u015fkan ve Mesut Ye\u011fen\u2019e te\u015fekk\u00fcr ederim.<\/p>\n

Notlar: <\/b><\/p>\n

1 Jacques Derrida, Marx\u2019\u0131n Hayaletleri: Bor\u00e7 Durumu, Yas \u00c7al\u0131\u015fmas\u0131 ve Yeni Enternasyonal, \u00e7ev. Alp T\u00fcmertekin (\u0130stanbul: Ayr\u0131nt\u0131 Yay\u0131nlar\u0131, 2001), 12.<\/i><\/p>\n

2 Marc Nichanian, Edebiyat ve Felaket, \u00e7ev. Ay\u015feg\u00fcl S\u00f6nmezay (\u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 2011), 176.<\/i><\/p>\n

3 Kitlesel \u00f6l\u00fcmlerin ya\u015fand\u0131\u011f\u0131 bu \u00f6l\u00fcm kamplar\u0131, Marc Nichanian\u2019\u0131n ifadesiyle ay\u0131klama kamplar\u0131, \u00f6l\u00fcmhaneler, imha plan\u0131n\u0131n 1916 \u015eubat ay\u0131nda ba\u015flayan ikinci evresine aittir. Nichanian, Edebiyat ve Felaket, 57-58.<\/i><\/p>\n

4 \u00d6vg\u00fc G\u00f6k\u00e7e\u2019nin Altyaz\u0131\u2019da <goo.gl\/AsuSqp> ve U\u011fur Vardan\u2019\u0131n H\u00fcrriyet\u2019te <goo.gl\/gBLM5c> Fatih Ak\u0131n\u2019la yapt\u0131klar\u0131 s\u00f6yle\u015filere bak\u0131labilir.<\/i><\/p>\n

5 Yak\u0131n zamanda Altyaz\u0131\u2019da yay\u0131mlanan yaz\u0131s\u0131nda \u00d6zg\u00fcr Sevgi G\u00f6ral, Haneke\u2019nin Sakl\u0131\u2019s\u0131ndan (Cach\u00e9, 2005) yola \u00e7\u0131karak T\u00fcrkiye\u2019de ele\u015ftirel\/entelekt\u00fcel dilin s\u0131n\u0131rlar\u0131na, baz\u0131 kavramlar\u0131n bu co\u011frafyayla ba\u011f\u0131n\u0131n neredeyse hi\u00e7 kurulmam\u0131\u015f olmas\u0131na (utan\u00e7, sorumluluk alma, hesap verme), baz\u0131 kavramlar\u0131 ya da yorumlama \u00e7er\u00e7evelerini kullanmak konusundaki savruklu\u011fa, gev\u015fekli\u011fe dikkatimizi \u00e7ekiyordu. \u00d6zg\u00fcr Sevgi G\u00f6ral, \u201c\u0130simsiz \u00d6l\u00fcler,\u201d Altyaz\u0131 144 (2014): 56-60.<\/i><\/p>\n

6 Gazetelerde film \u00fczerine yaz\u0131lm\u0131\u015f yaz\u0131lara bak\u0131labilir. \u0130ki \u00f6rnek vereyim: G\u00fclcan Tezcan, \u201c1915\u2019i Diasporadan Okumak ya da Kesik\u201d, Star, 14 Aral\u0131k 2014, eri\u015fim 17 \u015eubat 2015, <gl\/Z8osWr>. Tunca Arslan, \u201cKesik: I\u015e\u0130D 1915\u201d, Ayd\u0131nl\u0131k, 8 Aral\u0131k 2014, eri\u015fim 17 \u015eubat 2015, < goo.gl\/tzKyyJ>.<\/i><\/p>\n

