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R\u0131za Oylum<\/strong><\/p>\n Sinema sekt\u00f6r\u00fcm\u00fcz, ba\u015flang\u0131c\u0131ndan geli\u015fime d\u00f6nemine kadar az\u0131nl\u0131klar\u0131n olduk\u00e7a yo\u011fun olarak yer ald\u0131klar\u0131 bir sekt\u00f6rd\u00fc. Hem oyuncu olarak hem de kamera arkas\u0131nda \u00e7ok say\u0131da az\u0131nl\u0131k yurtta\u015f, ulusal sineman\u0131n in\u015fa s\u00fcrecinde benzersiz katk\u0131lar yapt\u0131lar. Ne var ki az\u0131nl\u0131klar\u0131n sinemaya yapt\u0131klar\u0131 bu katk\u0131, onlar\u0131n varl\u0131klar\u0131n\u0131 ifade edebildikleri, kamera \u00f6n\u00fcnde kimlikleriyle var olduklar\u0131 bir ortama zemin haz\u0131rlamad\u0131. Ermeniler, Rumlar ve Yahudiler \u00e7o\u011fu zaman k\u00fc\u00e7\u00fck tiplemeler olarak kar\u015f\u0131m\u0131za \u00e7\u0131kt\u0131lar. Ancak baz\u0131 filmlerin \u00f6nemli bir noktas\u0131nda kar\u015f\u0131m\u0131zda belirebiliyorlard\u0131. \u00dc\u00e7 yaz\u0131l\u0131k bir seri olarak sinemam\u0131zda tiplemeden karaktere kadar Rum, Yahudi ve Ermenilerin varl\u0131\u011f\u0131n\u0131n izini s\u00fcrece\u011fim. \u0130lk olarak bu yaz\u0131da sinemada kar\u015f\u0131m\u0131za \u00e7\u0131kan Ermeni karakterleri inceleyece\u011fim.<\/p>\n Sineman\u0131n hen\u00fcz emekleme devrinden ba\u015flayarak Ermeni tiplemelere rastlamak olas\u0131d\u0131r. 1940 yap\u0131m\u0131 Akasya Palas ve ayn\u0131 y\u0131l Faruk Ken\u00e7\u2019in y\u00f6netti\u011fi \u201cY\u0131lmaz Ali\u201d filmleri bu duruma \u00f6rnek say\u0131labilir. 1949 yap\u0131m\u0131 \u201cEfsuncu Baba\u201d filmini de bu listeye eklemeliyiz. \u201cEfsuncu Baba\u201d filmini \u00c2gah \u00d6zg\u00fc\u00e7, \u201cB\u00fcy\u00fcc\u00fcl\u00fc\u011fe inan\u0131p define arayan bir babayla, k\u0131z\u0131na \u00e2\u015f\u0131k olan bir Ermeni gencinin \u00f6yk\u00fcs\u00fc.\u201d (1) olarak tan\u0131t\u0131r. Film g\u00fcn\u00fcm\u00fcze ula\u015fmad\u0131 ancak Ermeni oyuncu Nubar Terziyan\u2019\u0131n ilk filmi olarak kay\u0131tlara ge\u00e7ti. 1950\u2019llerin ikinci yar\u0131s\u0131ndan sonra zamanla kitlesel g\u00f6\u00e7lerin de ba\u015flamas\u0131yla, az\u0131nl\u0131k fig\u00fcrleri giderek tipleme d\u00fczeyinin \u00f6tesine ge\u00e7emeyen rollerde kar\u015f\u0131m\u0131za \u00e7\u0131kmaya ba\u015flad\u0131lar. T\u00fcccar, meyhaneci, g\u00fczelli\u011fini sergileyen bir kad\u0131n ya da ya\u015f\u0131 ge\u00e7kin bir hizmet\u00e7i olabiliyorlard\u0131.