{"id":14841,"date":"2021-03-19T09:36:56","date_gmt":"2021-03-19T06:36:56","guid":{"rendered":"https:\/\/iletim.istanbul.edu.tr\/?p=14841"},"modified":"2021-03-19T10:13:33","modified_gmt":"2021-03-19T07:13:33","slug":"otobus-yolculari-ve-karanlikta-uyananlar-sermayeye-direnir-ama-patriarkiye-asla","status":"publish","type":"post","link":"https:\/\/iletim.istanbul.edu.tr\/index.php\/2021\/03\/19\/otobus-yolculari-ve-karanlikta-uyananlar-sermayeye-direnir-ama-patriarkiye-asla\/","title":{"rendered":"&#8220;Otob\u00fcs Yolcular\u0131&#8221; ve &#8220;Karanl\u0131kta Uyananlar&#8221; Sermayeye Direnir Ama Patriarkiye Asla!"},"content":{"rendered":"\n<p><strong>Prof. Dr. Murat \u0130R\u0130<\/strong><\/p>\n\n\n\n<p>\u00c7\u00fcnk\u00fc, Ye\u015fil\u00e7am\u2019a egemen erkek bak\u0131\u015f\u0131n\u0131n kodlar\u0131 ile \u00fcretilirler. Otob\u00fcs ve\/ya fabrika ailenin yeniden kuruldu\u011fu, mahalleli de\u011ferlerinin olumland\u0131\u011f\u0131 mekanlard\u0131r. Kad\u0131n ve kad\u0131nl\u0131k rolleri, erkekler i\u00e7in ve erke\u011fin ihtiya\u00e7lar\u0131na g\u00f6re kodlan\u0131r. Edilgenlikleri ve \u00e7aresizlikleri ile sermayeye kafa tutarlar, ancak bu kafa tutu\u015f patriarkal d\u00fczenin devam\u0131na tehdit olu\u015fturmaz. \u2018Yoksullu\u011fu ve zavall\u0131l\u0131\u011f\u0131 seyretme hazz\u0131\u2019n\u0131n trib\u00fcn\u00fcne oynan\u0131r -beterin beteri var, haline \u015f\u00fckret! <\/p>\n\n\n\n<p>Kurgudan gelen Ertem G\u00f6re\u00e7 1960\u2019ta ilk filmi <em>Kanl\u0131 Sevda<\/em>\u2019y\u0131 y\u00f6netir. 1961\u2019de <em>Otob\u00fcs Yolcular\u0131<\/em> ile \u00f6ne \u00e7\u0131kar. 1964\u2019te, T\u00fcrk sinemas\u0131na ilk kez emek\u00e7i ve grev sorunlar\u0131n\u0131 getiren <em>Karanl\u0131kta Uyananlar<\/em> filmini yapar. Sonra toplumsal i\u00e7erikli filmlerine bitirip, d\u00f6nemin ko\u015fullar\u0131na ve sineman\u0131n genel \u00e7izgisine ayak uydurur. 1970\u2019te has\u0131lat rekorlar\u0131 k\u0131ran <em>Pamuk Prenses ve Yedi C\u00fcceler<\/em> ile masal filmleri furyas\u0131n\u0131n ilk \u00f6rne\u011fini sunar. \u0130lk ba\u015fta umut veren, sonradan \u201cmemur\u201d olmaya raz\u0131 olan y\u00f6netmenler aras\u0131ndad\u0131r. <em>Karanl\u0131kta Uyananlar<\/em>\u2019da memleketin varl\u0131klar\u0131n\u0131 yabanc\u0131 zenginlere pe\u015fke\u015f \u00e7ekme gayretindeki yabanc\u0131 sermaye ajanlar\u0131, gayrim\u00fcslim kompradorlar, d\u00fc\u015f\u00fcncesiz end\u00fcstri burjuvazisi, geri kalm\u0131\u015f \u00fclkenin t\u00fcm a\u011f\u0131rl\u0131\u011f\u0131n\u0131 ve s\u0131k\u0131nt\u0131s\u0131n\u0131 y\u00fcklenen halk, halk\u0131n yan\u0131ndaki namuslu ayd\u0131nlar, ya da olanlara ilgisiz d\u00fczmece ayd\u0131nlar g\u00f6zler \u00f6n\u00fcne serilir. Bir boya fabrikas\u0131nda toplu i\u015f s\u00f6zle\u015fmesinin imzalanmas\u0131 \u00e7er\u00e7evesinde geli\u015fen olaylar i\u015flenir. \u0130\u015f\u00e7i-i\u015fveren