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SİNEMA TARİHİ (Historical of cinema)

dannagarcia — Sun, 17 May 2009 03:05:50 +0200

sinema tarihi

Her ülkenin bir sinema tarihi vardır. Bu, elbette belgelerle saptanır. O yıllardaki adıyla sinematograf, yani sinemanın dünya üzerindeki resmi tarihi belgelere göre 22 Aralık 1895 olarak bilinir. İki Fransız genci Louis ve Auguste Lumièr kardeşlerin Paris'te Capucines Bulvarı'ndaki Grand Cafe'de düzenledikleri bir gösteriyle dünya sinemasının resmi tarihi doğar.

Sinemanın Türkiye'ye girişi ise çeşitli kaynaklara göre Yıldız Sarayı'nda ve halka açık gösterilerle başlar. Örneğin, Romanya uyruklu bir Polonya'lı Sigmund Weinberg'in Galatasaray dönemindeki Sponeck adlı birahanenin salonunda düzenlediği halka açık film gösterisi, bu konuda en sağlam kaynaklardan biridir. Ve bu film gösterisinin tarihide 1897'dir. (Historical of cinema)

Undoubtedly each country has its own history of the cinema and such an history is confirmed by documents. According to such documents the official history of the cinema, known then as the cinématograph, begins on December 22, 1895 in Paris at the Grand Café, near the Boulevard des Capucines, where two young Frenchmen, the brothers Louis and Auguste Lumière, stages a first showing.

According to several sources the cinema enters Turkey first through private showings, held at the Sultan's court (The Yıldız Palace), followed by public ones. We know, for example, that in 1897 a Rumenian citizen of Polish origins, Sigmund Weinberg, staged a first public show in Istanbul. The place being Sponeck's beerhouse in Galatasaray's square ...Tunalım

HİSTORY OF THE TURKISH CİNEMA

dannagarcia — Sun, 17 May 2009 03:04:33 +0200

1914-1930

A Chronological History Of The Turkish Cinema

1914

     Starting from 1908 more movie theaters are opened in various cities, most of them owned by foreigners or minorities. Practically the history of the Turkish cinema starts on November 14, 1914 when Fuat Uzkınay, being at that time an army officer, shoots a 150 meter long documentary (Ayos Stefanos'taki Rus Abidesinin Yıkılışı / The Demolition of the Russian Monument in St. Stephan) considered to be the first Turkish film.

      One year later (1915), by orders coming from Enver Pasha, Minister of War, an "Army film Center" is founded and Sigmund Weinberg, a pioneer in the film field, appointed as head of the said Center with Uzkınay as his assistant. Weinberg, who was usually shooting war documentaries and newsreels concerned with the visits of foreign monarchs, succeeds in convincing Enver Pasha to start producing feature films.

      Weinberg's first attempt is an adaptation of a popular stage play, Leblebici Horhor, but after a while and due to the death of one of the leading actors, the shooting has to be stoped. A second film, Himmet Ağanın İzdivacı (The Marriage of Master Himmet), encounters a similar end when most of the actors are recruited in order to serve during the war of the Dardanelles. It is only after the end of World War I that Fuat Uzkınay, substituting Weinberg at the head of the "Army Film Center", will complete Himmet Ağa'nın İzdivacı (1918).

1917

     In those first years of the Turkish cinema a further military office, "Müdafaa-i Milliye Cemiyeti" (The Association for National Defence), gets involved into film production, Fuat Uzkınay, now a foremost documentary director, is put at the head of the said department and young journalist, the 20 years old Sedat Simavi, succeeds in directing two feature films, Pençe (The Claw) and Casus (The Spy). Both being the truly completed first feature films of the Turkish cinema.

1919

     Only two feature films are produced during the year: Mürebbiye (The Governess) and Binnaz. Both are directed by the 62 years old Ahmet Fehim, a leading figure in the foundation of the Turkish theater, and the male cast is composed by such stage actors as Raşit Rıza Samako, Behzat Butak and Hüseyin Kemal Gürmen while the female leads are played by Mme. Kalitea, Eliza Binemeciyan and Bayzar Fasulyeciyan.

1921

     Şadi Fikret Karagözoğlu, a top comedian of the period, brings to the Turkish screen, with Bican Efendi Vekilharç (Mister Bican, Secretary) the first comic character. Karagözoğlu directs two more adventures of his hero, Rican Efendi Mektep Hocası (Mister Bican, School- master) and Bican Efendi'nin Rüyası (Mister Bican's Dream), playing also the leading part.

1922

      A new era begins in the Turkish cinema with Muhsin Ertuğrul, who had worked as an actor and director in the German cinema from 1916, returning in Turkey and with the foundation, by brothers Kemal and Şakir Seden, of "Kemal Film", Turkey's first private producing company. Muhsin Ertuğrul, relying on his filmic experiences abroad, directs two features for "Kemal Film": İstanbul'da Bir Facia-i Aşk (A Love Tragedy in Istanbul) and Boğaziçi Esrarı / Nur Baba (The Mystery of the Bosphorus / Father Light).

      The second one causes some incidents: adapted from a novel by Yakup Kadri Karaosmanoğlu it attracts the attention of the religious sect known as the "Bektaşi". Thinking that the production is aimed against their teachings the Bektaşi's raid the studio, while shooting is in progress. The police has to protect the crew, the leading actor flies in panic and refuses to resume his work and so on. But, in the end, the film is finally completed.

