2000’li Yıllar Öncesi ve Sonrasında Türk Sineması’nda Kullanılan Yapım Kaynaklarının Değerlendirilmesi

Türk Sineması’nın yapım sürecinde kullandığıkaynakların geçmişten günümüze dek geçirdiği değişimler doğrultusunda ortaya konmasıve bunun ışığında günümüzde yapım sürecinde kullanılan kaynakların Türk Sineması’nın endüstriyel gelişimi açısından yeterli olup olmadığının ele alınmasıbu çalışmanın çıkışnoktasınıoluşturmaktadır. Bu konunun tercih edilme nedeni yüksek maliyetli ve riskli bir yapıya sahip olan yapım aşamasında başvurulabilecek kaynakların sayıve niteliğinin Tük Sineması’nın endüstriyel gelişimi üzerinde sahip olduğu önemdir. Özellikle Türkiye gibi seyirci sayısının düşük olduğu ülkelerde yapımcının elde ettiği hâsılat bir sonraki filminin yapım bütçesini oluşturmada yetersiz kalmaktadır. Bu nedenle yapımcının kendi öz sermayesi ve dağıtım kanallarından elde ettiği gelir dışında başvurabileceği kaynaklara sahip olmasıTürk Sineması’nın endüstrileşmesi açısından belirleyici rol oynamaktadır. Buradan hareketle çalışma kapsamında Türk Sineması’nda yapımcıların yararlanabileceği finansal kaynakların dağıtım ve gösterim süreçlerinde yaşanan gelişmeler ile dönemin siyasi ve ekonomik olaylarına bağlıolarak geçirdiği değişim incelenmiştir. Bu kapsamda Türkiye’de film yapımcılarının en önemli finansal kaynağıkendi öz sermayeleri olarak ortaya çıkmıştır. Türk Sineması’nın ilk yıllarında yapımda kullanılan ilk kaynak sinema işletmesinden ve yabancıfilm ithalatından elde edilirken, Bölge İşletmeciliği döneminde sinema salonu işletmecilerinin verdiği avanslarla yapım süreci yürütülmüştür. Bölge İşletmeciliği sisteminin ortadan kalkmasıyla birlikte günümüzde önemli bir sorun olarak belirmektedir. Öz sermayesi dışında yapımcıların ikinci en önemli finansal kaynağıönceki filmin hasılat gelirleridir. Türk Sineması’nda dağıtım kanalıolarak sinema salonu dışında kalan televizyon ve ev video pazarıyüksek gelir getiren birer kanal olarak faaliyet gösterememektedir. Özellikle telif hakkıihlallerinin artmasıyla birlikte ev video pazarının yapımcılar açısından etkinliği azalmıştır. Amerikan Sinema Endüstrisi’nde birer dağıtım kanalıolarak yaygın şekilde kullanılan internet, ticari ürün satışı merchandising , uçak, gemi gibi alanlarda yapılan salon dışıgösterim gibi kanallar ise Türk Sineması’nda neredeyse hiç kullanılmamaktadır. Dolayısıyla yapımcılar açısından sinema gösteriminden elde edilen hâsılat dışında dağıtım kanallarından yüksek gelir elde edilememektedir. Türk Sinemasıaçısından özellikle 2000’li yıllardan sonra Kültür ve Turizm Bakanlığı’nın yapıma yönelik finansal katkısıbüyük önem taşısa da yapım sürecinin tamamlanmasıaçısından yetersiz bulunmaktadır. Ayrıca 1990 yılından beri Türkiye’nin üye olduğu Eurimages’in yapım sürecine yönelik katkısının da yapımcıların finansal sıkıntılarınıçözmek açısından etkili olmadığısöylenebilmektedir. Özetle, Türk Sineması’nda geçmişten günümüze dek başvurulan yapım kaynaklarının sektörün endüstrileşmesi için ihtiyaç duyulan kaynak ihtiyacınıkarşılamaktan uzak olduğu, bu aşamada özellikle devletin sektörü teşvik edecek önlemler almasıgerektiği sonucuna varılmıştır.