ili\u015fkileri, sendikac\u0131l\u0131k, grev, i\u015f\u00e7ilerin bilin\u00e7lenmesi, yerli end\u00fcstri ile ithalat\u00e7\u0131l\u0131k aras\u0131ndaki \u00e7at\u0131\u015fma, i\u00e7inde ya\u015fad\u0131\u011f\u0131 toplumun sorunlar\u0131 kar\u015f\u0131s\u0131nda ayd\u0131nlar\u0131n ilgisi ya da ilgisizli\u011fi, filmin temalar\u0131ndand\u0131r. Her ne kadar i\u015f\u00e7iler aras\u0131nda Karadenizli, Roman, Ermeni, Rum, K\u00fcrt vatanda\u015flar da bulunsa, asl\u0131nda \u015fiveleri ile filmin komedi unsurudurlar. Beklan-Ayla Algan \u00e7iftinin (oynad\u0131klar\u0131 ilk sinema filminde) canland\u0131rd\u0131\u011f\u0131 i\u015f\u00e7i \u00e7evresinden sevgililer filmde tabloyu zenginle\u015ftiren bir \u00f6gedir. Temiz mahalle k\u0131z\u0131 Fatma (Ayla Algan) m\u00fcstakbel bir emek\u00e7i kar\u0131s\u0131 olarak a\u015fk\u0131 Ekrem\u2019in (Beklan Algan) yan\u0131ndad\u0131r, ne derse onu yapar. Filmde bir kez dedesinden tokat yer. \u0130ki y\u00fczl\u00fc pis d\u00fcnya vurgusu ile s\u0131n\u0131f \u00e7at\u0131\u015fmalar\u0131n\u0131n duygusal zemine \u00e7ekilmesi kad\u0131n seyirci i\u00e7in, entellekt\u00fcellerin edilgen ve zevk i\u00e7in ya\u015fayan insanlar olarak sunulmas\u0131 da k\u0131sa yoldan para kazanm\u0131\u015f \u00fcst-orta s\u0131n\u0131f seyirci i\u00e7in filmin stratejik tasar\u0131m\u0131d\u0131r denebilir.<\/p>\n\n\n\n<p><em>Otob\u00fcs Yolcular\u0131<\/em>, T\u00fcrkan \u015eoray\u2019\u0131n ismini duyurmas\u0131n\u0131 sa\u011flayan filmdir. Site yapmak vaadiyle fakir mahalle halk\u0131n\u0131 s\u00f6m\u00fcren \u00fc\u00e7 ka\u011f\u0131t\u00e7\u0131 bir m\u00fcteahhitin arkeoloji okuyan k\u0131z\u0131 Nevin (T\u00fcrkan \u015eoray) ile belediye otob\u00fcslerinde \u015fof\u00f6r olarak \u00e7al\u0131\u015fan Kemal\u2019in (Ayhan I\u015f\u0131k) a\u015fk \u00f6yk\u00fcs\u00fc anlat\u0131l\u0131r. 1960\u2019lar\u0131n ba\u015f\u0131nda ya\u015fanan ger\u00e7ek bir kooperatif yolsuzlu\u011fu \u00f6rne\u011finden uyarlama, \u0130stanbul\u2019u (g\u00fcn\u00fcm\u00fczdeki) in\u015faat felaketine s\u00fcr\u00fckleyen rant meselesinin ba\u015flang\u0131\u00e7 y\u0131llar\u0131d\u0131r. Zengin babaya fakir ama namuslu ve ayd\u0131n sevgilisi ile kafa tutarken Nevin\u2019in maruz kald\u0131\u011f\u0131 \u015fiddetin s\u0131n\u0131flararas\u0131 ayr\u0131m\u0131 yoktur. Otob\u00fcste herkesin yeri, patriyarkal hiyerar\u015fik konumu bellidir.<\/p>\n\n\n\n<p>\u00dclkemizin g\u00fcndemini 1960lar ve 1970lerde me\u015fgul eden az geli\u015fmi\u015flik, d\u0131\u015fa ba\u011f\u0131ml\u0131l\u0131k, gelir ve f\u0131rsat e\u015fitsizli\u011fi, s\u0131n\u0131fsal u\u00e7urumlar gibi konular kad\u0131n sorununun s\u0131n\u0131f m\u00fccadelesi i\u00e7inde ele al\u0131nmas\u0131na neden olur. Dolay\u0131s\u0131yla <em>Karanl\u0131kta Uyananlar<\/em> ve <em>Otob\u00fcs Yolcular\u0131<\/em> filmlerinde kad\u0131n sorununa de\u011finilmez. 