{"id":62148,"date":"2021-03-31T01:36:38","date_gmt":"2021-03-31T06:36:38","guid":{"rendered":"https:\/\/akunq.net\/tr\/?p=62148"},"modified":"2021-03-31T01:36:38","modified_gmt":"2021-03-31T06:36:38","slug":"inkari-hala-surdurebilmemizi-mumkun-kilan-repertuvari-gozardi-edemeyiz","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=62148","title":{"rendered":"“\u0130nk\u00e2r\u0131 h\u00e2l\u00e2 s\u00fcrd\u00fcrebilmemizi m\u00fcmk\u00fcn k\u0131lan repertuvar\u0131 g\u00f6zard\u0131 edemeyiz”"},"content":{"rendered":"
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Ferda Balancar<\/a><\/span>\u00a0<\/span><\/strong><\/div>\n
P\u0131nar Y\u0131ld\u0131z\u2019\u0131n \u2018Kay\u0131p Haf\u0131zan\u0131n \u0130zinde: Sinemada Ge\u00e7mi\u015fle Y\u00fczle\u015fme, Yas ve \u0130nk\u00e2r\u2019 ba\u015fl\u0131kl\u0131 kitab\u0131 Metis Yay\u0131nlar\u0131\u2019ndan \u00e7\u0131kt\u0131. Halen Almanya\u2019da Berlin Frei \u00dcniversi-tesi\u2019nde, sinema, toplumsal cinsiyet, g\u00f6\u00e7 ve haf\u0131za alanlar\u0131nda \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcren Dr. P\u0131nar Y\u0131ld\u0131z ile kitab\u0131ndan yola \u00e7\u0131karak, \u2018Kesik\u2019, \u2018Ararat\u2019, \u2018Saroyan \u00dclkesi\u2019 gibi sinema yap\u0131tlar\u0131 \u00fczerinden ge\u00e7mi\u015fle y\u00fczle\u015fme konusunda konu\u015ftuk.<\/span><\/em><\/strong><\/div>\n
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Kitaptaki anahtar kavramlardan biri, ilk b\u00f6l\u00fcmde yer verdi\u011finiz \u2018temsil krizi\u2019. Kitab\u0131 hen\u00fcz okumayanlar i\u00e7in travmatik bir ge\u00e7mi\u015fi anlatman\u0131n yol a\u00e7t\u0131\u011f\u0131 \u2018temsil krizi\u2019 ifadesini a\u00e7ar m\u0131s\u0131n\u0131z?<\/strong><\/p>\n

Temsil krizine dair tart\u0131\u015fma, Holokost gibi b\u00fcy\u00fck bir y\u0131k\u0131mla kar\u015f\u0131la\u015fan edebiyat\u0131n ve sineman\u0131n, bu felaketi anlat\u0131ya d\u00f6n\u00fc\u015ft\u00fcrmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131nda kendi y\u0131k\u0131m\u0131yla ve yetersizli\u011fiyle kar\u015f\u0131la\u015fmas\u0131yla ortaya \u00e7\u0131kar. Her zaman kulland\u0131\u011f\u0131m\u0131z s\u00f6zc\u00fcklerle, b\u00fct\u00fcnl\u00fckl\u00fc ve tutarl\u0131 anlat\u0131larla b\u00f6ylesine y\u0131k\u0131c\u0131 felaketleri anlatman\u0131n m\u00fcmk\u00fcn olmad\u0131\u011f\u0131yla y\u00fczle\u015filmi\u015f olmas\u0131 temsile duyulan inanc\u0131n sars\u0131lmas\u0131na neden olur. Bu tart\u0131\u015fman\u0131n oda\u011f\u0131nda Theodor W. Adorno\u2019nun \u201cAuschwitz sonras\u0131 s\u0327iir yazmak barbarl\u0131kt\u0131r\u201d c\u00fcmlesi yer al\u0131r. \u0130lk ba\u015flarda temsilin imk\u00e2ns\u0131zl\u0131\u011f\u0131 olarak anla\u015f\u0131lan bu c\u00fcmle, daha sonralar\u0131 \u2018ba\u015fka t\u00fcrl\u00fc temsil\u2019 aray\u0131\u015f\u0131n\u0131 i\u00e7eren bir tart\u0131\u015fmaya do\u011fru evrilir. Ba\u015fka t\u00fcrl\u00fc temsil aray\u0131\u015f\u0131n\u0131, Holokost gibi b\u00fcy\u00fck y\u0131k\u0131mlar\u0131, ge\u00e7mi\u015fte ya\u015fanm\u0131\u015f ve bitmi\u015f s\u0131radan bir olaya d\u00f6n\u00fc\u015ft\u00fcrmeyen, ya\u015fananlar\u0131n deh\u015fetini ehlile\u015ftirmeyen ve ge\u00e7mi\u015fin \u015fimdiki zamanla ili\u015fkisini g\u00f6z ard\u0131 etmeyen bir temsil anlay\u0131\u015f\u0131 olarak \u00f6zetleyebiliriz. Bu anlamda, Adorno\u2019nun itiraz\u0131 bir temsil yasa\u011f\u0131n\u0131 dillendirmiyordu elbette. Nurdan G\u00fcrbilek, \u2018Sessizin Pay\u0131\u2019 kitab\u0131nda s\u0327iirin imk\u00e2ns\u0131zl\u0131g\u0306\u0131na dair c\u00fcmlenin \u2018K\u00fclt\u00fcr Eles\u0327tirisi ve Toplum\u2019 yaz\u0131s\u0131nda olmas\u0131n\u0131n tesad\u00fcf olmad\u0131g\u0306\u0131n\u0131 s\u00f6yler. Adorno, h\u00e2l\u00e2 \u2018felaketin bir par\u00e7as\u0131 oldug\u0306umuza dikkatimizi \u00e7ekerek\u2019 su\u00e7un ortaya \u00e7\u0131kt\u0131g\u0306\u0131 k\u00fclt\u00fcr \u00fczerine d\u00fcs\u0327\u00fcnmemizi istiyordu. Bu nedenle, i\u00e7inde yer ald\u0131\u011f\u0131m\u0131z k\u00fclt\u00fcr\u00fcn bu felaketin ortaya \u00e7\u0131kmas\u0131ndaki pay\u0131n\u0131 g\u00f6r\u00fcnmez k\u0131lan bir temsile itiraz\u0131n\u0131 dillendiriyor ve b\u00f6yle bir temsili felaketle su\u00e7 orta\u011f\u0131 olmakla e\u015f de\u011fer g\u00f6r\u00fcyordu. Marc Nichanian da \u2018Edebiyat ve Felaket\u2019 kitab\u0131nda benzer bir tart\u0131\u015fmay\u0131 \u20181915 Felaketi\u2019 \u00fczerinden y\u00fcr\u00fct\u00fcr ve b\u00fct\u00fcnl\u00fckl\u00fc bir dilin s\u0131n\u0131r\u0131nda kalarak Felaket\u2019in do\u011fas\u0131n\u0131 kavrayamayacag\u0306\u0131m\u0131z\u0131 s\u00f6yler.<\/p>\n

Holokost\u2019la kars\u0327\u0131las\u0327mak edebiyat gibi sinemay\u0131 da belki de g\u00f6rsel bir sanat olmas\u0131 nedeniyle daha derin bir krizle, kendi yetersizli\u011fiyle ba\u015f ba\u015fa b\u0131rak\u0131r. Geride neredeyse hi\u00e7bir g\u00f6r\u00fcnt\u00fc b\u0131rakmayan, bir \u2018yoklug\u0306a\u2019 d\u00f6n\u00fcs\u0327en ve hayal dahi edilemeyen bir felaket, hayal etme sanat\u0131 olan sinema ile nas\u0131l anlat\u0131labilir? Holokost\u2019a dair sineman\u0131n verdi\u011fi ilk yan\u0131t az say\u0131daki ar\u015fiv g\u00f6r\u00fcnt\u00fclerinden olu\u015fan belgeseller olmu\u015ftur. Ancak bu ilk belgeseller, seyirciyi, bu g\u00f6r\u00fcnt\u00fcleri \u00e7eken Nazi subaylar\u0131n bak\u0131\u015f\u0131na ya da su\u00e7tan muaf masum bir tan\u0131k pozisyonuna yerle\u015ftirmekle ve b\u00f6ylece su\u00e7 orta\u011f\u0131 olmakla ele\u015ftirilir.<\/p>\n

