TÜRKİYE'DE SİNEMALARDA VİZYONA GİREN YERLİ BELGESELLERİN ANALİZİ (2003-2017)

Yıl 2022, Cilt: 4 Sayı: 1, 14 - 32, 05.07.2022

Yusuf Ölmez , H. Sami Karaca

https://doi.org/10.53281/kritik.1112007

Öz

Son yıllarda Türkiye'de filmlerin gösterimi bazı açılardan sorunlu teşkil etmektedir. Özellikle bazı filmlerin görünürlüğünün zayıf olduğu gözlemlenmiştir çünkü pazarın çoğunluğuna sahip olan paydaşlar bu filmlerin dağıtımında engeller oluşturmuştur. Talep edilmeyen bir tür olarak görülen belgeseller, ekranda gösterilmek için çok az fırsat bulmuştur. Bu çalışma Türkiye’de 2003 ile 2017 yılları arasında vizyona girmiş belgeselleri inceleyerek dağıtım ve algılanmasındaki motivasyonları araştırmaktadır. Belgesellerin dağıtımını etkilemiş olabilecek bağlamsal dinamiklerin gösterilmesi için içerik analizi kullanılmıştır. Veri izin verdiği ölçüde filmlerin dağıtım yolculuğu incelenmiştir. Filmlerin yönetmenleri hakkındaki ilişkili bilgiler de belgeselin dağıtımındaki karar vericilerin süreçlerini keşfetmek için kullanılmıştır. Festival katılımları, davalar ve eleştirel veya toplumsal algı gibi filmlerle ilgili diğer bilgilerden de bahsedilmiştir. Belgesellerin, ifade özgürlüğü problemini büyütebilecek görünürlük sorununun aşılması için çeşitli çıkarımlar yapılmıştır

Anahtar Kelimeler

Belgesellerin Dağıtımı, Belgesel Sinema, Film Çalışmaları, Türkiye Sineması, Politik Ekonomi

Teşekkür

Bu çalışmayı değerli derginizde değrlendireceğiniz için teşekkürlerimizi sunarım. Makalemizin değerlendirme sürecinde harcayacağınız emekleriniz için şimdiden çok teşekkürler.

ANALYSIS OF THE THEATRICALLY-DISTRIBUTED DOMESTIC DOCUMENTARIES IN TURKEY (2003-2017)

Öz

Over the recent years, the exhibition of films in Turkey has been problematic in some ways. Especially, the visibility of certain films has been observed to be poor because the stakeholders who own the majority of the market have created obstacles in distribution of these films. As seen as a kind of non-demand genre, documentaries have found few opportunities to be displayed on screen. This study takes a look at the released documentaries of Turkey from 2003 until 2017 and tries to investigate the motivations behind their distribution and perception. Content analysis is used for presenting the contextual dynamics that might have affected the release of the documentaries. The screening journey of the films is also investigated as the data allows. The related information about the directors is provided in order to disclose possible reasons that encourage decision makers to screen the film. Other types of information about the films such as competing in the festivals, lawsuits, and critical or public perception are mentioned as well. Several implications are offered to overcome the problematic aspect of documentary’s visibility that might enlarge the problem of freedom of speech.

Anahtar Kelimeler

Distribution of Documentaries, Documentary Cinema, Film Studies, Cinema of Turkey, Political Economy