<\/p>\n 1950\u2019lerin sonuna gelindi\u011finde Memduh \u00dcn, \u201c\u00dc\u00e7 Arkada\u015f\u201d (1958) filmiyle benzerine az rastlanacak bir yap\u0131m ortaya koydu. \u00dc\u00e7 yoksul gencin \u0130stanbul\u2019da tutunma m\u00fccadelesini anlatan yap\u0131m, Murat (Fikret Hakan), M\u0131st\u0131k (Semih Sezerli) ve Artin\u2019in (Salih Tozan) karde\u015flik d\u00fczeyindeki dostlu\u011fuyla kozmopolit \u0130stanbul\u2019un olanca zenginli\u011fini g\u00f6zler \u00f6n\u00fcne serer. Tav\u015fanlara niyet \u00e7ektiren Murat, foto\u011fraf\u00e7\u0131 Artin ve ayakkab\u0131 boyac\u0131s\u0131 M\u0131st\u0131k\u2019\u0131n yoksullu\u011fa yenilmeyen dostluklar\u0131n\u0131n anlat\u0131ld\u0131\u011f\u0131 filmde, y\u00f6netmen, Artin karakterinin Ermenili\u011fine vurgu yapmaz. Ancak Artin karakteri hem k\u0131yafetlerindeki titizli\u011fiyle, arkada\u015flar\u0131ndan daha eski bir \u0130stanbullu oldu\u011funu resmeder hem de dilindeki k\u0131r\u0131k T\u00fcrk\u00e7eyle Ermeni oldu\u011funun izlerini g\u00f6sterir. Y\u00f6netmen 1971\u2019de filmi tekrar \u00e7ekti\u011finde de karakter zenginli\u011fi aynen korur. Memduh \u00dcn, \u201c\u00dc\u00e7 Arkada\u015f\u201d filminin karakterlerinin \u0130stanbul\u2019un ger\u00e7ek ki\u015filerinden hareketle ortaya \u00e7\u0131kard\u0131\u011f\u0131n\u0131 belirtir:<\/p>\n \u201c\u00dc\u00e7 Arkada\u015f filmindeki foto\u011fraf\u00e7\u0131, benim Kumkap\u0131\u2019da oturdu\u011fun evin kar\u015f\u0131s\u0131ndaki Ni\u015fan Efendi\u2019dir. Babam beni ekmek almak i\u00e7in \u00c7emberlita\u015f f\u0131r\u0131n\u0131na g\u00f6nderirdi. Oraya gitmek i\u00e7in bazen Nuriosmaniye Cami\u2019nin avlusundan ge\u00e7erdim. Orada bir niyet\u00e7i vard\u0131. Tav\u015fanlar\u0131, g\u00fcvercinleri vard\u0131. \u00dc\u00e7 Arkada\u015f\u2019taki niyet\u00e7i oradaki niyet\u00e7idir. \u201d (2)<\/p>\n 1959 yap\u0131m\u0131 Faruk Kenc\u0327\u2019in yo\u0308nettig\u0306i \u201cO\u0308lmeyen As\u0327k\u201d filminde T\u00fcrk sinemas\u0131nda yayg\u0131n bir konu kar\u015f\u0131m\u0131za \u00e7\u0131kar: Zengin aileye m\u00fczik dersi i\u00e7in giden gencin evin gen\u00e7 k\u0131z\u0131yla a\u015fk ya\u015famas\u0131. Fakat s\u0131n\u0131fsal farkl\u0131l\u0131klar bu a\u015fka engeldir. M\u00fczisyen B\u00fclent\u2019in (Efgan Efekan) kald\u0131\u011f\u0131 pansiyonda kalan Madam Siranus\u0327, filmdeki mizah unsuru olarak yer al\u0131r. K\u0131r\u0131k T\u00fcrk\u00e7esi, oldu\u011fundan daha gen\u00e7 ve g\u00fczel g\u00f6r\u00fcnme \u00e7abalar\u0131 filmin ana konudan ba\u011f\u0131ms\u0131z yan mizah unsurunu olu\u015fturur. \u0130stanbul\u2019sa hik\u00e2yeye katk\u0131 sa\u011flamaz. Pansiyon sahibinin Madam Siranu\u015f\u2019a olan tahamm\u00fcls\u00fczl\u00fc\u011f\u00fc ve \u201cb\u0131kt\u0131m art\u0131k gitsin bu pansiyondan Siranus\u0327\u201d hayk\u0131r\u0131\u015flar\u0131 az say\u0131da kalan Ermeni n\u00fcfusuna olan tahamm\u00fcls\u00fczl\u00fc\u011f\u00fcn simgesel bir foto\u011fraf\u0131 gibidir.