Motion picture industry is formed by the integration of production, distribution and exhibition processes. It is important for industrialization of cinema to put each proccess into a form to support each other. Thus American Cinema Industry is the most powerful industry of the world. Because in the American Cinema Industry production, distribution and exhibition is completely integrated with each other. Each proccess includes actions which need to act efficiently. So the stability needed for industrial development can be reached in American Cinema Industry. For this reason the companies tried to make distribution and exhibition proccesses work efficiently by producing enough number of films yearly in USA. In the Turkish Cinema market, the integration of production, distribution and exhibition proccesses is not enough for the industrial development of the market. Altough this integration was provided by Regional Administration, nowadays this integration is not possible. Also in the term of Regional Administration, the practices for the production, distribution and exhibition was performed by the same companies. In this period the structure of Turkish Cinema was similar to American system which was called vertical structure. As a result of this structure the same companies produced, exported and distributed the movies and also they managed to the movie theaters. Because of the integration, in this period producers had no financial problem about filming. Nowadays one of the biggest problem of the Turkish Cinema is the financial problems about filming the production process . Because of this problem the number of production of movies is not enough to develop the industry. The resources used in the production process of Turkish Cinema has changed by social and economical development. And also changes on the distribution and exhibition process effect financial resources used in the production process. In the context of this study we aim to reach which resources used in the different period of Turkish Cinema and how these resources effect the film market generally. In other words, determining the quality and quantity of the financial resources used in the production process and getting information about their effects in the Turkish Cinema is the aim of this study. As a result of the study financial resources were evaluated under the different titles. According to the study the activities between 1915–1922 concerning production process were performed by government army . In 1922 Kemal Film was opened as the first private production company of Turkish Cinema. Between 1922-1949 production activities were performed by private production companies Özön, 1995: 19-21 . In 1948 legal regulations were made to improve the box office gross which was the most important financial resource for producers. By this regulation the share which was taken by government was reduced to 25 % Scognamillo, 1998: 111 . In 1960s Turkish Cinema passed to the Regional Management and according to this system Turkey was divided into the regions such as Izmir, Ankara, Samsun, İstanbul Abisel, 1994: 102 . In this regions, theater owners were active firstly in distribution and exhibition process and than in production process by paying advance to producers. In 1970s producers who searched financial resources for producing movies changed their target audience and started to produce sex comedies Esen, 2000: 35 . In 1980s producers aimed to be able to produce with less money and work. For that purpose, arabespue and singer movies were filmed in this period. The most important development for this period occured in home video market. Because of audience interest, video administrators started to support producers financially. Thus, producers just filmed for home video market. As a result of legal regulation in 1986, government allowed foreign distribution companies to perform in Turkey. According to the regulation, Warner Bros. Türkiye attempted to home video market in 1987 and distribution market in 1989 Kaya, 2009: 11 . In the same year, United International Pictures entered to distribution market, too. Thus American movies were distributed to Turkish movie market first hand. In this period, moviegoers interested in American movies much more than Turkish movies so theater owners especially prefered to show American movies. Because of theater owner’s attitude, producers had some serious financial problems about filming so they filmed less movies in this period. In 1990 Culture and Tourism Ministry started to support producers financially for their movie projects. And also Turkey participated to Eurimages via Culture and Tourism Ministry in 1990. After this participation, Eurimages have supported producers financially and gave a chance to meet foreign partners for co-productions. During 90s, financial problems about producing continued. In 2000s, producers started to use different channels for solving this problem. In this period, the most important resource used by producers except their own capital was box office revenues. Because of the less number of movigoers the box office revenues were effected by this situation. Producers got less income from television and home video as distribution channels. Growing number of pirate CD-Rs and DVD-Rs and online piracy has depressed ticket sales in Turkey for last ten years. Especially online piracy is apparently becoming a priority to Turkish Cinema like European countries or Hollywood as the transferring of large digital files becomes less time-consuming and the quality of viewing improves. By this way because of online piracy, internet is not an effective distribution channel for producers in Turkey. And also merchandising is not used effectively by producers as a distribution channel because of a lot of piracy merchandising activities in Turkey. Second most important financial resource after distribution channels such as theathers, television etc. is Culture and Tourism Ministry’s support. But the amount of the payment has just form the small part of production budget. And also there are some debates about the criterias used in selection about which movie project to be supported. After 2005, distribution companies started to support producers by giving advances. This practise is a new resource for producers in Turkish Cinema. According to this system, distribution companies support the movie projects which they are interested in at the begining of the process. After the movie plays on the theater screens across the country, producers pay the advance back to distribution companies T. Akıncı ile kişisel iletişim, 07 Nisan 2009 . This practise is very important for obtaining the integration of production, distribution and exhibition in Turkish Cinema. Product placement is another financial resource used by producers in Turkish Cinema. It’s not applied effectively but in the future it can be a useful resource for producers. Consequently, financial resources used in production process in Turkish Cinema are not enough to complete a film project alone. But the number of movies is very important for the industurial development of Turkish Cinema. In other words less production financially will jeopardize the market’s industurial development. Therefore for market’s industrurial development goverment should increase financial support and also take anti-Piracy actions to combat piracy. By this way producers can increase their revenues and also find financial resources easily for filming and finally they can produce more movies towards different target audiences. At the end of this process, growing number of movies would be able to strengthen Turkish Cinema’s production as much as distribution and exhibition processes.