1923

      Muhsin Ertuğrul is ready to start his career, as the ruler and No. I man of the Turkish cinema, directing three productions during the year. The first of them is Ateşten Gömlek (The shirt of fire), adapted from the novel by Halide Edip Adıvar. Set during the years of the Turkish War of Independence it remains the "first" of an epic tradition and, furthermore, also the first film where -following the proclamation of the Turkish Republic (1923) and its allowing Turkish women the freedom to work- two Turkish actresses, Bedia Muvahhit and Neyyire Neyir, appears in front of the camera.

      During the year Muhsin Ertuğrul directs also Leblebici Horhor and Kız Kulesinde Bir Facia (A Tragedy at Kız Kule).

1924

      Muhsin Ertuğrul directs only one movie and after completing Sözde Kızlar (The Would be Girls), adapted from a novel by Peyami Safa, goes to Russia (1925) to continue his cinematographical works.

1928

      The brothers, İpekçi who, in 1924, had started a ring of movie theaters enters feature production with a new company, "İpek Film", thus founding the second private film producing venture of the Turkish cinema. Muhsin Ertuğrul, back to Turkey, starts directing the first feature of "İpek Film", Ankara Postası (The Courier from Ankara), to be completed the following year.

      Another feature, also signed by Muhsin Ertuğrul, and titled Kaçakçılar (The Smugglers) has to be interrupted when one of the leading actors dies in a car crash. Kaçakçılar is thus completed in 1929.TUNALIM...

HİSTORY OF THE TURKISH CİNEMA

dannagarcia — Sun, 17 May 2009 03:03:29 +0200

1931-1950

A Chronological History Of The Turkish Cinema

1931

     Muhsin Ertuğrul's İstanbul Sokaklarında (The Streets of Istanbul) shares the titles of both "first Turkish co-production" (with Greece and Egypt) and "first talkie". Combining a cast of Turkish (Semiha Berksoy, Talat Artemel, I. Galip Arcan), Egyptian (Azize Emir) and Greek (Gavrilides) players the film is dubbed in Paris, at the Epinay studios.

1932

     Shoot with a cast of theatrical actors, including Atıf Kaptan, Ferdi Tayfur, Mahmut Moralı, Hadi Gün, Hazım Körmükçü, Sait Köknar, Ercüment Behzat Lav, Bir Millet Uyanıyor (A Nation Awakens), another War of Independence epic, becomes Muhsin Ertuğrul's best work and one of the first "good", films in the history of the Turkish cinema. Furthermore and again for the first time an actor (Atıf Kaptan) becomes a popular figure through his part (Captain Yahya) in the film.

     While Ertuğrul goes on completing Kaçakçılar (The Smugglers), İpek Film opens its first sound stage and censorship enters the Turkish cinema with the first version of the "Instructions concerning the control of cinema films " . akı filmlerimizden biridir. Ve ilk kez bir oyuncu halk içinde ünlenip öne çıkar. Bu oyuncu Yahya Kaptan rolüyle Atıf Kaptan'dır. Ertuğrul, Kaçakçılar'la çalışmalarını sürdürürken, İpek Film Şirketi de Nişantaşı'nda ilk sesli stüdyoyu kurup işlemlere başlar. Bu yıl, ilk şekliyle hazırlanan Sinema Filmlerinin Kontrolü Hakkında Talimatname'de yürürlüktedir.

1933

     4 feature films and 3 short ones are produced. 1933 is the year devoted mostly to operettas and vaudevilles. Muhsin Ertuğrul directs Karım Beni Aldatırsa (If my wife betrays me), Söz Bir Allah Bir (One is the word and one is the Lord) and Fena Yol (The Bad Way), the last being a further co-production with Greece. In the meantime, together with Nâzım Hikmet Ran who had authored several screenplays under the penname of Mümtaz Osman, Ertuğrul signs also Cici Berber (The Nice Barber). Nâzım Hikmet directs a short feature, Düğün Gecesi / Kanlı Nigâr (The Weding Night / Bloody Nigâr) and actor Hazım Körmükçü signs another short Yeni Karagöz (The New Karagöz).

1934

     A new producing company, "Ha-Ka (Halil Kamil) Films" is founded. Muhsin Ertuğrul directs Milyon Avcıları (The Million Hunters) and Leblebici Horhor Ağa while Nâzım Hikmet gives another short work with İstanbul Senfoni (The Symphony of Istanbul). The remake of Leblebici Horhor Ağa represents Turkey at the Second Venice Biennale and is awarded with a "diploma of honor" thus becoming the first Turkish feature awarded in an international film festival.

1935

     With Bataklı Damın Kızı Aysel (Aysel, the Girl from the Swampy Roof) Ertuğrul gives to the Turkish cinema its first rural drama. The film, who carries openly influences derived from the Soviet cinema, is also noticeable for the presence of Cahide Sonku, a theater actress who had entered the movies in 1933. With her interpretation of Aysel, Cahide Sonku becomes the first star of the Turkish screen. yönetmen araya girer. Tiyatrocuların dışından gelen bu yönetmen Faruk Kenç'tir. Almanya'da Fotoğrafçılık ve Film Okulu'nu bitirip 1938 yılında yurda dönen Kenç, zorunlu olarak Muhsin Ertuğrul'un takımındaki tiyatro oyuncularıyla bir süre çalışacaktır. Çünkü o günün koşulları içinde Şehir Tiyatrosu oyuncuları, hocaları Ertuğrul'un izinde olup, Türk sinemasını ellerinde tutmaktadırlar.

