Alman-Türk Sinemasında Bir Entegrasyon Yönetmeni: Buket Alakuş

Öz

Alman-Türk sinemasında önde gelen film yapımcılarından biri olan Buket Alakuş’un filmleri çoğunlukla Türk göç kökenli bireyleri temsil etmektedir. Alman Ulusal Entegrasyon Planında (2007) delegasyonlar içinde yer alan Alakuş’un bu görevi doğrultusunda çektiği filmlerde nasıl bir uyum ve bütünleşme perspektifinin yansıma bulduğu önem taşımaktadır. Çok sayıda ödül almış ilk uzun metrajlı Anam – Meine Mutter (2001) filmi ile başlayarak Einmal Hans mit scharfer Soße [Acı Soslu bir Hans] (2013), Die Neu [Yeni Kız] (2015) ve Der Hodscha und die Piepenkötter [Hoca ve Bayan Piepenkötter] (2016) filmlerinde entegrasyon yükselişi gözlemlenmektedir. Bu filmlerdeki toplumsal cinsiyet, kültürel ve dini motiflerin ekseninde genel olarak uyumun karşılıklı ve çok yönlü sorumluluk gerektiren bir temsili bulunmaktadır. Göç temalı bu dört filmi entegrasyonun temsili düzleminde analiz ettiğimizde, kurbanlık (etkilenenler) ve görev sinemasından uzaklaşarak, kültür çatışması, kuşak çatışması, dini hak taleplerle birlikte sosyal-ekonomik yönden güçlü kadınlarla karşılaşıyoruz. Alakuş’un filmlerini ele almamız şu nedenle önemlidir: Çatışma ve krizler bu filmlerde genellikle kültürel nedenlerle ve belli korku ve önyargılardan kaynaklansa bile komedi ya da drama unsuruna çevrilir. İdealize edilmiş temsil ve söylemler de diyalog, tartışma, dinleme ve uzlaşma sunarak entegrasyon için gerekli adımlardır.

Anahtar Kelimeler

• Göç
• entegrasyon
• toplumsal cinsiyet
• Buket Alakuş
• temsil

Buket Alakuş, Integration Film Director in German-Turkish Cinema

Öz

The films of Buket Alakuş, one of the prominent filmmakers in German-Turkish cinema, frequently represent individuals with Turkish migration backgrounds. As a member of the German National Integration Plan (2007) delegation, it is essential to know what kind of integration perspective the films made by Alakuş portray. Beginning with her multi-award-winning feature film Anam – Meine Mutter [My Mother] (2001), we can observe a rise in integration in the films, Einmal Hans mit scharfer Soße [Hans with Hot Sauce] (2013), Die Neu [The New] (2015) and Der Hodscha und die Piepenkötter [The Hodscha and the Piepenkötter] (2016). On the axis of gender, culture and religious motifs in these films, a representation of integration that requires mutual and multifaceted responsibility prevails. When we analyse these four migration-themed films regarding the representation of integration, we can move away from the cinema of affected and duty and encounter social-economically strong women with cultural clashes, generational conflicts and religious rights demands. It is important to consider Alakuş’s films because conflicts and crises are often turned into comedy or drama in these films, even if they are culturally motivated and stem from specific fears and prejudices. Idealised representations and discourses are also necessary steps for integration, offering dialogue, discussion, listening and compromise.

Anahtar Kelimeler

• Migration
• integration
• gender
• Buket Alakuş
• representation

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