Eski Kavramlar, Yeni Muhtevalar: Kent, Sinema ve Yabancı

Year 2018, , 121 - 133, 30.12.2018

Sertaç Timur Demir

https://doi.org/10.17829/turcom.499523

Cited By: 1

Abstract

Bu çalışma İstanbul’un gerçek değil; esasında güncellenmiş bir sinematik portresidir. Sinematik İstanbul’un
yabancıları bağlamında, kent imgesini güncellemek için en stratejik, faydalı ve aynı zamanda en zor
adım ekseni merkezlerden, turistik mekânlardan, alışıldık karakterlerden, malum değerlerden ve olağan
olaylardan kenarlara, ikincil mekân ve karakterlere, minimal durumlara, müphem değerlere ve hâlihazırdaki
değişimlere kaydırmaktır. Bu amaçla, detaylarına inmeksizin ama göndermelerine odaklanarak, birer
sosyolojik tanıklık olan beş film analiz edilmiştir: Bir Tutam Baharat (Tassos Boulmetis, 2003), Köprüdekiler
(Aslı Özge, 2009), Kaç Para Kaç (Reha Erdem, 1999), Uzak (Nuri Bilge Ceylan, 2002) ve 11’e 10 Kala (Pelin
Esmer, 2009). Araştırmanın genel çerçevesini oluşturan bu filmler modern İstanbul’un toplumsal ve kentsel
tarihi ve yabancıların değişen dokusunun en kritik kırılma noktalarıdır. 

Keywords

Sinema, Yabancı, İstanbul, Kentsel Deneyim, Değişim

Old Concepts, New Contents: The City, Cinema and the Stranger

Abstract

This study is a cinematic portrait not of the real, but essentially of the updated İstanbul. In the case of the
strangers of cinematic İstanbul, the most strategic, useful, as well as the most difficult step for updating
the city’s image is to shift the axis from its centres, touristic places, familiar characters, common values
and usual events to its corners, secondary places and characters, minimalist conditions, ambivalent values
and current changes. For this purpose this study analyzes five films as sociological testimonies without
touching upon their details but by focusing on their references: Politiki Kouzina/Bir Tutam Baharat/A
Touch of Spice (Tassos Boulmetis, 2003), Köprüdekiler/Men on the Bridge (Aslı Özge, 2009), Kaç Para Kaç/A
Run for Money (Reha Erdem, 1999), Uzak/Distant (Nuri Bilge Ceylan, 2002), and 11’e 10 Kala/10 to 11
(Pelin Esmer, 2009). These films, which constitute the framework of this research, are breaking points of
modern İstanbul’s social and urban history and of changing form of strangers. 

Keywords

Cinema, The Stranger, İstanbul, Urban Experience, Change

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