Türk Sinemasında Köylü-Kentli Karşılaşması: ‘Hakkâri’de Bir Mevsim’ ve ‘Uzak’ Filmleri

Üçüncü dünya ülkelerinin ortak bir özelliği olan köy-kent farklılığıTürkiye’de de belirgin olarak hissedilmektedir. Köy ile kent arasındaki farklılığın kaynağıise nüfus, ekonomi, aile yapısı, coğrafi yapı, yerleşim düzeni, davranışörüntüleri, sosyo-kültürel hayat, kadın-erkek olgusu ve evlilik gibi konulardır. Köyle kent arasındaki bu farklar köylü ile kentliyi de birbirinden ayırmış, ortaya iki farklıdünya çıkmıştır. Türkiye’de köylü ile kentlinin karşılaşmalarıen çok kentlerde meydana gelmektedir. Bunun en büyük sebebi de kentleşme olgusudur. Hızlıkentleşme sonucunda bir takım ekonomik ve sosyal sorunlar ortaya çıkmaktadır. Şehir hayatının gereklerini yerine getiremeyen kır insanı, şehirde bir kültürel bütünleşme sorunu yaşamaktadır. Bu da kültür boşluğu, kültür çatışmasıve yabancılaşmayıberaberinde getirmektedir. Bulunduğu çevrenin sosyal ve siyasal değişimlerinden, ekonomik sıkıntılarından, kültürel değerlerinden etkilenen ve beslenen sinema, Türkiye’de de bu genel çerçeveye uygunluk göstermektedir. Arkasında ekonomik nedenleri barındıran ve Türkiye’nin en önemli toplumsal değişimlerinden birini oluşturan köyden kente göç, Türk sinemasına 1960’lıyıllarda dâhil olmaya başlamıştır. Türkiye’nin bir diğer sosyal ve siyasal gerçeği olan sürgün ve zorunlu hizmet nedeniyle kentten köye gidenlerin sayılarıise hiç de az değildir. Köyden kente ya da kentten köye göç sonucunda köylü ile kentlinin karşılaşmasıTürk sinemasının sıklıkla işlediği konulardan birini oluşturmaktadır. Özellikle köyden kente göç ile başlayan köylü-kentli karşılaşması, birçok yönetmenin dikkatini çekmişve Türk sinemasında çok sayıdaki filmin temasınıoluşturmuştur. Bu çalışmada, köylü-kentli karşılaşmalarının Türk sinemasının temel konularından biri olduğu savunulmuştur. Köy-kent olgusu, köy-kent farklılığı, köyden kente göçün nedenleri ve etkileri, bu sürecin yarattığıdurum eleştirel gözle değerlendirilmiş, Türk sinemasındaki köylü-kentli karşılaşmalarıseçilen filmlerle birlikte incelemeye tabi tutulmuştur.

The difference between rural and urban, which is a common feature of the third world countries, makes itself felt distinctively in Turkey. The sources of the difference between rural and urban are various: population, economy, family structure, geographic conditions, composition of settlement, behavior patterns, socio-cultural structure, difference between the perception of woman and man and marriage are some of the issues that constitute urban-rural difference. These differing features of rural and urban, necesarily disconnected villagers and urbanites and two different worlds emerged from that. Encounters of villagers and urbanites in Turkey mostly happen in the cities. The main reason of that is the fact of urbanization. Urbanization process in Turkey results from rural-urban migration. Main factors causing migration from country to city are developments in agricultural techniques, industrialization, existing employment opportunities in the city, proliferation of the means of transport, geographical conditions and the decrease of efficiency in agriculture. Some economic and social problems emerge along with this fast urbanization. First and foremost, the individuals who came from rural environment and settled in the city, feel that they belong to country and not the city, so they need a long time to be urbanites in the real sense. Individual coming from rural part of the country experiences a cultural integration problem in the city. This problem brings cultural gap, cultural conflict and alienation along with itself. Cinema, being affected of and feeding from social and political changes, economic oppressions, cultural values of its environment, shows itself in this general framework in Turkey too. Rural-urban migration, which results from economical causes and is one of the most important social changes happening in Turkey, has been included to Turkish cinema in the 1960s. On the other hand, people who went to the country side from cities because of banishment and obligatory service, which are other social and political facts of Turkey, are not small in numbers either. Encounters of country people and urbanites as a result of migration either from rural to urban or from urban to rural, constitute a frequent theme for Turkish cinema. These films explore themes such as adaptation of countryman to the city or urbanite to the country