Kaynakça

• 1. Akbulut, H. (2010). Bellek olarak belgesel sinema: Son dönem belgesel sinemasına bir bakış [Documentary cinema as memory: A glance at late documentary cinema]. Sinecine: Sinema Araştırmaları Dergisi, 1(2), 119–124.
• 2. Akcan, E., & Polat, S. (2016). Eğitim konulu Türk filmlerinde öğretmen imajı: Öğretmen imajına tarihi bakış [The image of teacher in Turkish movies with the theme of education: a historical look to teacher image]. Educational Administration: Theory and Practice, 22(3), 293–320. https://doi.org/10.14527/kuey.2016.012
• 3. Akdağ, A., Dehzad, A. (Producers), & Gümürhan, M. (Director). (2016). Genç pehlivanlar. [Young wrestlers] [Film]. Turkey: Kaliber Film.
• 4. Akter, T., & Incirlili, S. (2017). The reciprocal relationship between Turkish cinema and politics: The portrayal of ‘Atatürk’ as a political leader in filmic narrative. Academic Journal of Interdisciplinary Studies, 6(1), 77–86. https://doi.org/10.5901/ajis.2017.v6n1p77
• 5. Alkan, E. (Producer/Director). (2011). Ünye de Fatsa arası. [The gap between Ünye and Fatsa, own translation] [Film]. Turkey: Nizam Eren İletişim.
• 6. Alkaya, Y. (Producer/Director). (2009). Yaşam arsızı. [Sidewalk sisters] [Film]. Turkey: Umut Sanat.
• 7. Altan, M. Z. (2016). Öğretmenliğe dair: Filmler ve öğretmenler. Pegem Akademi.
• 8. Berke, İ. (Producer), & Sağlam, G. (Director). (2015). Tepecik hayal okulu. [Tepecik school of dream, own translation] [Film]. Turkey: M3 Film. Bourdieu, P. (1998). Acts of resistance: Against tyranny of the market (R. Nice, Trans.). New York: New Press.
• 9. Candan, C. (2006). Sinema(mız)da yeniden itibar gören bir tür: Belgesel. Milliyet Sanat, pp. 1-4. Retrieved June 02, 2018, from https://www.academia.edu/2946744/Yeniden_itibar_gören_tür_Belgesel?auto=download.
• 10. Candan, C. (2012). In Belgesel Sohbetleri [TV series, episode 4]. Turkey: İMC TV. Retrieved from https://www.dailymotion.com/video/xs03o6
• 11. Candan, C. (2016). Kurdish documentaries in Turkey: An historical overview. In S. Koçer & C. Candan (Eds.), Kurdish documentary cinema in Turkey: The politics and aesthetics of identity and resistance (pp. 1–32). Cambridge Scholars Publishing. https://doi.org/10.1111/j.2050-411X.2003.tb00300.x
• 12. Chomsky, N. & Herman, E. S. (2008). Manufacturing consent: The political economy of the mass media. London: The Bodley Head.
• 13. Christensen, C. (2009). Political documentary, online organization and activist synergies. Studies in Documentary Film, 3(2), 77–94. https://doi.org/10.1386/sdf.3.2.77/1
• 14. Christian, K., Klaus, M., Andreas, T. (Producers), & Akın, F. (Producer/Director). (2005). Crossing the bridge: The sound of Istanbul. [Film]. Turkey: Warner Bros. Türkiye.
• 15. Çetinbaş, A. (Producer), & Demirel, Ç. (Director). (2015). Bakur. [North] [Film]. Turkey: Surela Film.
• 16. Çiçek, Ö. (2011). The fictive archive: Kurdish filmmaking in Turkey. Alphaville: Journal of Film and Screen Media, 1(Summer 2011). Retrieved from http://www.alphavillejournal.com
• 17. Demir, I. (2014). Humbling Turkishness: Undoing the strategies of exclusion and inclusion of Turkish modernity. Journal of Historical Sociology, 27(3), 381– 401. https://doi.org/10.1111/johs.12054
• 18. Demir, S. T. (2016). Fatih Akins Cinema and Cityscape: A Comparison between Hamburg and Istanbul through his films. The Journal of International Scientific Researches, 1(3), pp. 1-6.
• 19. Döker, H., Trevino, P., Örnek, B. (Producers), & Örnek, T. (Director). (2005). Gelibolu. [Gallipoli] [Film]. Turkey: Özen Film.
• 20. Dündar, D. (Producer), & Dündar, C. (Producer/Director). (2008). Mustafa. [Film]. Turkey: Warner Bros. Türkiye.