<\/p>\n 1965 yap\u0131m\u0131 az\u0131nl\u0131k karakterin yer ald\u0131\u011f\u0131 ikinci filmse \u201cBilen Kazan\u0131yor\u201d\u2019dur. Ufak \u00e7apl\u0131 doland\u0131r\u0131c\u0131l\u0131klar yapan F\u0131st\u0131k (\u00d6zt\u00fcrk Serengil) ve M\u0131st\u0131k\u2019\u0131n (\u00d6zt\u00fcrk Serengil) bir Ermeni kad\u0131n\u0131 kand\u0131rmalar\u0131n\u0131n anlat\u0131ld\u0131\u011f\u0131 yap\u0131mda; F\u0131st\u0131k, Pili\u00e7yan (M\u00fcr\u00fcvvet Sim) ismindeki Ermeni kad\u0131nla M\u0131st\u0131k\u2019\u0131n yard\u0131m\u0131yla sahte bir evlilik yap\u0131p birlikte kad\u0131n\u0131n servetini \u00e7alarlar.<\/p>\n Ayd\u0131n Arakon\u2019un y\u00f6netti\u011fi \u00d6zleyi\u015f (1961) filmi midyecilik yaparak ge\u00e7inen Suna (Belgin Doruk) ve zengin, g\u00f6zleri g\u00f6rmeyen bestekar Mithat\u2019\u0131n (Muzaffer Tema) a\u015fk\u0131n\u0131 anlat\u0131r Film meyhanede ba\u015flar. Toplad\u0131\u011f\u0131 midyeleri satmaya \u00e7al\u0131\u015fan Suna\u2019ya m\u00fc\u015fterilerin as\u0131lmas\u0131na engel olan Ermeni meyhaneci Agop (Nubar Terziyan), kesin bir ifade kullan\u0131r:<\/p>\n \u201cAgop\u2019un yerinde \u00f6yle \u015fey olmaz. \u201d<\/p>\n Agop sadece ismiyle de\u011fil k\u0131r\u0131k T\u00fcrk\u00e7esiyle de filmde Ermeni oldu\u011funun hat\u0131rlat\u0131r.<\/p>\n Nisan Akman\u2019\u0131n y\u00f6netti\u011fi Ay\u015fe Kulin\u2019in \u00f6yk\u00fcs\u00fcnden uyarlanan \u201cBir K\u0131r\u0131k Bebek\u201d (1987), babas\u0131n\u0131n reklam setlerinde \u0131\u015f\u0131k\u00e7\u0131l\u0131k yapmas\u0131ndan \u00f6t\u00fcr\u00fc tesad\u00fcfen g\u00fczelli\u011fiyle ke\u015ffedilip k\u0131sa s\u00fcrede giderek me\u015fhur bir mankene d\u00f6n\u00fc\u015fen G\u00fclizar\u2019\u0131n (H\u00fclya Av\u015far) ya\u015fad\u0131\u011f\u0131 d\u00f6n\u00fc\u015f\u00fcm\u00fc anlat\u0131r. Film G\u00fclizar\u2019\u0131n hik\u00e2yesini anlat\u0131rken, k\u00fc\u00e7\u00fck ama \u00f6nemli az\u0131nl\u0131k k\u00fclt\u00fcr\u00fcn\u00fc resmeden sahnelerini de izleyicilerine sunar. \u201cBir K\u0131r\u0131k Bebek\u201d (1987), T\u00fcrk sinemas\u0131n\u0131n az say\u0131daki \u00f6zg\u00fcn az\u0131nl\u0131k karakterlerinden biri olan Artin Usta (Orhan \u00c7a\u011fman) karakteriyle \u00f6nemli bir yap\u0131md\u0131r.<\/p>\n \u201cBir K\u0131r\u0131k Bebek\u201d (1987) Tarlaba\u015f\u0131\u2019n\u0131n dar sokaklar\u0131n\u0131n g\u00f6r\u00fcnt\u00fcs\u00fcyle a\u00e7\u0131l\u0131r. Artin Usta ve hen\u00fcz \u00e7ocuk olan G\u00fclizar\u2019\u0131n el le y\u00fcr\u00fcmesiyle ba\u015flayan filmde; Tarlaba\u015f\u0131\u2019n\u0131n uzun, dar sokaklar\u0131nda bu ikilinin dola\u015fmalar\u0131na \u015fahit oluruz. \u0130kilinin g\u00fcven dolu y\u00fcr\u00fcy\u00fc\u015f\u00fcnde k\u0131sa s\u00fcre sonra Tarlaba\u015f\u0131 Meryem Ana S\u00fcryani Kilisesi kar\u015f\u0131m\u0131za \u00e7\u0131kar. Film daha a\u00e7\u0131l\u0131\u015f\u0131nda \u0130stanbul\u2019un az\u0131nl\u0131klar\u0131n\u0131 ve onlar\u0131n mabedini ayn\u0131 karede bulu\u015fturur. Bu bak\u0131\u015f a\u00e7\u0131s\u0131; filmin yakla\u015f\u0131m\u0131na dair izleyiciye fikir verir. Filmin 2. dakikas\u0131nda Tophane\u2019ye ba\u011flanan Serdar-\u0131 Ekrem yoku\u015funun kenar\u0131ndaki K\u0131r\u0131m Kilisesi arkada belirir. Y\u00f6netmen birbirlerine uzak mesafelerde olan bu mek\u00e2nlar\u0131 bir y\u00fcr\u00fcy\u00fc\u015f g\u00fczerg\u00e2h\u0131ndaym\u0131\u015f\u00e7as\u0131na ger\u00e7ekli\u011fi deforme edip g\u00f6stererek kiliselerin \u015fehre katt\u0131\u011f\u0131 inan\u00e7 zenginli\u011fini izleyicilere sunmay\u0131 ama\u00e7lar. Filmde Artin Usta ve G\u00fclizar\u2019\u0131n ailesi, K\u0131r\u0131m Kilisesi\u2019nin kar\u015f\u0131 soka\u011f\u0131nda yan yana evlerde otururlar. B\u00f6ylece film boyunca kilisenin heybetli mimarisi filmde yer almay\u0131 s\u00fcrd\u00fcr\u00fcr. Evine gelen Artin Usta, T\u00fcrk sinemas\u0131nda kar\u015f\u0131m\u0131za \u00e7\u0131kmayan bir ger\u00e7eklikle bulu\u015fturur bizi: Yaln\u0131z olmayan bir az\u0131nl\u0131k mensubu. T\u00fcrk sinemas\u0131nda belki de ilk defa filmdeki az\u0131nl\u0131k tek ba\u015f\u0131na kalmam\u0131\u015f, bir aile i\u00e7inde varl\u0131\u011f\u0131n\u0131 devam ettirmi\u015ftir. Artin\u2019in Madam\u2019\u0131 hasta ve yatalak da olsa, Artin ve Madam kamerada birlikte belirirler. Hen\u00fcz bir ba\u015f\u0131na de\u011fildir ikisi de.<\/p>\n \u0130nan\u00e7 \u00e7e\u015fitlili\u011fi filmde fon olmaktan \u00f6te bir yerde durur. Filmin daha ba\u015f\u0131nda G\u00fclizar, Artin Usta\u2019ya ya\u015f\u0131ndan beklenmeyecek bir merakla sorar:<\/p>\n G\u00fclizar: \u201cAllah sonradan m\u0131 ay\u0131r\u0131r bizi Gavur, M\u00fcsl\u00fcman diye? \u201d<\/p>\n Artin Usta k\u0131sa ama bilgece dinler tarihini \u00f6zetler gibidir:<\/p>\n Artin Usta: \u201cD\u00fcnyada dinler vard\u0131r. Bakkal Yannii\u2019nin dini, benim dinim, baban\u0131n dini, k\u00f6\u015fede eskici Mois var ya onun ki, \u00c7inliler, Hintliler\u2026 Herkesin dini ayr\u0131 ayr\u0131d\u0131r. \u201d<\/p>\n Bu k\u0131sa diyalogla film, inan\u00e7 nam\u0131na \u00e7o\u011fulcu bir anlay\u0131\u015f\u0131 temsil eden ruhunu bize hissettirir. \u00dcstelik Beyo\u011flu\u2019nun esnaflar\u0131n\u0131 sayarak bile \u00fc\u00e7 dinin temsilcilerinin s\u0131ralanabilece\u011fini g\u00f6rm\u00fc\u015f oluruz. Y\u00f6netmen filmin ba\u015fka bir yerindeyse bu zenginli\u011fin yok olu\u015funu da sohbetlerin kenar\u0131na ili\u015ftirir:<\/p>\n \u201c\u0130stanbul\u2019u \u0130stanbul yapan az\u0131nl\u0131klar \u00e7il yavrusu gibi da\u011f\u0131ld\u0131lar. \u201d<\/p>\n Artin Usta\u2019n\u0131n hasta e\u015finin yataktayken keman \u00e7almas\u0131n\u0131n