side, communication between country people and urbanites, being the “other” in city or in country side, alienation resulting from differing environments, and the fact of "gender" in rural-urban encounters. Especially the encounters which result from the migration from rural to urban, aroused interest of many directors and constituted the theme of many films in Turkish cinema. In the films that were produced before rural-urban encounters became a trend in cinematic themes, migration from country side to the city was embroidered with love themes. Beginning from 1950s, the years in which rural-urban migration was at its peak, and especially during the free thought atmosphere resulting from 1961 Constitution, migration of this kind and the problems it brings along, became a very important constituent of cinematic expressions. Gurbet Kuşları which was directed by Halit Refiğ in 1964 and is one of the most important masterpieces of Turkish cinema, was the first to express rural-urban migration in a realistic style. The trilogy of Ömer Lütfi Akad consisting of Gelin, Düğün and Diyet, were very important films of 1970s and still are three of the most important films ever made in Turkish cinema with their themes such as migration to the big city, desire to climb the social ladder, oppression of women. The encounter of rural and urban people was treated in a tragicomical way as well as tragic in Turkish cinema. Ertem Eğilmez’s film, Arabesk is one of the best examples of tragicomic films in this sense. Some other films in which rural-urban encounter is expressed in a tragicomical style are Züğürt Ağa directed by Nesli Çölgeçen and Yavuz Turgul, Ertem Eğilmez’s Salak Milyoner, Köyden İndim Şehre and Banker Bilo, Osman Seden’s Nereye Bakıyor Bu Adamlar, Atıf Yılmaz’s Kibar Feyzo and Dolap Beygiri, Kartal Tibet’s Şark Bülbülü and Çarıklı Milyoner films, the last two being two of the Kemal Sunal classics. One of the most frequent themes of Turkish cinema consists of the image of woman climbing social ladder and changing in the process. Most famous examples of these kind are Tatlı Dillim which was shot by Ertem Eğilmez in 1972, and Ertem Göreç's films: Yayla Kızı and Analar Ölmez. The impossible or unrequited love between lovers coming from different backgrounds in terms of culture such as rural and urban, is another important theme from which Turkish cinema was feeding itself. Some of the films with this specific theme are Şerif Gören's Herhangi Bir Kadın which was produced in 1981, another Gören film Adem ile Havva which is dated 1986 and Barış Pirhasan's Gül ile Adem. Despite the fact that encounters of rural and urban usually happen in an urban environment, there are also encounters happening in rural area which result from the migration of urbanite individual to rural for some reason or the other. Fehmi Yaşar’s Camdan Kalp, Bilge Olgaç’s Aşkın Kesişme Noktası and İpekçe, Şerif Gören’s Katırcılar and Derman, Erden Kıral’s Hakkâri’de Bir Mevsim are some of the films in which urbanite individual’s adventures in country side are told. The gap between rural and urban cultures is frequently used in recent films too. Tomris Giritlioğlu’s Salkım Hanım’ın Taneleri 1999 , Yavuz Turgul’s Eşkıya 1996 , Nuri Bilge Ceylan’s award winning film Uzak, Yavuz Turgul’s Gönül Yarası 2003 , Yılmaz Erdoğan’s Vizontele Tuba and Abdullah Oğuz’s Mutluluk 2007 are recent productions which contain encounters of urban and rural in their theme. In this study, it is argued that the above mentioned rural-urban encounter is one of the main themes of Turkish cinema. To support this argument, facts of rural and urban, difference between rural and urban, causes of migration from country side to the city and its effects, the situation created by this process are evaluated from a critical perspective and rural-urban encounters are being examined as they are represented in Turkish cinema through selected films. The results obtained from the reading of films could be summarized as follows: Urban environment causes individual to be alienated as a consequence of its sociological structure; rural environment, on the other hand, characteristically has an effect of uniting and socializing people. Accordingly, while Uzak Away in which rural-urban encounter happens in the city, consists of alienation, Hakkâri’de Bir Mevsim A Season In Hakkari as an expression of an encounter of rural and urban in the country side, points to unification and socialization of people.