1939

     From 1916 to 1939 the Turkish cinema remains under the strong domination of theatrical personalities, including Muhsin Ertuğrul. In 1939 a new director enters the field, Faruk Kenç, who directs Taş Parçası (The Stone). Kenç returns to Turkey in 1938, after completing in Germany a film and photography school. And Kenç has also to use, in his cast, leading theatrical actors following the steps of Ertuğrul since the cinema is still dominated by the theater.

1940

     With Faruk Kenç entering the field the number of films produced during the year reaches 5. Suavi Tedü, a young stage actor playing leading parts in Ertuğrul's Şehvet Kurbanı (Victim of Lust) and Kenç's first action thriller Yılmaz Ali (The Indomitable Ali), starts a line of handsome and typical "jeune premier".

1942

     While 1941 ends with only one feature film produced, Muhsin Ertuğrul's "Kahveci Güzeli" (The Handsome Coffee-seller) brings out four releases, one (Kıskanç / The Jealous one) directed by Ertuğrul and the remaining three by Adolf Körner, a former Czechoslovakien entertainer. For "Ha-Ka Film" Körner directs three features in a row: Duvaksız Gelin (The Unveiled Bride), Sürtük (The Trollop) and Kerem ile Aslı (Kerem and Aslı). Among them Sürtük, an adaptation of G. B. Shaw's Pygmalion, will influence the melodramatic tradition of the Turkish screen through several remakes.

1943

     Nasrettin Hoca Düğünde (Nasrettin Hodja at The Wedding), started in 1940 by Ertuğrul from a screenplay by Burhan Felek, is finished by actor and dubbing specialist Ferdi Tayfur. A new producing company, "Ses Film", owned by Necip Erses enters into production with Dertli Pınar (The Sorrowful Spring) a further rural melodrama directed by Faruk Kenç.

1944

     Following Faruk Kenç another non-theatrical director, formed in Europe, comes back to Turkey in 1939; Baha Gelenbevi. Gelenbevi, who had worked in Paris with Abel Gance (Napoleon) and Marcel L'Herbier (L'argent), starts as Director of Photography in Kenç's Dertli Pınar then goes on to direct his first feature, Deniz Kızı (The Mermaid). sayısında ise belli bir artış görüldü. Erman Film (Hürrem Erman), Duru Film (Naci Duru) bu yapımevlerinin başlıcalarını oluşturdular.Yılın en önemli sinema olayı ise Yerli Film Yapanlar Cemiyeti'nin kurulması oldu. Çünkü YFYC, yapımcıları bir araya getiren bağımsız bir sinemacılar kuruluşudur. Kuruluşun İdare Heyeti'nde ise Faruk Kenç (İstanbul Film), İhsan İpekçi (İpek Film), Turgut Demirağ (And Film), Fuat Rutkay (Halk Film), Necip Erses (Ses Film), Murat Köseoğlu (Atlas Film), Refik Kemal Arduman (Ankara Film), İskender Necef (Birlik Film), Hikmet Aydın (Şark Film) ve Yorgo Saris (Elektra Film) görev aldı.

1945

     Kenç, who has formed his own company "İstanbul Film" in 1944, produces and directs Hasret (Nostalgia), a drama staring singer Münir Nurettin and newcomer Oya Sensev. With Kenç non-theatrical newcomers had the possibility of acting in feature films.

     During the year three new directors direct their first film: Şadan Kamil, who had graduated in photography in Germany, signs Onüç Kahraman (13 Heroes), Talat Artemel and Refik Arduman, both from the City Theater (İstanbul), give respectively Hürriyet Apartmanı (Freedom Apartment) and Köroğlu.

     And three new producing companies are started: Fuat Rutkay's "Halk Film", Nazif Duru and Murat Köseoğlu's "Atlas Film" and Turgut Demirağ's "And Film" Rutkay being a movie theater owner, Duru operating its own theater and Demirağ having graduated from the Southern California University and worked with Leo McCarey.

     Another non-theatrical actor, Sadri Alışık joins the cast of Faruk Kenç's Günahsızlar (Those Without sin) while further producing companies, such as Hürrem Erman's "Erman Film" and Naci Duru's "Duru Film", enters into the market.

     The year's most important event is the creation of the "Association of Film Producers" an independent association bringing together all producers of Turkish films. The Board is composed, thus, by Faruk Kenç, (Istanbul Film), İhsan İpekçi (İpek Film), Turgut Demirağ (And Film), Fuat Rutkay (Halk Film), Necip Erses (Ses Film), Murat Köseoğlu (Atlas Film), Refik Kemal Arduman (Ankara Film), İskender Necef (Birlik Film), Hikmet Aydın (Şark Film) and Yorgo Saris (Elektra Film).