g\u00f6sterildi\u011fi sahneyle kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131zda ise, az\u0131nl\u0131klar\u0131n \u0130stanbul\u2019un i\u00e7inde y\u00fczy\u0131llard\u0131r temsilcisi olduklar\u0131 Bat\u0131l\u0131 sanat formunun somut halini g\u00f6rm\u00fc\u015f oluruz. Artin Usta, e\u015fi \u00f6l\u00fcp de bir T\u00fcrk sinemas\u0131 klasi\u011fi olarak yaln\u0131z bir Ermeni\u2019ye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcndeyse, film ba\u015fka bir bulunmas\u0131 zor sahneyi izleyicilerine sunmu\u015f olur: Kilisede Ermeni cenaze t\u00f6reni. Artin Usta, e\u015fine kilisede cenaze t\u00f6renine kat\u0131lan G\u00fclizar\u2019\u0131n g\u00f6\u00e7men ailesiyle birlikte vedala\u015facakt\u0131r. Film; bu farkl\u0131l\u0131klar\u0131 ala\u015fa\u011f\u0131 eden kom\u015fuluk ili\u015fkisiyle \u0130stanbul\u2019un ge\u00e7mi\u015f g\u00fcnlerine nostaljik bir selam g\u00f6nderir gibidir.<\/p>\n Yavuz Turgul, filmlerinde adeta bir sosyoloji dersi verirken \u0130stanbul\u2019un kadim yerle\u015fikleri olan az\u0131nl\u0131klar da hikayelerinin temel dayanaklar\u0131 aras\u0131nda \u0131srarl\u0131 ama g\u00f6ze batmayacak bir \u00fcslupla yer ald\u0131lar. \u201cMuhsin Bey\u201d, \u201cA\u015fk Filmlerinin Unutulmaz Y\u00f6netmeni\u201d, \u201cG\u00f6lge Oyunu\u201d, \u201cE\u015fk\u0131ya\u201d ve \u201cG\u00f6n\u00fcl Yaras\u0131\u201d filmlerinde az\u0131nl\u0131k unsurlar\u0131 kar\u015f\u0131m\u0131za \u00e7\u0131kar. \u201cMuhsin Bey\u201d (1987) yeni d\u00f6nemin ruhuyla \u0130stanbul\u2019un geleneksel dinamiklerinin son kar\u015f\u0131la\u015fmalar\u0131 gibidir. Muhsin Bey\u2019in oturdu\u011fu yap\u0131n\u0131n sahibi Madam ise filmdeki gayrim\u00fcslim olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. \u00c7o\u011fu Ye\u015fil\u00e7am filminde oldu\u011fu gibi yaln\u0131z, ya\u015fl\u0131 ve m\u00fclk sahibidir. Muhsin Bey\u2019in 10 y\u0131ld\u0131r \u00e7\u00f6z\u00fcm bulamad\u0131\u011f\u0131 di\u015f a\u011fr\u0131s\u0131 da Madam\u2019\u0131n di\u015f\u00e7isi Ermeni Kirkor Atamyan\u2019\u0131n marifetiyle giderilir. Ermeni di\u015f\u00e7iyi sadece d\u0131\u015fardan, evinin penceresindeki halini g\u00f6r\u00fcr\u00fcz. Adeta \u015fehirdeki az\u0131nl\u0131klar gibi yok say\u0131lan ama hayati \u00f6nemdeki meslekleri icra eden, hayat\u0131 kolayla\u015ft\u0131ran hallerinin simgesel hali gibidir. 10 y\u0131ll\u0131k a\u011fr\u0131y\u0131 sonland\u0131rsa da y\u00fcz\u00fcn\u00fc karanl\u0131kta se\u00e7emeyiz.