Sinema \u00fczerinden konu\u015fmaya devam edersek, bu krizden \u00e7\u0131kma gayreti, en nihayetinde temsilin etik-politik y\u00f6n\u00fcne ve sineman\u0131n tan\u0131k olma sorumlulu\u011funa dair bir tart\u0131\u015fmaya evrilir. Bu tart\u0131\u015fma bize \u015funu s\u00f6yler: Etik-politik a\u00e7\u0131dan sorumlu bir temsil, sonu\u00e7lar\u0131yla y\u00fczle\u015filmemi\u015f ve bug\u00fcn\u00fcn siyasal-toplumsal d\u00fczeninin kurulmas\u0131na neden olmu\u015f bir felaketi, ge\u00e7mi\u015fte b\u0131rakmayan, ya\u015fananlar\u0131n bug\u00fcnle ili\u015fkisini g\u00f6r\u00fcn\u00fcr k\u0131lan ve \u015fimdiki zamanda yer alan \u00f6znelerin sorumluluk pay\u0131n\u0131 dillendiren bir hat\u0131rlama diliyle in\u015fa edilebilir.<\/p>\n

Fatih Ak\u0131n\u2019\u0131n \u2018Kesik\u2019 ve Atom Egoyan\u2019\u0131n \u2018Ararat\u2019 filmlerini de\u011ferlendirdi\u011finiz \u00e7er\u00e7e-vede kamuoyunda ‘1915\u2019i anlatan ilk Hollywood filmi\u2019 olarak tan\u0131nan \u2018The Promise\u2019\u0131 nas\u0131l de\u011ferlendiriyorsunuz?<\/strong>
\n\u2018Kesik\u2019 ve \u2018Ararat\u2019\u0131, yukar\u0131da yer alan tart\u0131\u015fmaya dahil ederek temsilin etik-politik sorumlulu\u011fu ba\u011flam\u0131nda de\u011ferlendiriyorum. Fatih Ak\u0131n\u2019\u0131n \u2018Kesik\u2019 filmi, elbette y\u00fcz y\u0131ll\u0131k ink\u00e2rla \u00e7er\u00e7evelenmi\u015f T\u00fcrkl\u00fck\u2019\u00fcn bak\u0131\u015f\u0131na soyk\u0131r\u0131m\u0131 dahil etmeye \u00e7al\u0131\u015fmas\u0131 a\u00e7\u0131s\u0131ndan \u00f6nemli. Ancak Ak\u0131n soyk\u0131r\u0131m\u0131, \u015fimdiyle ilgili bir mesele olarak su\u00e7 ve sorumluluk miras\u0131yla birlikte d\u00fc\u015f\u00fcnmez. Bu nedenle film, geriye kalan bos\u0327lug\u0306u, s\u00fcren ink\u00e2r\u0131, bu y\u0131k\u0131m\u0131n her birimizi kurmaya devam eden ve dikis\u0327 tutmayan bir \u2018kesik\u2019 oldug\u0306unu anlatamaz. Hem Ermeniler i\u00e7in hem T\u00fcrkler i\u00e7in kapanmayan bir \u2018kesik\u2019ten s\u00f6z ediyorum. \u2018Felaket\u2019i, b\u00fct\u00fcnl\u00fckl\u00fc bir evrenin dag\u0306\u0131ld\u0131g\u0306\u0131 (ailenin par\u00e7alanmas\u0131) ve sonra eksik de olsa yeniden bir araya geldig\u0306i (baba-k\u0131z\u0131n kavus\u0327mas\u0131) bir anlat\u0131yla temsil ederek seyircisini teselli eden filmin bi\u00e7imini bu nedenle \u2018telafi estetig\u0306i\u2019 olarak adland\u0131rabileceg\u0306imizi d\u00fcs\u0327\u00fcn\u00fcyorum. Bu kavram\u0131 G\u00fcrbilek\u2019ten \u00f6d\u00fcn\u00e7 al\u0131yorum. S\u00f6z\u00fcn\u00fc etti\u011finiz \u2018The Promise\u2019 filmini de \u2018telafi esteti\u011fi\u2019ne dahil edebiliriz. S\u00f6z konusu film de \u2018Felaket’i b\u00fct\u00fcnl\u00fckl\u00fc bir evrenin dag\u0306\u0131ld\u0131g\u0306\u0131 ve filmin sonunda kay\u0131plarla da olsa yeniden tamamland\u0131\u011f\u0131 