1947

     12 feature films are produced during the year. Vedat Örfi Bengü, a pioneer of the Egyptian cinema, directs Bağda Gül (A Rose in the Wineyard); Seyfi Havaeri, a former stage actor in Burhanettin Tepsi's and Sadi Tek's theatrical companies, signs two films, Yara (The Wound) and Kılıbıklar (Woman-haters); Ferdi Tayfur, a member of the City Theater, gives Senede Bir Gün (Once A Year) and Kerim'in Çilesi (The Ordeal of Kerim). Following the steps of their "master" Muhsin Ertuğrul the said directors' works are stamped with a heavy, outdated theatrical pathos. Another negative influence is also derived from the Egyptian features abondantly imported in Turkey during the years of World War 2. pırıltılarından biridir Lütfi Ö. Akad Türk sinemasının gelişim tarihi içinde çok önemli yeri ve gerçekçi bir kurtuluş savaşı filmi olan Vurun Kapheye ile Akad, yeni sinema anlayışının ilk belirtilerini ortaya koyar.

     Among the new directors of the year the only one to gain some attention is Turgut Demirağ who, devoid of any theatrical background, had been formed in Hollywood. Adapted from a novel by Reşat Nuri Güntekin, Demirağ's Bir Dağ Masalı (Tale of A Mountain) constitutes the first attempt at a super-production.

1948

     18 features are produced. 5 of them are directed by Vedat Örfi Bengü, 7 are produced by Fuat Rutkay (Halk Film) who, in the following years, will remain the most active producer of the Turkish cinema.

     Meanwhile: three new companies are founded, Ömer Aykut's "Ömay Film", Agop Fındıkyan's "Işık Film" and Sabahattin Tulgar's "Milli Film". Sami Ayanoğlu and Kadri Ögelman, both coming from the ranks of Muhsin Ertuğrul, directs their first films, Harmankaya and Kahraman Mehmet (The Heroic Mehmet). And two non-theatrical directors enters the cinema: Şakır Sırmalı with Domaniç Yolcusu (The Domaniç Traveler) and Çetin Karamanbey with Silik Çehreler (Pale Faces).

     The rise in the number of feature films produced yearly as well as the flow of new producing companies is primarily caused by the fact that, as per the Law on Municipal Incoms, local productions are taxed, on ticket prices, only for 25 % so that, for the first time in its history, the Turkish cinema gains a protection aimed at its gross revenue.

     During the year the "Association of Film Producers" (Yerli Film Yapanlar Cemiyeti) organises the first offical Turkish films festival aiming at "Promoting several contests in order to help the development of the national cinema and assist its members". The awards of this first 'local films contest' are given as follows:

Best picture: Unutulan Sır (Forgoten Secret), directed by Şakir Sırmalı.

Second best picture: Bir Dağ Masalı (Tale of a Mountain), directed by Turgut Demirağ.

Best Director: Turgut Demirağ for Bir Dağ Masalı (Tale of a Mountain).

Best Photography: Kriton İlyadis.

Best Sound: Yorgo İlyadis.

Best actress: Nevin Aypar.

Best actor: Kadri Erdoğan.

Best character actress: Cahide Sonku.

Best character actor: Talat Artemel.

Best screenplay: Turgut Demirağ, for Bir Dağ Masalı (Tale of a Mountain).

Best story: Reşat Nuri Güntekin, for Bir Dağ Masalı (Tale of a Mountain)

Best processing : Ses Film (Necip Erses) studio.

Best editing: Özen Sermet.

Best original song: Unutulan Sır (Forgoten Secret)

Best art direction: Kadri Erdoğan, for Yuvamı Yıkamazsın (You Can't Destroy my Home) No awards had been given for make-up and original music.

1949

     Production reaches 19 feature films. The Turkish cinema is at the begining of a new era and during this era new, independent and original cinematographers will take their places, step by step, in accordance with the changing economical and social conditions. The first of them is Lütfi Ömer Akad, a landmark in the history of the Turkish cinema, who by directing his first feature, Vurun Kahpeye (Strike the Whore), gives a realistical War of Independence film and shows the first signs of a new and different filmic flair.

     A new and much more dynamic style is also evident in the acting of the new performers. Sezer Sezin (Vurun Kahpeye/ Strike the Whore), Muzaffer Tema (Çığlık/The Scream), Gülistan Güzey, Hümaşah Hican, Orhon Murat Arıburnu, Reha Yurdakul are only some of the names composing such a new generation of actors. Among them Sezer Sezin and Muzaffer Tema will reach stardom and a larger audience in the following years with Tema bringing to the "jeune premiere" type, started by Suavi Tedü, a more wide and popular approach.

1950

     22 films are produced during the year, the majority of them being the work of the "old generation" and its representative Vedat Örfi Bengü who directs 7 of them.Like other theatrical directors Bengü is living his last epoch. Still the sort of "primitive" cinema instaured and followed by Muhsin Ertuğrul and his pupils between 1922 and 1947 will go on for a while. Ertuğrul's "inheritance" is carried by names such as Kadri Ögelman, Cahit Irgat, Avni Dilligil, Mümtaz Ener and, it the following years, by Sami Ayanoğlu (1951), Kani Kıpçak (1951), Talat Artemel (1952) and Suavi Tedü (1953).

     Together with Faruk Kenç, Çetin Karamanbey and others from the 40's, newcomers like Orhan Murat Arıburnu, Semih Evin, Mehmet Muhtar, Hüseyin Peyda will somewhat try to stand against the theatrical tradition assisted by actresses like Neriman Köksal and Mesiha Yelda.