7 Mesela Atilla Dorsay, \u201c1915 Ermeni olay\u0131 yine filmini bulamad\u0131\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131nda epey dolamba\u00e7l\u0131, kimi zaman ikrara yakla\u015fan bir ink\u00e2r s\u00f6ylemi kuruyor. Sadece bu yaz\u0131n\u0131n de\u011fil, ba\u015fka yaz\u0131lar\u0131n da esas sorunu a\u015fa\u011f\u0131da g\u00f6rece\u011fimiz gibi Holokost\u2019la ilgili de ciddi bir me\u015fguliyet ya da tefekk\u00fcre sahip olmamalar\u0131. Biraz uzunca bir al\u0131nt\u0131, se\u00e7ilmi\u015f birka\u00e7 c\u00fcmle: \u201cOysa Yahudi soyk\u0131r\u0131m\u0131 ne \u00e7ok ba\u015fyap\u0131ta yol a\u00e7m\u0131\u015ft\u0131\u2026 Peki, kimilerinin \u2018Holocaust\u2019a yol g\u00f6sterdi\u2019 diye niteledi\u011fi \u2018Ermeni soyk\u0131r\u0131m\u0131\u2019 ni\u00e7in \u00f6nemli ve inand\u0131r\u0131c\u0131 bir filme yol a\u00e7mad\u0131? \u0130nsan\u0131n akl\u0131na ka\u00e7\u0131n\u0131lmaz olarak \u015fu geliyor: acaba ger\u00e7ekten bir soyk\u0131r\u0131m olmad\u0131\u011f\u0131 i\u00e7in mi? Ben de say\u0131s\u0131z T\u00fcrk vatanda\u015f\u0131 gibi bunun bir soyk\u0131r\u0131m olmad\u0131\u011f\u0131na, en az\u0131ndan Nazi soyk\u0131r\u0131m\u0131yla k\u0131yaslanacak bir soyk\u0131r\u0131m olmad\u0131\u011f\u0131na inansam da, temel bak\u0131\u015f\u0131m de\u011fi\u015fmiyor: 1915\u2019lerde ya\u015fananlar bir insanl\u0131k su\u00e7udur, soyk\u0131r\u0131m de\u011filse de katliamd\u0131r. Ve bu kadar\u0131 bile T\u00fcrkiye\u2019nin devlet olarak ve halk olarak, tarihin bu ac\u0131 d\u00f6nemine hem sanat, hem de tarihsel ara\u015ft\u0131rma yoluyla e\u011filmesini, hatta \u00f6z\u00fcr de dilemesini gerektirebilir. Bundan ka\u00e7\u0131nmayal\u0131m. \u00d6ncelikle 1915\u2019lerde Mardin\u2019de ba\u015flayan hikayenin arka plan\u0131n\u0131 sadece birka\u00e7 c\u00fcmleyle a\u00e7\u0131klay\u0131p hemen olaylara ge\u00e7mek yeterli de\u011fil. Elbette bu bir belgesel de\u011fil, ama Ermeni Olay\u0131, Yahudi soyk\u0131r\u0131m\u0131n\u0131n tersine d\u00fcnya kamuoyunun ve \u00e7a\u011fda\u015f seyircinin bildi\u011fi bir olay de\u011fil. (\u2026.) b\u00f6ylece film, bir yan\u0131yla sanki bizi soyk\u0131r\u0131m su\u00e7lamas\u0131ndan akl\u0131yor!\u2026 Ama ayn\u0131 \u00f6l\u00e7\u00fcde trajik bir tarih dilimine g\u00fc\u00e7l\u00fc bir bak\u0131\u015f atan \u00f6nemli bir film olmaktan da al\u0131koyuyor.\u201d Atilla Dorsay, \u201c1915 Ermeni Olay\u0131 yine filmini bulamad\u0131,\u201d T24, 5 Aral\u0131k 2014, eri\u015fim 17 \u015eubat 2015, <gl\/PUv9pf>.<\/i><\/p>\n