bir anlat\u0131yla \u00e7er\u00e7eveler. Deh\u015feti anlatman\u0131n g\u00fcvenli yolu olarak bir as\u0327k hik\u00e2yesine s\u0131g\u0306\u0131n\u0131r, b\u00f6ylece deh\u015feti katlanabilir k\u0131lar. Film, seyircisine, yol a\u00e7t\u0131\u011f\u0131 kay\u0131plara ra\u011fmen \u2018Felaket\u2019in geride kalm\u0131\u015f oldu\u011funu s\u00f6yler. Seyircisini teselli eden bu anlat\u0131, ink\u00e2r edilen ve sonu\u00e7lar\u0131yla h\u00e2l\u00e2 i\u00e7inde yer ald\u0131\u011f\u0131m\u0131z \u2018Felaket\u2019i s\u0131radan bir olaya d\u00f6n\u00fc\u015ft\u00fcrerek ge\u00e7mi\u015fin evreninde b\u0131rakmaya yol a\u00e7ar.<\/p>\n

\u2018Ararat\u2019 ise, ge\u00e7mi\u015fin ink\u00e2r edilmesinin, ink\u00e2r edeni de ink\u00e2r edileni de nas\u0131l h\u00e2l\u00e2 kurmaya devam ettig\u0306ini, \u2018kesik\u2019in ge\u00e7mis\u0327le deg\u0306il bug\u00fcnle, bug\u00fcn bizim ge\u00e7mis\u0327e nas\u0131l yan\u0131t verdig\u0306imizle ilgili bir mesele oldug\u0306unu anlat\u0131r. Bu nedenle filmin evreninde, kapanmayan ve dikis\u0327 tutmayan anlat\u0131lar bize ge\u00e7mis\u0327e dair bir kan\u0131t sunmaya \u00e7al\u0131s\u0327mazlar. Film, g\u00f6r\u00fcs\u0327 alan\u0131m\u0131za dahil olamayan ama s\u0327imdiki zamanda bir sese d\u00f6n\u00fc\u015fen \u2018Felaket\u2019i duymaya \u00e7ag\u0306\u0131r\u0131r.<\/p>\n

\"P\u0131nar<\/div>\n
P\u0131nar Y\u0131ld\u0131z<\/span><\/em><\/div>\n

Lusin Dink\u2019\u0131n \u2018Saroyan \u00dclkesi\u2019 filmiyle ilgili olarak, y\u00f6netmenin bir radyo s\u00f6yle\u015fisin-deki s\u00f6zlerine referansla, \u201cDink\u2019e g\u00f6re \u00f6nemli olan \u20181964\u2019te (ya da bug\u00fcn) Bitlis\u2019te ya\u015farken senin ne hissetti\u011fin, ne d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn, olaylara nas\u0131l yakla\u015ft\u0131\u011f\u0131nd\u0131r\u2019; bu y\u00fczden o insanlar\u0131n ancak bug\u00fcnk\u00fc duru\u015flar\u0131n\u0131 sorgulayabiliriz\u201d diyorsunuz. \u2018Saroyan \u00dclkesi’ kameray\u0131 ele\u015ftirel bir mesafeyle \u2018biz\u2019e \u00e7evirme\u201dnin bir \u00f6rne\u011fi olarak g\u00f6r\u00fclebilir mi?\u00a0 T\u00fcrkiye sinemas\u0131ndan ya da d\u00fcnya sinemas\u0131ndan bu konuda \u00f6rnekler verebilir misiniz?\u00a0\u00a0<\/strong><\/p>\n

Burada \u2018biz\u2019den kast\u0131m tarihsel olarak devrald\u0131\u011f\u0131m\u0131z, ge\u00e7mi\u015fe ve \u015fimdinin toplumsal \u00e7at\u0131\u015fmalar\u0131na bak\u0131\u015f\u0131m\u0131z\u0131 belirleyen T\u00fcrkl\u00fck ve onun hat\u0131rlama ve unutma repertuvar\u0131d\u0131r. Kameray\u0131 ele\u015ftirel bir mesafeyle \u2018biz\u2019e \u00e7eviren bi\u00e7imden ise, bu repertuvara kameras\u0131n\u0131 y\u00f6nel-ten, tarihsel olarak bak\u0131\u015f\u0131m\u0131z\u0131n nas\u0131l T\u00fcrkl\u00fckle \u00e7er\u00e7evelendi\u011fini, bu nedenle tarafl\u0131 bir bak\u0131\u015fla ge\u00e7mi\u015fe ve \u015fimdiye bakt\u0131\u011f\u0131m\u0131z\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lan bir estetik tercihten s\u00f6z ediyorum. B\u00f6yle bir tart\u0131\u015fmay\u0131 y\u00fcr\u00fctebilmek i\u00e7in kitapta \u00f6ncelikle, Atat\u00fcrk filmlerine yer vererek T\u00fcrkl\u00fck\u2019\u00fcn ge\u00e7mi\u015fi ve \u015fimdiyi kavrama bi\u00e7imimizi nas\u0131l belirledi\u011fini ortaya koymaya \u00e7al\u0131\u015f\u0131yorum. 2000 sonras\u0131 \u00e7ekilen Atat\u00fcrk filmleri, o d\u00f6nemde gittik\u00e7e g\u00fc\u00e7lenen ve ge\u00e7mi\u015fin su\u00e7lar\u0131yla y\u00fczle\u015fme talebine bir yan\u0131t i\u00e7eriyor, elbette s\u00f6z konusu olan ink\u00e2rdan, bast\u0131rmadan ve melankolik bir ka\u00e7\u0131\u015ftan olu\u015fan bir yan\u0131t. Ancak bu yan\u0131tlar\u0131, \u2018biz\u2019i kuran hat\u0131rlama, unutma ve duygulanma repertuvar\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lan, ge\u00e7mi\u015fin su\u00e7lar\u0131yla y\u00fczle\u015fmeye \u00e7al\u0131\u015fan bir hat\u0131rlama dilinin neden bu repertuvar\u0131 da g\u00f6z \u00f6n\u00fcnde bulundurmas\u0131 gerekti\u011fini ortaya koyuyor. 100 y\u0131l\u0131 a\u015fk\u0131n bir ink\u00e2r\u0131 h\u00e2l\u00e2 s\u00fcrd\u00fcrebilmemizi m\u00fcmk\u00fcn k\u0131lan repertuvar\u0131 g\u00f6z ard\u0131 edemeyiz. Felaket \u015fimdiyle, i\u00e7ine yerle\u015fti\u011fimiz \u00f6zne pozisyonlar\u0131yla ve devrald\u0131\u011f\u0131m\u0131z mutabakatlarla ilgiliyse \u015fayet, kameray\u0131 bu mutabakatlara da \u00e7evirmek gerekiyor.
\n\u2018Saroyan \u00dclkesi\u2019 de bu anlamda \u2018Felaket\u2019ten geriye kalan bo\u015flu\u011fa ve s\u0131radan g\u00f6r\u00fcnen ge\u00e7mi\u015fin nas\u0131l bir deh\u015fetin miras\u00e7\u0131s\u0131 oldu\u011funa i\u015faret ediyor. Kameray\u0131 su\u00e7 ve sorumluluk ba\u011f-lam\u0131nda \u015fimdiki zamana \u00e7eviren bir bi\u00e7ime \u00f6rnek ise Alain Resnais\u2019nin \u2018Gece ve Sis\u2019 belgeselidir. Almanlar\u0131n \u015fimdiki zamanda \u00fcstlenmesi gereken sorumlulu\u011funu \u015f\u00f6yle hat\u0131rlat\u0131r Resnais belgeselinde: \u201cSanki b\u00fct\u00fcn olan biten yaln\u0131zca bir kez, verili bir zaman ve mek\u00e2nda ger\u00e7ek-les\u0327mis\u0327 gibi davran\u0131yoruz; bizi kus\u0327atan s\u0327eylere kars\u0327\u0131 g\u00f6zlerimiz k\u00f6rles\u0327mis\u0327 ve insanl\u0131g\u0306\u0131n bitip t\u00fckenmez feryad\u0131na kars\u0327\u0131 kulaklar\u0131m\u0131z sag\u0306\u0131rlas\u0327m\u0131s\u0327 durumda\u201d. Belgesel, kameray\u0131 sadece ge\u00e7mi\u015fe de\u011fil, \u015fimdiye ve Almanlara \u00e7evirerek, s\u00f6z konusu olan\u0131n, ge\u00e7mi\u015fte ya\u015fanm\u0131\u015f ve