HİSTORY OF THE TURKISH CİNEMA

dannagarcia — Sun, 17 May 2009 03:02:08 +0200

1951-1960

A Chronological History Of The Turkish Cinema

1951

     36 features are produced. With the start of the "period films" era movies dealing with the War of Independence or the Corean War raise in number. Some 13 historical films are shoot, 8 of them dealing with the War of Independence.

     Further producing companies enters the field: "Lale Film" (Cemil Filmer), "Adalı Film"(Handan Adalı), "Yakut Film" (Dr. Arşavir Alyanak) and Cahide Sonku's "Sonku Film". koyacaktır. Gerçekten Akad, yıllardır anlatım aksaklıklarıyla yaşamaya çalışan kekeme bir sinemaya bir dil kazandırıyor, yeni soluk getiriyordu. Yaşayan tipler, gündelik olaylar ve doğal çevrenin kullanımı Kanun Namına'yı tarihsel süreç içindeki yerine oturtuyordu.

     Nuri Akıncı, Dr. Alyanak and İhsan Tomaç are the new directors of the year while Orhon M. Arıburnu's "Sürgün" (The Exile) raises as one of the best production of 1951 and actor Turhan Seyfioğlu attracts attention as a promising new star.

1952

     The Turkish cinema tries to break its own record going up to 61 features. However 1952 was an important year.

     Lütfi Akad directs 4 films. Among them Kanun Namına (In The Name of The Law), adapted from a real story, becomes a milestone in the history of the Turkish screen. Really, Akad brought a new breath and caused to gain a new language to a cinema who tried to express itself for ages. Living characters, actual events and the usage of natural environment put Kanun Namına (In The Name of The Law) its place inside the historical process.

      Another important cinematographer, Metin Erksan, follows Akad's mastery. Although harassed by the censors Erksan is able to give, with his first directorial job, a realistical rural drama telling the life story of Anatolian bard Aşık Veysel. Thus with Karanlık Dünya / Aşık Veysel'in Hayatı (Dark World / The Story of Aşık Veysel) Metin Erksan easily proves that he has tinge to say and intends to say them. Derneği) kuruldu. Derneğin temel amacı: "Türk filmciliğinin sanat bakımından inkişafını ve milletlerarası filmcilik aleminde mümtaz ve mevkie ulaşmasını temin etmek" görüşüne dayanıyordu.

      Following a transition period the Turkish screen enters into a new phasis. Still the traditional Muhsin Ertuğrul style is around and among others influences a director such as Muharrem Gürses (Zeynep'in Gözyaşları / Zeynep's Tears), who in the following years became one of the leading names of the populist cinema and, at least for his capability of reaching a large number of spectators, a director of some notice. Moreover his naive approach lead to a sort of "Gürses school" who was to influence other popular moviemakers.

      During the year two actors from Ertuğrul's squad, Vahi Öz and Hayri Esen, directed their first films followed by Orhan Atadeniz, an editor working at the İpek Film's studios, and Nedim Otyam.

      With the year's most important film, Akad's Kanun Namına (In the name of the law), the Turkish screen gains its first big star: Ayhan Işık. Işık came to the movies through a contest promoted by a film magazine (Yıldız/Star) and, as a winner, got his first part in Yavuz Sultan Selim and Yeniçeri Hasan (The Sultan Yavuz Selim and Hasan the Janissary, 1951). Another winner of the same contest, Belgin Doruk, soon became also a top female star.

      The same year saw the foundation, by Lütfi Ö. Akad, Aydın Arakon, Orhon M. Arıburnu, the publisher Hüsamettin Bozok and the writers Burhan Arpad and Hıfzı Topuz of the "Türk Film Dostları Derneği" (Association of the friends of the Turkish Film). The aim of the Association was such expressed: "Provide so that the Turkish cinema may achieve artistic progress and take a special place in the international film world". Canavarı'nda Nazım İnan, yeni oyuncular olarak ilgi çekip ağırlıklarını koydular.

1953

      The year closes with a total of 44 films. Atıf Yılmaz, who had started his career as a director the year before, went on adapting popular novels in heavily melodramatic works such as Hıçkırık (Sob) Aşk Istıraptır (Love is Suffering). Atıf Yılmaz Batıbeki started as assistant director to Semih Evin before signing his first feature.

      After 6 years absence from the screen Muhsin Ertuğrul makes a come-back with Halıcı Kız (The Weaver) who, apart from being one of the first color productions of the Turkish cinema, ends in a total flop hastening Ertuğrul's retreat from the movies. Practically the first Turkish color film had been Salgın (The Plague), produced and directed by Ali Ipar staring Ipar's wife and Hollywood star Virginia Bruce, released after Ertuğrul's Halıcı Kız.

     Akad, during the year, follows his success with Katil (The Killer); Orhon M. Arıburnu with Kanlı Para (Bloody money) and Nedim Otyam with Toprak (The Land) give two interesting features while Kemal Kan and Şinasi Özonuk signed their first films. Özonuk gave also a first chance to young actor Eşref Kolçak in Affet Beni Allahım (Forgive me, my God) and İstanbul Canavarı (The Monster of Istanbul) stared another new player, Nazım Inan.

      Meanwhile the first "Turkish Film Festival" organised by the "Türk Film Dostları Derneği" (Association of the friends of the Turkish Film) awarded the followings:

Best film: Kanun Namına (In the Name of the Law), directed by Lütfi Ö. Akad.