8 Mesela Kesik\u2019i cesur buldu\u011funu ifade eden Asl\u0131 Daldal, filmin derdini, \u201cintikam almak de\u011fil, yaralar\u0131 sarmak; nefret kusmak de\u011fil, diyalog kurmak\u201d ihtiyac\u0131 olarak anlat\u0131rken, Ararat\u2019la k\u0131yaslama yoluna giriyor: \u201cKalbinden intikam duygusunu atan ve \u00e7\u0131lg\u0131n y\u00f6netmeni taraf\u0131ndan \u00f6nce K\u00fcba\u2019ya sonra da Minneapolis\u2019e kadar g\u00f6t\u00fcr\u00fclen Nazareth\u2019i filmde daha pek \u00e7ok zorluk beklemektedir.<\/i>\u2028<\/i>Kesik Atom Egoyan\u2019\u0131n Ararat filmini belli a\u00e7\u0131lardan \u00e7a\u011fr\u0131\u015ft\u0131r\u0131yor. Oyuncular\u0131n bir k\u0131sm\u0131 da ortak. \u00d6rne\u011fin Ararat\u2019ta Arshile Gorky\u2019i canland\u0131ran Simon Abkarian burada da oynamakta. Yine Ararat\u2019ta \u00f6nemli bir rol\u00fc olan Atom Egoyan\u2019\u0131n e\u015fi Arsin\u00e9e Khanjian filmde yer almakta. Ancak bu y\u00fczeysel benzerlikler d\u0131\u015f\u0131nda Kesik, Ararat\u2019tan \u00e7ok temel bir noktada ayr\u0131lmakta: Kesik d\u00fc\u015fmanl\u0131k yapm\u0131yor; tarihsel ger\u00e7ekler \u0131\u015f\u0131\u011f\u0131nda insani, evrensel bir ortak dil yakalama \u00e7abas\u0131 i\u00e7eriyor. Film \u00f6zellikle H\u0131ristiyanl\u0131\u011fa yakla\u015f\u0131m\u0131 ile de di\u011fer tipik \u201csoyk\u0131r\u0131m\u201d filmlerinden ayr\u0131l\u0131yor ve punk k\u00fclt\u00fcr\u00fcne g\u00f6z k\u0131rpan bir y\u00f6netmenin elinden \u00e7\u0131kt\u0131\u011f\u0131n\u0131 belli ediyor. Ararat\u2019\u0131n aksine Kesik, Bat\u0131 d\u00fcnyas\u0131na ho\u015f g\u00f6r\u00fcnmek i\u00e7in a\u011f\u0131r bir H\u0131ristiyan retori\u011fine ya da Amerikan r\u00fcyas\u0131n\u0131n kurtar\u0131c\u0131l\u0131\u011f\u0131na s\u0131\u011f\u0131nmamakta.\u201d Asl\u0131 Daldal, \u201cKesik,\u201d BirG\u00fcn, 14 Aral\u0131k 2014, eri\u015fim 17 \u015eubat 2015, <gl\/sfIszX>.<\/i><\/p>\n

9 Ayda Erbal ve Talin Suciyan, Ermenilerin y\u00fczy\u0131ll\u0131k yaln\u0131zl\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131klar\u0131 makalelerinde b\u00fct\u00fcn bunlar\u0131 zihin a\u00e7\u0131c\u0131 bir bi\u00e7imde izah ediyorlar. \u015eimdide normalle\u015ftirilmi\u015f-g\u00fcndelik \u0131rk\u00e7\u0131 arka planla ge\u00e7mi\u015f aras\u0131ndaki ba\u011f\u0131 kurarak d\u00fc\u015f\u00fcnmemizi sa\u011fl\u0131yorlar. Yine ayn\u0131 makalede 1895\u2019ten 1915\u2019e uzanan tarihsel aral\u0131kta Ermenilere y\u00f6nelik \u0131rk\u00e7\u0131 \u015fiddetin hukuki-toplumsal-politik e\u015fitli\u011fin tan\u0131nmamas\u0131yla ili\u015fkili olu\u015funa dikkat \u00e7ekiyorlar. Ayda Erbal, Talin Suciyan, \u201cOne Hundred Years of Abandonment,\u201d The Armenian Weekly, 29 Nisan 2011, eri\u015fim 17 \u015eubat 2015, <gl\/X9mJJ7>.<\/i><\/p>\n