<\/p>\n \u201cA\u015fk Filmlerinin Unutulmaz Y\u00f6netmeni\u201d (1990) filminde y\u00f6netmen Beyo\u011flu\u2019nu fon olarak kullanmaya devam eder. Bu kez kar\u015f\u0131m\u0131za eski zaman\u0131n kitlesel sinemas\u0131na hizmet eden g\u00f6zden d\u00fc\u015fm\u00fc\u015f bir y\u00f6netmenin yeni d\u00f6nemin y\u00fckselen trendlerine uygun bir film \u00e7ekmeye \u00e7al\u0131\u015fmas\u0131yla ya\u015fad\u0131klar\u0131 anlat\u0131l\u0131r. T\u00fcrk sinemas\u0131n\u0131n b\u00fct\u00fcn tarihine ince ve ironik bir selam yollayan film, sinemam\u0131zdaki az\u0131nl\u0131klar\u0131n varl\u0131\u011f\u0131n\u0131 da hat\u0131rlatmaktan geri durmaz.<\/p>\n Ha\u015fmet Asilkan (\u015eener \u015een): \u201cNubar, sen Ermeni de\u011fil misin? \u201d<\/p>\n Nubar Terziyan: \u201cErmeniyim. \u201d<\/p>\n Ha\u015fmet Asilkan: \u201cNamazda ne i\u015fin var? \u201d<\/p>\n Nubar Terziyan: \u201cNapay\u0131m, cemaat o kadar az ki, adama ay\u0131p olacak. \u201d<\/p>\n Nubar Terziyan ilk filmi 1949 yap\u0131m\u0131 \u201cEfsuncu Baba\u201d\u2018da bir Ermeni gencini canland\u0131rm\u0131\u015ft\u0131. 400\u2019den fazla filmde bir iki az\u0131nl\u0131k mensubu meyhaneci rol\u00fcn\u00fcn d\u0131\u015f\u0131nda \u00e7o\u011funlukla M\u00fcsl\u00fcman, T\u00fcrk ve iyi aile babas\u0131 rolleriyle toplumda yer etmi\u015fti. Y\u00f6netmen, Terziyan\u2019\u0131n \u00f6lmeden \u00f6nceki son filminde ona kendisini oynama f\u0131rsat\u0131 vererek Ermenili\u011fini ona tekrar hediye eder. Terziyan ilk ve son filminde ger\u00e7ek kimli\u011fiyle yer alm\u0131\u015f olur.<\/p>\n \u201cG\u00f6n\u00fcl Yaras\u0131\u201d (2004), Yavuz Turgul\u2019un m\u00fclk sahibi az\u0131nl\u0131k karakterlerinin son halkas\u0131n\u0131 b\u00fcnyesinde ta\u015f\u0131r. Bu kez mek\u00e2n kadim Ermeni semtlerinden biri olan Samatya\u2019d\u0131r. Ba\u015f karakter; \u201cMuhsin Bey\u201d ve \u201cG\u00f6lge Oyunu\u201d\u2019nda oldu\u011fu gibi yine bir az\u0131nl\u0131k mensubu kad\u0131n\u0131n evinde konaklayacakt\u0131r. Ancak y\u0131llar\u0131n 2000\u2019leri g\u00f6stermesinden sebep ya\u015fl\u0131 az\u0131nl\u0131klar\u0131n art\u0131k ya\u015fad\u0131\u011f\u0131 de\u011fil \u00f6ld\u00fc\u011f\u00fc ya da yurtd\u0131\u015f\u0131na g\u00f6\u00e7t\u00fc\u011f\u00fc bir d\u00f6nemdeyizdir.<\/p>\n Takoz: \u201cAgavni teyzeyi hat\u0131rlars\u0131n. \u201d<\/p>\n Naz\u0131m: \u201cAgavni teyzeyi nas\u0131l unuturum?\u201d<\/p>\n Takoz: \u201cTopra\u011f\u0131 bol olsun ge\u00e7en ay \u00f6ld\u00fc teyzemiz. Ye\u011feni Krikor\u2019u da hat\u0131rlars\u0131n, ge\u00e7en ay<\/p>\n Paris\u201ften geldi evi satmak i\u00e7in. Krikor evi satamad\u0131 d\u00f6nmesi gerekiyordu evi e\u015fyalar\u0131yla kiraya vermek mecburiyetinde kal\u0131nca\u2026\u201d<\/p>\n Naz\u0131m eve yerle\u015fti\u011finde sadece kitaplar\u0131n\u0131 bir k\u00f6\u015feye koyup, \u00f6\u011frencilerinin resimlerini duvara asmakla yetinir. Agavni teyzenin ruhunun ya\u015famaya devam etti\u011fi evine adeta ev arkada\u015f\u0131 olurcas\u0131na dahil olur. Foto\u011fraflar duvarda, Naz\u0131m \u00f6\u011fretmenin uyudu\u011fu yata\u011f\u0131n ba\u015f\u0131nda duran ha\u00e7 yerli yerinde durmaya devam ediyordur. Y\u00f6netmen, az\u0131nl\u0131klar gitse de onlar\u0131n \u015fehir hayat\u0131na katt\u0131\u011f\u0131 zenginli\u011fin fark\u0131ndal\u0131\u011f\u0131yla en az\u0131ndan kurgulad\u0131\u011f\u0131 filminde onlara sayg\u0131 ve i\u00e7ten bir selam yolluyor gibidir.