Mentions: Kanlı Para (Bloody Mooney), directed by Orhan M.Arıburnu, İki Süngü Arasında (Between Two Bayonets), directed by Şadan Kamil, Drakula İstanbul'da (Dracula in Istanbul), directed by Mehmet Muhtar, Efelerin Efesi (The Master of all Masters) directed by Şakir Sırmalı.

Best directors:Lütfi Akad, Orhon M. Arıburnu, Şadan Kamil, Mehmet Muhtar, Şakir Sırmalı.

Best photography: Enver Burçkin, Kriton Ilyadis, Özen Sermet, İlhan Arakon, Şadan Kamil.

Best screenplays: Osman Seden, Adnan Fuat Aral, Orhon M. Arıburnu, Ümit Deniz.

Best musical score: Orhan Barlas, Nedim Otyam.

Best actors: Turhan Seyfioğlu, Ayhan Işık, Atıf Kaptan, Orhon M. Arıburnu.

Best actresses: Lale Oraloğlu, Nedret Güvenç, Ayfer Feray.

1954

48 feature films are produced. Musicals featuring well-known singers ,first launched in the late 40's with Münir Nurettin Selçuk as a leading star, are back again this time with star singer Zeki Müren. During the year Akad signs another city drama, Öldüren Şehir (Killer City) and Şadan Kamil gives Kaçak (The Fugitive).

The second film festival organised by the "Association of the friends of the Turkish Film" ends as follows without any "best film" awarded.

Best directors: Lütfi Akad (Öldüren Şehir/ Killer City), Ali Ipar (Bir Şehrin Hikayesi/ The Story of A City).

Best screenplay: Ali Ipak (Bir Şehrin Hikayesi/ The Story of A City).

Best photography:Yuvakim Filmeridis (Mahallenin Namusu/The Honor of the Neighbourhood), İlhan Arakon (Salgın/ The Plague), Mike Rafaelyan (Ölüm Saati/ Hour of Death), Kriton Ilyadis (Öldüren Şehir/ Killer City).

Best actor and actresses: Lale Oraloğlu (Leylaklar Altında/ Under The Lilacs), Aliye Rona (Mahallenin Namusu/ The Honor of The Neighbourhood), Belgin Doruk (Öldüren Şehir/ Killer City), Cahit Irgat (Altı Ölü Var/ Six Deads), Orhan Elçin (Ölüm Saati/ Hour of Death) .

Best musical score: Nedim Otyam (Ölüm Saati/ Hour of Death). dikkatleri üzerine topladı. Bu, bir oyuncu aşamasıydı kuşkusuz. Ve sinemaya ilk kez bir sahici oyuncu geliyordu.

1955

      The number of films produced reaches 61. Osman F. Seden, head of "Kemal Film" Turkey's first producing company, follows his career as screen-writer with a first directorial item: Kanlarıyla Ödediler (They payed it with their blood). Memduh Ün, Abdurrahman Palay and Mümtaz Alpaslan enters into the film world and the screen gains several new and different players such as Muhterem Nur, Lale Oraloğlu, Bülent Oran, Mualla Kaynak and Neşe Yulaç.

      Lütfi Akad, adapting a story by Yaşar Kemal, signs a further personal film with Beyaz Mendil (The White Handkerchief). Newcomer Fikret Hakan, playing the leading part in this realistically handed rural love drama, attracts praise and attention with his direct acting style bringing to the screen the personality of a "real actor".

      Beyaz Şehir (White City), directed by Sami Ayanoğlu, is dubbed into French and enters the Red Cross Congress, in Switzerland, wining a special award.

      The Third Turkish Film Contest, organised by the "Association of The Friends of The Turkish Film", awards the followings:

Best film: Kaçak (The Fugitive), directed by Şadan Kamil, Sevdiğim Sendin (Your Were The one I Loved), directed by Agâh Hün, Bulgar Sadık (Sadık, The Bulgarian), directed by Lütfi Akad.

Best directors: Şadan Kamil, Lütfi Akad, Agâh Hün.

Best screenplays: Haldun Taner, for Kaçak (The Fugitive), Lale Oraloğlu for Sevdiğim Sendin (You Were The one I Loved).

Best photography: Turgut Ören, for Sevdiğim Sendin (You Were The one I Loved), Kriton Ilyadis, for Bulgar Sadık (Sadık, The Bulgarian), Ilhan Arakon, for Kaçak (The Fugitive), Enver Burçkin, for Ecel Köprüsü (The Bridge of Death).

Best producers: Nazif Duru, for Kaçak (The Fugitive), Ali Oraloğlu, for Sevdiğim Sendin (You Were The one I Loved),.

Best actresses: Sezer Sezin, for Kaçak (The Fugitive), Lale Oraloğlu, for Sevdiğim Sendin (You Were The one I Loved),.

Best actors: Şevki Artun, for Bulgar Sadık (Sadık, The Bulgarian),Turan Seyfioğlu, for Kaçak (The Fugitive), Cahit Irgat, for Sevdiğim Sendin (You Were The one I Loved).

      Ekrem Bora, who started his career in Mehdi Özgürsel's Alın Yazısı (Fate), emerges as a promising new actor. Like Ayhan Işık and Belgin Doruk, Bora comes to the screen after a movie star contest sponsored by the film magazine Yıldız (Star).

1956

      50 features are produced. Muharrem Gürses, keen in following the popular taste, mostly in its rural melodramas, goes through a "golden era" directing seven features in a row.