bitmi\u015f bir deh\u015fet olmad\u0131\u011f\u0131n\u0131 hat\u0131rlat\u0131r. Almanlar\u0131n su\u00e7 ve sorumluluk pay\u0131n\u0131 i\u015faret eder. T\u00fcrkiye\u2019de ge\u00e7mi\u015fle y\u00fczle\u015fme, kolektif su\u00e7 ve sorumluluk \u00e7a\u011fr\u0131s\u0131, s\u00fcrekli kesintiye u\u011frat\u0131lan ve bast\u0131r\u0131lan bir \u00e7a\u011fr\u0131; bu \u00e7a\u011fr\u0131 sesini y\u00fckselttik\u00e7e kameray\u0131 ele\u015ftirel mesafeyle T\u00fcrkl\u00fck\u2019e \u00e7evire-cek filmlerin say\u0131s\u0131 artacakt\u0131r.<\/p>\n

\"Saroyan<\/div>\n
Saroyan \u00dclkesi filminden bir kare<\/span><\/em><\/div>\n

Varsay\u0131ma dayal\u0131 bir soru sormak istiyorum. \u20181915\u2019i konu alan bir filmin yap\u0131m s\u00fcre-cinde senaryo dan\u0131\u015fman\u0131 olsan\u0131z, senariste ve y\u00f6netmene neler tavsiye edersiniz?<\/strong>
\nBu soruya bir senaryo dan\u0131\u015fman\u0131 olarak de\u011fil de sinema ve ge\u00e7mi\u015fle y\u00fczle\u015fme \u00fczerine \u00e7al\u0131\u015fan bir ara\u015ft\u0131rmac\u0131 olarak cevap vermeyi tercih ederim. \u20181915\u2019e dair bir film, bir sanat olarak sineman\u0131n travmatik ge\u00e7mi\u015fe dair haf\u0131za olu\u015fturmadaki potansiyeli ve s\u0131n\u0131rl\u0131l\u0131klar\u0131yla ilgili bir meseleyken, di\u011fer yandan da sizin ge\u00e7mi\u015fi nas\u0131l tan\u0131mlad\u0131\u011f\u0131n\u0131zla ilgilidir, bu nedenle estetik ve ayn\u0131 zamanda etik bir meseledir. \u20181915 Felaketi\u2019ni konu alan bir filmin bi\u00e7imini en nihayetinde, senaristin ya da y\u00f6netmenin \u2018Felaket\u2019i nas\u0131l tan\u0131mlad\u0131\u011f\u0131na dair etik tercihi belirleyecektir. \u2018Felaket\u2019i ge\u00e7mi\u015fle ilgili bir mesele olarak m\u0131 d\u00fc\u015f\u00fcn\u00fcyoruz? Sinemadan da \u2018ge\u00e7mi\u015fte kalan\u2019 bu deh\u015feti belgeleyen bir kan\u0131t olmas\u0131n\u0131 m\u0131 bekliyoruz? Yoksa kan\u0131tlar\u0131 dahi silinmi\u015f ve \u015fimdiki zamanda bir yoklu\u011fa d\u00f6n\u00fc\u015fm\u00fc\u015f bir y\u0131k\u0131mdan s\u00f6z etti\u011fimizi kabul ederek mi yola \u00e7\u0131k\u0131yoruz? \u00d6rne\u011fin \u2018Shoah\u2019 belgeselinin y\u00f6netmeni Claude Lanzmann, Holokost\u2019u anlatman\u0131n tam da b\u00f6yle bir bo\u015fluktan yola \u00e7\u0131kmak oldu\u011funu s\u00f6yler: \u201cBir bos\u0327luk d\u0131s\u0327\u0131nda geriye kalan hi\u00e7bir s\u0327ey yok ve bu bos\u0327luktan bir film yapmak gerekiyordu\u201d. \u2018Ararat\u2019 filminde de geri-ye kalan\u0131n ne oldu\u011funu g\u00f6rmek i\u00e7in yolculu\u011fa \u00e7\u0131kan Raffi, \u201cburalar\u0131 g\u00f6rd\u00fcg\u0306\u00fcmde ne kadar \u00e7ok s\u0327eyi kaybettig\u0306imizi anlad\u0131m\u201d der, kaybetti\u011fimiz sadece hayatlar ya da topraklar de\u011fil, hat\u0131rlama