<\/p>\n 1999\u2019da Giritlio\u011flu taraf\u0131ndan \u00e7ekilen \u201cSalk\u0131m Han\u0131m\u0131n Taneleri\u201d bu s\u00fcreci anlatan bir filmdi. Filmde kuma\u015f d\u00fckk\u00e2n\u0131 sahibi Levon (U\u011fur Polat) ve onun psikolojik travmalar ya\u015fayan karde\u015fi Nora (H\u00fclya Av\u015far) filmin Ermeni karakterleriydiler.<\/p>\n \u00d6zcan Alper\u2019in \u00fc\u00e7\u00fcnc\u00fc uzun metraj filmi \u201cR\u00fczg\u00e2r\u0131n Hat\u0131ralar\u0131\u201d (2015), bizi 1940\u2019lar\u0131n \u0130stanbul\u2019unda ba\u015flayan bir hik\u00e2yeye g\u00f6t\u00fcr\u00fcr. 2. D\u00fcnya Sava\u015f\u0131 y\u0131llar\u0131nda T\u00fcrkiye\u2019deki iktidar\u0131n Alman yanl\u0131s\u0131 olmas\u0131, sol fikirli ayd\u0131nlar\u0131n \u00fcst\u00fcnde bir bask\u0131 unsuruna d\u00f6n\u00fc\u015f\u00fcr. Bu durumun yaratt\u0131\u011f\u0131 etkiyle Ermeni ve muhalif gazeteci yazar Aram\u2019\u0131n (Onur Saylak) Varl\u0131k Vergisi borcuyla birlikte arananlar listesine dahil olmas\u0131ndan sonra \u0130stanbul\u2019dan Sovyet G\u00fcrcistan\u0131\u2019na gitmeye \u00e7al\u0131\u015fmas\u0131n\u0131 izleriz. Y\u00f6netmen filmde birden \u00e7ok karakter ve olaydan beslenip yeni bir ger\u00e7eklik yaratt\u0131\u011f\u0131n\u0131 s\u00f6yler:<\/p>\n \u201cBiz Aram diye 1940\u2019lar T\u00fcrkiye\u2019sinden bir karakterin hik\u00e2yesini anlat\u0131yoruz ama bu karakterin \u015fekillenmesinde Walter Benjamin\u2019in de etkisi var mesela. Ya da i\u015fte Stefan Zweig bir taraftan ruh hali olarak seni etkiliyor. \u00c7izimlerde mesela Kathe Kollwitz\u2019i \u00f6rnek ald\u0131k. Aram Pehlivanyan diye \u0130kinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda T\u00fcrkiye Kom\u00fcnist Partili bir \u015fair var. \u00d6b\u00fcr taraftan Aram Kandanyan da var, onun \u00e7ocuklu\u011fundan esinlendik. Sonra, Vedat T\u00fcrkali\u2019nin \u00f6zellikle \u2018G\u00fcven\u2019 roman\u0131 o d\u00f6nemin benim kafamda daha iyi canlanmas\u0131n\u0131 sa\u011flad\u0131.\u201d<\/p>\n Sinemac\u0131lar, Ermenileri erkekse \u00e7o\u011fu zaman ya\u015fl\u0131 bir meyhaneci, kad\u0131nsa ya\u015fl\u0131 ve yaln\u0131z bir ev sahibi olarak g\u00f6rmeyi uygun buldu. Ancak baz\u0131 spesifik \u00f6rneklerde oldu\u011fu gibi karakter boyutunda sinemada Ermenilere rastlayabildik. Ancak h\u00e2l\u00e2 Ermenilerin Anadolu\u2019daki zengin \u00fcretimleri, ya\u015fad\u0131klar\u0131 trajediler ve \u00f6zg\u00fcn ki\u015fileri sinemada kar\u015f\u0131l\u0131k bulmay\u0131 bekliyor.