      In Berlin, a documentary directed by Sabahattin Eyüpoğlu and Mazhar Şevket Ipşiroğlu (Hitit Güneşi/ The Hitit Sun) wins the Silver Bear Award.

1957

      61 features are produced. Gürses goes on with his fast melodramas and his style echoes also in Memduh Un's Yetim Ömer (Ömer, The Orphan) and Güllü Fatma (Fatma, The Rose). The new directors of the year are Nejat Saydam and Ziya Metin and the new formed companies are Muzaffer Aslan's "As Film" and Özdemir Birsel's "Birsel Film".

     A character actor, Osman Alyanak, steals the attention in Lütfi Akad's Ak Altın (White Gold) playing the part of Fettah while new actresses, Fatma Girik and Leyla Sayar, and a further new actor, Orhan Günşiray, starts a promising career.

      Atıf Yılmaz, a director since then mostly devoted to sentimental and popular melodramas, signs his first personal work with Gelinin Muradı (The Bride's Wish) adapting Kemal Bilbaşar's short stories set in a small town.

     At the Berlin Film Festival a further Turkish documentary short film, Sabahattin Eyüpoğlu and Mazhar Şevket İpşiroğlu's Siyah Kalem (Black Pencil), is the winner of a "mention".

1958

      Production goes up to 80 films. New production companies are founded such as "Güven Film" (Yuvakim Filmeridis), "Melek Film"(Şahan Haki), "Kervan Film"(Ümit Utku) and "Pesen Film" (Nevzat Pesen).

     New directors like Nuri Ergün, Hulki Saner, Nevzat Pesen, Nişan Hançer and new leading players such as Ahmet Mekin, Çolpan İlhan and Göksel Arsoy start their career.

      Uluslararası Berlin Film Şenliği bu yıl da Türk sineması adına küçük bir zaferle sonuçlandı.

      During the year the Turkish cinema witnesses a very important film event: Memduh Ün, a director formerly busy with second hand popular melodramas directs Üç Arkadaş (Three Friends). After Akad this stands as the second revelation of the Turkish screen and the film, with its intimate and sentimental style, its values based on friendship, love and solidarity is a further milestone enriched by moving performances from a cast composed of Fikret Hakan, Muhterem Nur, Salih Tozan and Semih Sezerli. Based on a screenplay by Aydın Arakon, Metin Erksan, Muammer Çubukçu, Memduh Ün, Ertem Göreç and Atıf Yılmaz with additional dialogues by Orhan Kemal Üç Arkadaş (Three Friends) thus owes most of its success to a calibrated collaboration between leading professionals.

      Another top film of the year is Metin Erksan's Dokuz Dağın Efesi (The Lord of Nine Mountains), about a fiery young paesant turned outlaw.

1959

      Production goes down to 76 features. With Aydın Arakon's Fosforlu Cevriye (Cevriye, The Phosphorescent) starts the era of the "mainly women heroes" with Neriman Köksal as its first representative. Meanwhile a new comic actor, Feridun Karakaya, starts a series with Cilalı İbo (Ibo, the Polished One). Cilalı İbo serisiyle de yeni bir güldürü oyuncusu doğdu; Feridun Karakaya.

      Adapted from a popular romantic novel Nevzat Pesen's Samanyolu (The Milky Way) launches leading actor Göksel Arsoy. Coupled with Belgin Doruk, Arsoy brings to the screen a different, blonde and baby-faced, sentimental "lady killer" type. The film's box-office success gives way to the first steady duo (Belgin Doruk

Göksel Arsoy) of the Turkish screen.

      Actor Suphi Kaner directs his first film and Yılmaz Güney starts his career acting in Bu Vatanın Çocukları (This Motherland's Childrens). Poet Attila İlhan, under the pen-name Ali Kaptanoğlu, signs the script of Lütfi Akad's Yalnızlar Rıhtımı (Wharf of The Lonely Ones). Akad's film and, mostly, Atilla İlhan's script, permeated with heavy foreign influences gives way to hard criticisms.

      With Bu Vatanın Çocukları (This Motherland's Childrens) and Karacaoğlan'ın Kara Sevdası (Karacaoğlan's Hopeless Love) Atıf Yılmaz signs the year's most polished productions and Nejat Saydam gives with Kalpaklılar (The Fur Capped Ones), a War of Independence epic, his best picture.

      He newly formed "Türk Sinema Sanatçıları Derneği" (Association of the Turkish Cinema Artists) launches a "Turkish Film Festival" together with the "Gazeteciler Cemiyeti" (Journalists Association). 15 movies are shown but no award is given for best film, best screenplay and best actress. The remaining awards are as follows: kadın oyuncu seçilmedi. Öteki sonuçlar:

Best director: Atıf Yılmaz Batıbeki.

Best photography : Kriton İlyadis, for Beraber Ölelim (Let's die Together).

Best musical score: Yalçın Tura, for Zümrüt (Emerald).

Best actor: Sadri Alışık, for Zümrüt (Emerald).

Jury's special award: Metin Erksan's Dokuz Dağın Efesi (The Lord of Nine Mountains).

1960

78 films are produced. A host of producing companies are founded: Be-Ya Film (Nüsret İkbal), Saner Film (Hulki Saner), Uğur Film (Memduh Ün), Yerli Film (Atıf Yılmaz

Orhan Günşiray), Erler Film (Türker İnanoğlu), Metro Film (Aram Gülyüz), Site Film (İlham Filmer), Şan Film (Baki Üsküdarlı), Kurt Film (Mehmet Arancı).