Marc Nichanian\u2019a g\u00f6re Osmanl\u0131 Ermenilerinin k\u0131y\u0131m\u0131na y\u00f6nelik 1918 sonras\u0131nda g\u00f6ze \u00e7arpan mutlak sessizlik asl\u0131nda \u00e7ok daha \u00f6nceleri ba\u015flam\u0131\u015ft\u0131. 1895\u2019te Anadolu y\u00fcksek yaylas\u0131nda, 1909\u2019da Kilikya\u2019da, 1915-16\u2019da b\u00fct\u00fcn Anadolu\u2019da ger\u00e7ekle\u015fen katliamlar kar\u015f\u0131s\u0131nda i\u00e7eride ba\u015flayan sessizlik giderek kulaklar\u0131 sa\u011f\u0131r eden bir h\u00e2l alm\u0131\u015ft\u0131: \u201c1895 sonbahar\u0131nda Do\u011fu Anadolu\u2019da ya\u015fanan korkun\u00e7 \u015fiddet olaylar\u0131, \u0130mparatorluk s\u0131n\u0131rlar\u0131 i\u00e7inde yank\u0131 bulmad\u0131. Ayn\u0131 nedenlerle, ne T\u00fcrk\u00e7ede yank\u0131 bulabilirlerdi, ne de Ermenicede. T\u00fcrkiye\u2019nin, kendi tarihine ili\u015fkin inan\u0131lmaz ve korkun\u00e7 bilgi bo\u015flu\u011fu o y\u0131llarda ba\u015flad\u0131; maalesef hi\u00e7bir tarih \u00e7al\u0131\u015fmas\u0131 bu bo\u015flu\u011fu hi\u00e7bir zaman dolduramayacakt\u0131r. Olan oldu. Art\u0131k tamir etmek m\u00fcmk\u00fcn de\u011fil. Sessizli\u011fin k\u00f6t\u00fcl\u00fc\u011f\u00fc.\u201d Nichanian, Edebiyat ve Felaket, 40.<\/i><\/p>\n

10 \u201cQ&A: Fatih Akin Discusses His New Film The Cut,\u201d The New York Times, 26 A\u011fustos 2014, eri\u015fim 17 \u015eubat 2015, <gl\/7JxBbK>.<\/i><\/p>\n

11 Hamid Dabashi, \u201cTurkish \u2018Genocide\u2019 Film: An epic too late?\u201d, Aljazeera, 18 Eyl\u00fcl 2014, eri\u015fim 17 \u015eubat 2015, <gl\/u5E7lT>.<\/i><\/p>\n

12 Nichanian, Hagop O\u015fagan\u2019\u0131n miras\u00e7\u0131s\u0131 oldu\u011funu ve onun kulland\u0131\u011f\u0131 adland\u0131rmayla olay\u0131n \u00f6zel ad\u0131n\u0131, Felaket\/A\u011fed\u2019i tercih etti\u011fini belirtir. Nichanian\u2019\u0131n, metnin tamam\u0131 boyunca anlataca\u011f\u0131\/g\u00f6sterece\u011fi gibi olay ile olguyu, Felaket ile Soyk\u0131r\u0131m\u0131 birbirinden ay\u0131rt etmek gerekir. A\u011fed\u2019i ilk defa Zabel Yesayan, 1911\u2019de 1909 katliam\u0131n\u0131 anlatmak \u00fczere kullan\u0131r. Yirmi y\u0131l sonra Hagop O\u015fagan, 1915\u2019i A\u011fed olarak, b\u00fcy\u00fck harfle, \u00f6zel ad olarak kullanacakt\u0131r. Nichanian, Edebiyat ve Felaket, 23-24.<\/i><\/p>\n

13 Buradaki \u015fimdinin b\u00fcnyesindeki ge\u00e7mi\u015f bahsi tam olarak Wendy Brown\u2019un \u015fu s\u00f6zlerini hat\u0131rlat\u0131yor: \u201cYahudi Soyk\u0131r\u0131m\u0131, ku\u015fkusuz ya\u015fand\u0131, fakat yol a\u00e7t\u0131\u011f\u0131 ayr\u0131nt\u0131l\u0131 d\u00f6k\u00fcm\u00fc, altm\u0131\u015f sene sonra, soyk\u0131r\u0131m\u0131n ard\u0131ndan gelen tarihsel d\u00f6nemde, d\u00fcnyan\u0131n farkl\u0131 yerlerinde, farkl\u0131 \u015fekillerde ya\u015fayan insanlar i\u00e7in bu soyk\u0131r\u0131m\u0131n ne anlama geldi\u011fi hakk\u0131nda hi\u00e7bir \u015fey anlatmaz bize. Bu nedenle, Yahudi Soyk\u0131r\u0131m\u0131n\u0131n maddeselli\u011fine veya olgusall\u0131\u011f\u0131na yap\u0131lan vurgu, Yahudi Soyk\u0131r\u0131m\u0131n\u0131n \u015fimdi\u2019de nas\u0131l ya\u015fad\u0131\u011f\u0131 sorusu i\u00e7in, bu vurgunun kar\u015f\u0131t\u0131 oldu\u011fu iddia edilen g\u00f6r\u00fc\u015f kadar \u015f\u00fcpheli bir konumdad\u0131r\u2026 Ge\u00e7mi\u015fin \u015fimdi ile, bu ikisinin de gelecek ile ili\u015fkisi karma\u015f\u0131k bir siyasi mesele oldu\u011fundan, ne olgularla ne de do\u011frulukla \u00e7\u00f6z\u00fcmlenebilir. S\u00f6m\u00fcrgeci tarihler post-s\u00f6m\u00fcrgeci \u015fimdi\u2019yi a\u00e7\u0131ktan a\u00e7\u0131\u011fa kaplad\u0131\u011f\u0131 i\u00e7in, post-s\u00f6m\u00fcrgeci \u00e7izgideki ara\u015ft\u0131rmac\u0131lar bunu pekala kavr\u0131yor olmakla birlikte, metropollerin hegemonyac\u0131 tarih yaz\u0131m\u0131n\u0131n, nesnelli\u011fi hala tarihsel ve siyasi bir kurtulu\u015f bi\u00e7imi olarak sunmas\u0131 hayli ironiktir.\u201d Wendy Brown, Tarihten \u00c7\u0131kan Siyaset, \u00e7ev. Emine Ayhan (\u0130stanbul: Metis, 2010), 174.<\/i><\/p>\n