• 21. Erkili, H., & Mersin, T. (2012). Belgesel sinemanın alternatif dağıtım ve gösterim olanağı olarak internet [Internet as an alternative opportunity of distribution and exhibition for documentary cinema]. The Turkish Online Journal of Design Art and Communication, 2(2), 10–16. Retrieved from https://dergipark.org.tr/tr/pub/tojdac
• 22. Erkılıç, H., & Bayraktar, U. (2015). Resimli ve temsili bir triyalektik mekân okuması olarak Ekümenopolis [“Ekümenopolis” as an illustrated and representative trialectic reading of space]. Galatasaray Üniversitesi İletişim Dergisi, Aralık(23), 113–134. https://doi.org/10.16878/gsuilet.285316
• 23. Eskiköy, O., & Doğan, Ö. (Producers/Directors). (2009). İki dil bir bavul. [On the way to school] [Film]. Turkey: Tiglon.
• 24. Esmer, P. (Producer/Director). (2006). Oyun. [The Play] [Film]. Turkey: Umut Sanat.
• 25. Grunenwald, R. (2013). A critical analysis of the distribution challenges and opportunities faced by South African independent documentary filmmakers. (Unpublished Master’s Thesis). University of the Witwatersrand, Johannesburg, South Africa. Retrieved from https://www.semanticscholar.org/
• 26. Günal, A. (Eds. ). (2012). “Ekümenopolis” belgeselinin Enez’deki gösteriminin iptali üzerine [On the cancellation of the screening of the documentary “Ecumenopolis” in - Enez]. In Siyah Bant. İstanbul: Mas.
• 27. Günay, G. (Producer), & Azem, İ. (Director). (2012). Ekümenopolis: Ucu olmayan şehir. [Ecumenopolis: City without limits] [Film]. Turkey: M3 Film.
• 28. Gündoğan, K. (Producer), & Gündoğan, N. (Producer/Director). (2014). İki tutam saç: Dersim’in kayıp kızları. [Two locks of hair: The missing girls of dersim] [Film]. Turkey: M3 Film.
• 29. Gupta, D. (1998). Confronting the challenge of distribution: women documentary filmmakers in India. (Master’s Thesis). Concordia University, Montreal, Canada. Retrieved from https://spectrum.library.concordia.ca
• 30. Hacır, G. (Producer/Director). (2015). Haziran yangını. [The fire of june, own translation] [Film]. Turkey: M3 Film.
• 31. Haynes, J. (2007). Documentary as social justice activism: The textual and political strategies of Robert Greenwald and Brave New Films. 49th Parallel, 21(Autumn), 1–16. Retrieved from https://49thparalleljournal.org
• 32. İlbuğa, E. U., & Sepetci, T. (2017). A different approach to language racism in primary education with the example of the film “Two languages, one suitcase.” Eurasian Journal of Anthropology, 8(1), 12–24. Retrieved from https://dergipark.org.tr/en/pub/eja
• 33. İnce, G., Çetinbaş, A. (Producers), & Candan, C. (Producer/Director). (2013). Benim Çocuğum. [My Child] [Film]. Turkey: M3 Film.
• 34. Juris, J. S. (2005). The new digital media and activist networking within anti–corporate globalization movements. The Annals of the American Academy, 597(1), 189–208. https://doi.org/10.1177/0002716204270338
• 35. Kağnıcı, D. Y. (2015). Psikolojik danışman eğitiminde cinsel yönelim olgusunun irdelenmesi: Benim Çocuğum filmi. Türk Psikolojik Danışma ve Rehberlik Dergisi, 5(44), 83–95. Retrieved from https://turkpdrdergisi.com
• 36. Kaygısız, A., Kaygısız, S. (Producers), & Örnek, T. (Director/Producer). (2003). Hititler. [The Hittites] [Film]. Turkey: Özen Film.
• 37. Kırel, S. (2009). Pelin Esmer’in “Oyun” belgeseli çerçevesinde kadın deneyimlerinin aktarılmasında belgesel filmin yeri [Pelin Esmer’s documentary “The Play” and discussion on documentary and its role for transferring women experiences].
• 38. Kültür ve İletişim, 12(1), 127–159. Retrieved from https://dergipark.org.tr/en/pub/kulturveiletisim