<\/p>\n ALINTILAR<\/strong><\/p>\n Kitaplar<\/strong><\/em><\/p>\n Haz Akp\u0131nar Ertekin, 10 Y\u00f6netmen ve T\u00fcrk Sinemas\u0131, Agora Kitapl\u0131\u011f\u0131, \u0130stanbul,<\/em><\/p>\n \u00d6zg\u00fc\u00e7 \u00c2gah, T\u00fcrk Filmleri S\u00f6zl\u00fc\u011f\u00fc 1. Cilt, Sesam Yay\u0131nlar\u0131 \u0130stanbul, 1998<\/em><\/p>\n Dergiler<\/strong><\/em><\/p>\n C\u0327iftc\u0327i, A. ve Yu\u0308cel, F. Devam Eden Gec\u0327mis\u0327. Altyaz\u0131 Dergisi, 2015, S.156, s.37.<\/em><\/p>\n Dipnotlar<\/strong><\/em><\/p>\n 1.\u00a0\u00d6zg\u00fc\u00e7 \u00c2gah, T\u00fcrk Filmleri S\u00f6zl\u00fc\u011f\u00fc 1. Cilt, Sesam Yay\u0131nlar\u0131 \u0130stanbul, 1998 syf. 55.<\/em><\/p>\n 2.\u00a0Haz Akp\u0131nar Ertekin, 10 Y\u00f6netmen ve T\u00fcrk Sinemas\u0131, Agora Kitapl\u0131\u011f\u0131, \u0130stanbul, syf. 36<\/em><\/p>\n Kaynak: DUVAR<\/em><\/p>\n https:\/\/ozgurdenizli.com\/agoptan-artine-sinemamizin-ermeni-karakterleri-riza-oylum\/\u00a0<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" R\u0131za Oylum Sinemac\u0131lar, Ermenileri erkekse \u00e7o\u011fu zaman ya\u015fl\u0131 bir meyhaneci, kad\u0131nsa ya\u015fl\u0131 ve yaln\u0131z bir ev sahibi olarak g\u00f6rmeyi uygun buldu. Ancak baz\u0131 spesifik \u00f6rneklerde oldu\u011fu gibi karakter boyutunda sinemada Ermenilere rastlayabildik. Ancak h\u00e2l\u00e2 Ermenilerin Anadolu\u2019daki zengin \u00fcretimleri, ya\u015fad\u0131klar\u0131 trajediler ve \u00f6zg\u00fcn ki\u015fileri sinemada kar\u015f\u0131l\u0131k bulmay\u0131 bekliyor. Sinema sekt\u00f6r\u00fcm\u00fcz, ba\u015flang\u0131c\u0131ndan geli\u015fime d\u00f6nemine kadar az\u0131nl\u0131klar\u0131n olduk\u00e7a […]<\/p>\n","protected":false},"author":7,"featured_media":67174,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[42,1,70,19],"tags":[],"class_list":["post-67173","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmler","category-haberler","category-makaleler","category-unluler"],"yoast_head":"\nSinemac\u0131lar, Ermenileri erkekse \u00e7o\u011fu zaman ya\u015fl\u0131 bir meyhaneci, kad\u0131nsa ya\u015fl\u0131 ve yaln\u0131z bir ev sahibi olarak g\u00f6rmeyi uygun buldu. Ancak baz\u0131 spesifik \u00f6rneklerde oldu\u011fu gibi karakter boyutunda sinemada Ermenilere rastlayabildik. Ancak h\u00e2l\u00e2 Ermenilerin Anadolu\u2019daki zengin \u00fcretimleri, ya\u015fad\u0131klar\u0131 trajediler ve \u00f6zg\u00fcn ki\u015fileri sinemada kar\u015f\u0131l\u0131k bulmay\u0131 bekliyor.<\/h4>\n
MEMDUH \u00dcN\u2019\u00dcN ART\u0130N\u2019\u0130<\/h3>\n
K\u0130M G\u0130TS\u0130N: MADAM S\u0130RANU\u015e<\/h3>\n
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R\u00dcZG\u00c2RIN HATIRALARI: B\u00dcT\u00dcN ARAMLARDAN B\u0130R DEMET<\/h3>\n