14 Nichanian, Edebiyat ve Felaket, 28.<\/i><\/p>\n

15 Nichanian, Lanzmann\u2019\u0131n Shoah\u2019s\u0131 \u00fczerine Shoshana Felman\u2019\u0131n yaz\u0131s\u0131nda kulland\u0131\u011f\u0131 kavramsalla\u015ft\u0131rmadan yararlan\u0131r: \u201ctan\u0131\u011f\u0131-olmayan-olay\u201d Nichanian, Edebiyat ve Felaket,<\/i><\/p>\n

16 Nichanian, Edebiyat ve Felaket, 33.<\/i><\/p>\n

17 Nichanian, Edebiyat ve Felaket, 33-34.<\/i><\/p>\n

18 Rober Kopta\u015f, Kesik \u00fczerine yaz\u0131s\u0131nda Tanr\u0131\u2019ya isyan\u0131n tan\u0131kl\u0131k \u00f6tesinde kendine buldu\u011fu dilsel edimlerden birinden bahseder: \u201c1915\u2019te ya\u015fananlardan \u00f6t\u00fcr\u00fc Tanr\u0131\u2019ya inanc\u0131n yitimi ve isyan, Ermeni ger\u00e7ekli\u011finde \u00e7ok\u00e7a g\u00f6r\u00fclen, usta m\u00fczisyen Arthur Meschian\u2019\u0131n \u2018Ur eir Asdvadz?\u201d (Neredeydin Tanr\u0131?) \u015fark\u0131s\u0131nda sanatsal ifadesini bulmu\u015f bir temad\u0131r.\u201d Rober Kopta\u015f, \u201cThe Cut: \u00d6l\u00fcmle Ya\u015fam Aras\u0131nda\u201d, Agos, 11 Aral\u0131k 2014.<\/i><\/p>\n

19 Duncan Wheeler, \u201cGodard\u2019s List: Why Spielberg and Auschwitz are Number One\u201d, Media History, 15, No. 2 (2009), 186-203.<\/i><\/p>\n

20 Duncan Wheeler, \u201cGodard\u2019s List,\u201d 197.<\/i><\/p>\n

21 Todd McGowan, Ger\u00e7ek Bak\u0131\u015f, \u00e7ev. Zeynep \u00d6zen Barkot (\u0130stanbul: Say, 2012), 294.<\/i><\/p>\n

22 Todd McGowan, Ger\u00e7ek Bak\u0131\u015f, 296.<\/i><\/p>\n

23 Debarati Sanyal, \u201cAuschwitz as Allegory in Night and Fog,\u201d Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais\u2019s Night and Fog, der. Griselda Pollock ve Max Silverman (Berghahn Books, 2011), 166-167. Jean Cayrol (Gece ve Sis\u2019in metin yazar\u0131) Setif katliam\u0131ndan \u00fc\u00e7 y\u0131l sonra, 1948 y\u0131l\u0131nda, Albert Camus ve Francis Ponge ile birlikte Cezayir\u2019deki bir k\u00fclt\u00fcrel bulu\u015fmaya kat\u0131l\u0131yor ve burada Mohammed Dib, Kateb Yacine gibi gen\u00e7 Cezayirli yazarlarla tan\u0131\u015f\u0131yor. Debarati Sanyal, Gece ve Sis\u2019in Cezayir \u00e7er\u00e7evesini bu kar\u015f\u0131la\u015fmayla da ili\u015fkili d\u00fc\u015f\u00fcn\u00fcyor (Sanyal, 181).<\/i><\/p>\n