• 39. Koçer, S. (2015). Belgesel filmler toplumsal dönüşüme etki edebilir mi? Koalisyon modeli ve Benim Çocuğum örneği [Documentary films and their social impact? An analysis of My Child through the coalition model]. Global Media Journal: Turkish Edition, 5(10), 208–226. Retrieved from https://globalmediajournaltr.yeditepe.edu.tr
• 40. Koçer, S. (Producer), & Öz, K. (Director/Producer). (2009). Demsala dawi: Sewaxan. [The Last Season: Shawaks] [Film]. Turkey: Tiglon.
• 41. Kurt, D. H. (Producer), & Yalçın, S. (Director). (2013). Menekşe’den önce. [Before Menekse, own translation] [Film]. Turkey: M3 Film.
• 42. Kültür, N. (2017). Aksanlı sinema ve Fatih Akın. Maltepe Üniversitesi İletişim Fakültesi Dergisi, 4(2), 3-17. Retrieved from https://dergipark.org.tr/tr/pub/iled
• 43. Nichols, B. (2010). Introduction to documentary (2nd ed.). Bloomington: Indiana University Press.
• 44. Okur, Y. (Ed.). (2004). Sinema söyleşileri 2004: Boğaziçi Üniversitesi Mithat Alam Film Merkezi söyleşi, panel ve sunum yıllığı [Cinema talks 2004: Talk, panel, and presentation almanac of Boğaziçi University Mithat Alam Film Center]. Istanbul: Boğaziçi Üniversitesi Yayınevi.
• 45. Özçınar, M. (2011). Turkish cinema, cultural identity and beyond. International Journal of Arts and Sciences, 4(1), 181–187. Retrieved from https://internationaljournal.org
• 46. Özer, M. (2003). Hititler kanlı canlı karşımızda [The Hittites are full-blooded in front of us]. Radikal. Retrieved from http://www.radikal.com.tr/kultur/hititler-kanli-canli-karsimizda-669621/
• 47. Özkaracalar, K. (2015). Ethem Sarısülük belgeseli vizyonda [The documentary about Ethem Sarısülük is in cinemas]. İleri Haber. Retrieved from http://ilerihaber.org/yazar/ethem-sarisuluk-belgeseli-vizyonda-31302.html
• 48. Patino, C. (2014). Analysing the formal and informal documentary film distribution markets in Colombia. Journal of Media Practice, 15(1), 39–57. https://doi.org/10.1080/14682753.2014.892696
• 49. Pérez Tejada, M. (2009). The politics of Mexican documentary distribution: Three case studies, 1988-2006. (Doctoral Dissertation). University of Kansas, Lawrence, USA. Retrieved from https://kuscholarworks.ku.edu
• 50. Saraçoğlu, V. (Director/Producer). (2014). Müslüm Baba’nın evlatları. [The sons of Papa Muslum, own translation] [Film]. Turkey: Osman Özcan.
• 51. Sin, D. (2007). Introduction: What is distribution? Retrieved from http://www.screenonline.org.uk/film/distribution/distribution1.html
• 52. Sørensen, I. E. (2012). Crowdsourcing and outsourcing: the impact of online funding and distribution on the documentary film industry in the UK. Media, Culture & Society, 34(6), pp. 726-743. https://doi.org/10.1177/0163443712449499
• 53. Sönmez, N. (2009). İki tür, bir film, pek çok kafa karışıklığı [Two genres, one film, numerous perplexities]. BiaMag. Retrieved from https://m.bianet.org/biamag
• 54. Türk yönetmenden dev Hitit belgeseli [A gigantic documentary from the Turkish director about Hittites]. (2003). Milliyet. Retrieved from https://www.milliyet.com.tr
• 55. Whiteman, D. (2004). Out of the theaters and into the streets: A coalition model of the political impact of documentary film and video. Political Communication, 21(1), 51–69. https://doi.org/10.1080/10584600490273263a
• 56. Winton, E. (2007). The spaces between grassroots documentary distribution and exhibition as counterpublics. (Master’s Thesis). Concordia University, Montreal, Canada. Retrieved from https://spectrum.library.concordia.ca
• 57. Wuppermann, C. (Producer), & Torun, C. (Director/Producer). (2017). Kedi. [Cat] [Film]. Turkey: Başka Sinema.