1980\u2019li y\u0131llarda Marksist sola gelen yasal s\u0131n\u0131rlama ve bask\u0131, sol gelenekten gelen kad\u0131nlar\u0131n farkl\u0131 bir mecrada seslerini duyurmaya \u00e7al\u0131\u015fmas\u0131na yol a\u00e7ar. Kad\u0131nlar, s\u0131n\u0131f ili\u015fkileri ba\u011flam\u0131ndan \u00e7\u0131karak kendi kimlik ve sorunlar\u0131na dair daha \u00f6zg\u00fcn s\u00f6ylemler \u00fcretmeye ba\u015flarlar. Art\u0131k kad\u0131n hareketi sadece erkeklerle e\u015fit haklara sahip olmak de\u011fil, kad\u0131n\u0131 s\u00f6m\u00fcren, \u00f6tekile\u015ftiren ve yok sayan patriyarkal d\u00fczenin de\u011fi\u015ftirilmesi \u00fczerinedir. D\u00f6nemin filmlerinden <em>U\u00e7urtmay\u0131 Vurmas\u0131nlar<\/em> (Tun\u00e7 Ba\u015faran\/1989), <em>Bir Avu\u00e7 Cennet<\/em> (Muammer \u00d6zer\/1985), <em>Bir Yudum Sevgi<\/em> (At\u0131f Y\u0131lmaz\/1984)\u2019de kad\u0131nlar hem sermayeye hem de patriyarkiye meydan okur.<\/p>\n\n\n\n<p><strong>Kaynak\u00e7a<\/strong><\/p>\n\n\n\n<p>\u00d6z\u00f6n, N. (1995). <strong>Karag\u00f6zden Sinemaya: T\u00fcrk Sinemas\u0131 ve Sorunlar\u0131-2.Cilt<\/strong>. Kitle Yay\u0131nlar\u0131: Ankara.<\/p>\n\n\n\n<p>Scognamillo, G. (1998). <strong>T\u00fcrk Sinema Tarihi<\/strong>. Kabalc\u0131 Yay\u0131nevi: \u0130stanbul.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Prof. Dr. Murat \u0130R\u0130 \u00c7\u00fcnk\u00fc, Ye\u015fil\u00e7am\u2019a egemen erkek bak\u0131\u015f\u0131n\u0131n kodlar\u0131 ile \u00fcretilirler. Otob\u00fcs ve\/ya fabrika ailenin yeniden kuruldu\u011fu, mahalleli de\u011ferlerinin olumland\u0131\u011f\u0131 mekanlard\u0131r. Kad\u0131n ve kad\u0131nl\u0131k rolleri, erkekler i\u00e7in ve erke\u011fin ihtiya\u00e7lar\u0131na g\u00f6re kodlan\u0131r. Edilgenlikleri ve \u00e7aresizlikleri ile sermayeye kafa tutarlar, ancak bu kafa tutu\u015f patriarkal d\u00fczenin devam\u0131na tehdit olu\u015fturmaz. \u2018Yoksullu\u011fu ve zavall\u0131l\u0131\u011f\u0131 seyretme hazz\u0131\u2019n\u0131n trib\u00fcn\u00fcne [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":14306,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":[],"footnotes":""},"categories":[35],"tags":[1520,1498],"class_list":["post-14841","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-yasam","tag-ertem-gorec","tag-murat-iri"],"_links":{"self":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/posts\/14841","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/comments?post=14841"}],"version-history":[{"count":0,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/posts\/14841\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/media\/14306"}],"wp:attachment":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/media?parent=14841"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/categories?post=14841"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/tags?post=14841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}