24 Duncan Wheeler, \u201cGodard\u2019s List,\u201d 193.<\/i><\/p>\n

25 Esin K\u00fc\u00e7\u00fcktepep\u0131nar, \u201cNuri Bilge Ceylan ile S\u00f6yle\u015fi\u201d, Sabah, 23 May\u0131s 2011, <gl\/6PFQrS>.<\/i><\/p>\n

26 Corry Guttstadt, \u201cHolocaust\u2019un \u2018Faydalar\u0131\u2019: Hat\u0131rlama, \u0130stismar, Banalle\u015ftirme,\u201d Azad Alik, eri\u015fim 17 \u015eubat 2015, <gl\/ek2rPZ>.<\/i><\/p>\n

27 Guttstadt\u2019\u0131n yaz\u0131s\u0131nda aktard\u0131\u011f\u0131 \u00f6rnek, \u201cHolokost ne \u00e7ok ba\u015fyap\u0131ta yol a\u00e7t\u0131\u201d c\u00fcmlesini a\u011fz\u0131m\u0131zdan savruk\u00e7a d\u00f6kmeye engel olacak bir yutkunma yarat\u0131yor: \u201cSava\u015f\u0131n bitiminden sonraki ilk birka\u00e7 on y\u0131lda Nazi su\u00e7lular\u0131n ve kitlesel cinayetlerin sorumlular\u0131n\u0131n \u00e7o\u011fu g\u00f6n\u00fcl rahatl\u0131\u011f\u0131yla ekonomi ve politikadaki mevkilerine d\u00f6nm\u00fc\u015flerdi. Hayatta kalan Yahudiler anlay\u0131\u015fs\u0131zl\u0131k ve husumetle kar\u015f\u0131 kar\u015f\u0131ya kald\u0131lar. Auschwitz\u2019ten sa\u011f olarak kurtulan tarih\u00e7i Joseph Wulf, \u00e7ok say\u0131da kitap ve belge yay\u0131mlayarak Federal Alman kamuoyunu nasyonal sosyalizmin cinayetleri hakk\u0131nda ayd\u0131nlatmak i\u00e7in harcad\u0131\u011f\u0131 \u00e7abalar kar\u015f\u0131l\u0131ks\u0131z kal\u0131nca, teslimiyete kap\u0131larak 1974\u2019te intihar etmi\u015fti. O\u011fluna b\u0131rakt\u0131\u011f\u0131 veda mektubunda \u015f\u00f6yle yazm\u0131\u015ft\u0131: \u2018Alman \u00dc\u00e7\u00fcnc\u00fc Reich\u2019\u0131 \u00fczerine 18 kitap yay\u0131mlad\u0131m ve bunun hi\u00e7bir etkisi olmad\u0131. Almanlara her \u015feyi geberesiye belgeleyip kan\u0131tlayabilirsin, Bonn\u2019da olabilecek en demokratik h\u00fck\u00fcmet i\u015f ba\u015f\u0131nda olabilir \u2013ama kitlesel cinayetler i\u015flemi\u015f olanlar yine serbest\u00e7e gezer ortal\u0131kta, m\u00fcstakil evlerinde oturur \u00e7i\u00e7ek yeti\u015ftirirler.\u2019\u201d<\/i><\/p>\n