olana\u011f\u0131n\u0131n da kayb\u0131d\u0131r: \u201cBurada bir s\u0327eyler oldug\u0306unu kan\u0131tlayabilecek hi\u00e7bir s\u0327ey yok\u201d. Dolay\u0131s\u0131yla \u20181915 Felaketi \u00fczerine bir film yapmak, bir yandan felaketin ne oldu\u011fu, felaketten geriye kalan bo\u015flu\u011fun \u015fimdiki zaman i\u00e7inde nas\u0131l yer ald\u0131\u011f\u0131 ve su\u00e7 ve sorumluluk miras\u0131 \u00fczerine d\u00fc\u015f\u00fcnmeyi gerektirirken, di\u011fer yandan g\u00f6rsel bir sanat olan sineman\u0131n izleri dahi silinmi\u015f bir ge\u00e7mi\u015f kar\u015f\u0131s\u0131ndaki s\u0131n\u0131rl\u0131l\u0131\u011f\u0131 ve potansiyeli \u00fczerine d\u00fc\u015f\u00fcnmeyi gerektirir.<\/p>\n

http:\/\/www.agos.com.tr\/tr\/yazi\/25513\/inkri-hl-surdurebilmemizi-mumkun-kilan-repertuvari-gozardi-edemeyiz\u00a0<\/strong><\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Ferda Balancar\u00a0 P\u0131nar Y\u0131ld\u0131z\u2019\u0131n \u2018Kay\u0131p Haf\u0131zan\u0131n \u0130zinde: Sinemada Ge\u00e7mi\u015fle Y\u00fczle\u015fme, Yas ve \u0130nk\u00e2r\u2019 ba\u015fl\u0131kl\u0131 kitab\u0131 Metis Yay\u0131nlar\u0131\u2019ndan \u00e7\u0131kt\u0131. Halen Almanya\u2019da Berlin Frei \u00dcniversi-tesi\u2019nde, sinema, toplumsal cinsiyet, g\u00f6\u00e7 ve haf\u0131za alanlar\u0131nda \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcren Dr. P\u0131nar Y\u0131ld\u0131z ile kitab\u0131ndan yola \u00e7\u0131karak, \u2018Kesik\u2019, \u2018Ararat\u2019, \u2018Saroyan \u00dclkesi\u2019 gibi sinema yap\u0131tlar\u0131 \u00fczerinden ge\u00e7mi\u015fle y\u00fczle\u015fme konusunda konu\u015ftuk. Kitaptaki anahtar kavramlardan biri, […]<\/p>\n","protected":false},"author":7,"featured_media":62149,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,42,1,54,71],"tags":[],"class_list":["post-62148","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ermeni-soykirimi","category-filmler","category-haberler","category-kitaplar-elestiriler","category-mulakatlar"],"yoast_head":"\n"\u0130nk\u00e2r\u0131 h\u00e2l\u00e2 s\u00fcrd\u00fcrebilmemizi m\u00fcmk\u00fcn k\u0131lan repertuvar\u0131 g\u00f6zard\u0131 edemeyiz" - 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=62148\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""\u0130nk\u00e2r\u0131 h\u00e2l\u00e2 s\u00fcrd\u00fcrebilmemizi m\u00fcmk\u00fcn k\u0131lan repertuvar\u0131 g\u00f6zard\u0131 edemeyiz" - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Ferda Balancar\u00a0 P\u0131nar Y\u0131ld\u0131z\u2019\u0131n \u2018Kay\u0131p Haf\u0131zan\u0131n \u0130zinde: Sinemada Ge\u00e7mi\u015fle Y\u00fczle\u015fme, Yas ve \u0130nk\u00e2r\u2019 ba\u015fl\u0131kl\u0131 kitab\u0131 Metis Yay\u0131nlar\u0131\u2019ndan \u00e7\u0131kt\u0131. 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