28 Wendy Brown, Tarihten \u00c7\u0131kan Siyaset, 154. \u015eimdi-ge\u00e7mi\u015f ili\u015fkisine dair esteti\u011fin ve siyasetin yollar\u0131n\u0131n kesi\u015fti\u011fi bu yerde Derrida\u2019n\u0131n hayaletleri, yani \u201chayaletli bilin\u00e7 siyaseti\u201d ve \u201cbellek, miras, ku\u015faklar siyaseti\u201d duruyor. Wendy Brown\u2019dan \u201chayaletler-ile-olma\u201d bilinci \u00fczerine, uzunca: \u201cBu bilince sahip olmak demek, ge\u00e7mi\u015fin ve gelece\u011fin hayaletleriyle, ge\u00e7mi\u015fin katlan\u0131l\u0131r ve katlan\u0131lmaz hat\u0131ralar\u0131yla ve do\u011fmam\u0131\u015f olanlara kar\u015f\u0131 y\u00fck\u00fcml\u00fcl\u00fc\u011f\u00fcn a\u011f\u0131rl\u0131\u011f\u0131yla etkin bir bi\u00e7imde ya\u015famas\u0131n\u0131 \u00f6\u011frenmek, asl\u0131nda bunlar\u0131 siyaseten etkinle\u015ftirmek demektir. Derrida ge\u00e7mi\u015fin nas\u0131l hat\u0131rland\u0131\u011f\u0131 veya reddedildi\u011fine ili\u015fkin kal\u0131c\u0131 bir sorun olarak tarihin siyasi y\u00fcz\u00fcn\u00fc \u0131srarla vurgulamak suretiyle (t\u0131pk\u0131 Benjamin gibi) tarihi bellekten ay\u0131rma ama\u00e7l\u0131 her t\u00fcrden saf kategoriyi olanaks\u0131z k\u0131lar. Bizler \u00f6l\u00fclerden \u2018ger\u00e7ekten ba\u015flar\u0131na gelmi\u015f olan \u015feyleri\u2019 de\u011fil, ba\u015flar\u0131na gelen bu \u015feylerden sonra ya\u015famay\u0131 s\u00fcrd\u00fcren, medet umulan \u015feyi, ge\u00e7mi\u015f ku\u015faklar\u0131n ve olaylar\u0131n \u015fimdi\u2019nin g\u00fc\u00e7 alanlar\u0131n\u0131 zapt etme bi\u00e7imini, bu ku\u015fak ve olaylar\u0131n bizim \u00fczerimizde hak talep etme bi\u00e7imini, gelecek hayallerimiz ve bak\u0131\u015flar\u0131m\u0131za musallat olma, bula\u015fma ve hayat verme bi\u00e7imlerini miras al\u0131r\u0131z.\u201d Wendy Brown, Tarihten \u00c7\u0131kan Siyaset, 185.<\/i><\/p>\n

http:\/\/www.altyazi.net\/gozecarpanlar\/kesikin-actigi-yerden-kat-kat-notlar\/<\/i><\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Umut T\u00fcmay Arslan T\u00fcrkiye sinemas\u0131n\u0131n Ermeni Soyk\u0131r\u0131m\u0131 konusundaki sessizlik yeminini bozan Kesik \u00fczerine farkl\u0131 mecralarda pek \u00e7ok yaz\u0131 kaleme al\u0131nd\u0131. Fatih Ak\u0131n\u2019\u0131n filmi etraf\u0131ndaki tart\u0131\u015fmalar, hi\u00e7bir epik anlat\u0131n\u0131n ba\u015f edemeyece\u011fi bir temsil krizini g\u00f6zler \u00f6n\u00fcne seriyor. Canl\u0131 \u015fimdinin bu kendi kendisinin \u00e7a\u011fda\u015f\u0131-olamama durumu olmaks\u0131z\u0131n, canl\u0131 \u015fimdinin gizli gizli ayar\u0131n\u0131 bozan \u015fey olmaks\u0131z\u0131n, orada olmayanlara kar\u015f\u0131, […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,42,1,70],"tags":[],"class_list":["post-34254","post","type-post","status-publish","format-standard","hentry","category-ermeni-soykirimi","category-filmler","category-haberler","category-makaleler"],"yoast_head":"\nKesik\u2019in A\u00e7t\u0131\u011f\u0131 Yerden: Kat Kat Notlar - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/akunq.net\/tr\/?p=34254\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kesik\u2019in A\u00e7t\u0131\u011f\u0131 Yerden: Kat Kat Notlar - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Umut T\u00fcmay Arslan T\u00fcrkiye sinemas\u0131n\u0131n Ermeni Soyk\u0131r\u0131m\u0131 konusundaki sessizlik yeminini bozan Kesik \u00fczerine farkl\u0131 mecralarda pek \u00e7ok yaz\u0131 kaleme al\u0131nd\u0131. 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