      Ayşecik (Little Ayşe), staring child actress Zeynep Değirmencioğlu, starts the fashion of the "child heroes". With Ayşecik (Little Ayşe), directed by Memduh Ün, Zeynep Değirmencioğlu becomes the first child star of the Turkish screen.

     Turgut Ozatay, playing opposite leading star Ayhan Işık in Akad's period piece Yangın Var (Fire), stands easily the confrontation giving a noticeable performance.

      New actresses such as Türkân Şoray and Gönül Yazar, new directors like Türker Inanoğlu, Burhan Bolan, Hüsnü Cantürk, Yavuz Yalınkılıç and Fikret Uçak enters the field. Uçak yeni yönetmenler olarak sinemaya girdiler.Türk

      With the Turkish Armed Forces taking hold of the government on May 27 a new way of thought enters into the Turkish cinema. Known as social realism it starts with Metin Erksan's Gecelerin Ötesi (Over The Nights) and reflects itself in pictures such as Osman F. Seden's Namus Uğruna (For The Honor), Orhan Elmas's Kanlı Firar (Bloody Escape), Atıf Yılmaz's Dolandırıcılar Şahı (King of The Swindlers), Memduh Ün's Kırık Çanaklar (Broken Dishes) and Ateşten Gömlek (Shirt of Fire).

      Atilla Tokatlı's Denize İnen Sokak (A Street Toward The Sea), a very special and personal opus, becomes a box-office flop but is presented at Venice and Karlovy-Vary film festivals and wins a "diploma of honor" in Locarno.
Tunalım...

HİSTORY OF THE TURKISH CİNEMA

dannagarcia — Sun, 17 May 2009 03:00:49 +0200

1961-1970

A Chronological History Of The Turkish Cinema

1961

     The number of production fastly grows and reaches 113 titles. Türker İnanoğlu's Hancı (The Inn-keeper) and Ümit Utku's Yaban Gülü (The Wild Rose) are box-office hits. Nejat Saydam's Küçük Hanımefendi (Little Lady) provides actress Belgin Doruk with a further staring vehicle and starts a host of sequels and variations based on "little ladies" or "young gentlemen". Meanwhile, with Kolsuz Bebek (The Armless Doll), Münir Hayri Egeli directs a "first" feature grouping three separate stories.

      Actors Muzaffer Tema and Kenan Pars starts directing, followed by Ülkü Erakalın, Süreyya Duru, Natuk Baytan and Halit Refiğ who all signs their first film. Actor Orhan Günşiray, considered the "Turkish Mike Hammer", brings a new breath to the cops and robbers trend.

      Director Ertem Göreç and screenwriter Vedat Türkali come together in Otobüs Yolcuları (Buss Travelers), the story of a group of people fighting for their homes, thus signing one of the year's best film. Film critic Halit Refiğ directs his first film, Yasak Aşk (Forbidden Love), after having done a short period as assistant director.

      The Municipality of Istanbul promotes a "Turkish Film Contest", following its "Art Festival". The awards are as follows:

Best film: Memduh Ün's Kırık Çanaklar (Broken Dishes).

Best director : Memduh Ün.

Best screenplay: Metin Erksan, for Gecelerin Ötesi (Over The Nights).

Best photography: Turgut Ören, for Ölüm Peşimizde (Death on our Tracks).

Best actress: Lale Oraloğlu, for Kırık Çanaklar (Broken Dishes).

Best actor: Ekrem Kolçak, for Namus Uğruna (For the Honor).

Best character actress: Mualla Kaynak, for Kırık Çanaklar (Broken Dishes).

Best character actor: Kadir Savun, for Gecelerin Ötesi (Over The Nights).

Jury's special award: Atilla Tokatlı and Selçuk Bakkalbaşı for Denize İnen Sokak (A Street Toward The Sea).

Special award of the Municipality of Istanbul: Zeynep Değirmencioğlu, for Ayşecik (Little Ayşe). The "First Art Festival", held in Izmir, includes also a "Film Fair Contest" with awards distributed as follows:

Best film: Denize İnen Sokak (A Street Toward The Sea), directed by Atilla Tokatlı.

Best screenplay: Selçuk Bakkalbaşı, for Denize İnen Sokak (A Street Toward The Sea).

Best photography : Enver Burçkin.

Best actress: Nurhan Nur.

Best actor: Ulvi Uraz, for Denize İnen Sokak (A Street Toward The Sea). No "best director" awards was given.

1962

      131 feature films are produced. "Artist Film" (Recep Ekicigil), "Kazankaya Film" (Hasan Kazankaya) and "Sibel Film" (Müfit İlkiz) enters into production. Filiz Akın and Tanju Gürsu are the winners of a contest promoted by film magazine Artist. Akın becomes the new and modern "young girl" symbol of the Turkish screen. arada "hanımefendi-beyefendi" türünde dizilerin modasına da yol açtı. Münir Hayri Egeli Kolsuz Bebek'le ilk kez sinemamızda birbirinden bağımsız, üç öykülü film denemesini gerçekleştirdi.

      And the movies starts to attract the interest of well-known writers: short stories author Tarık Dursun Kakıç directs his first film and novelist Kemal Tahir signs some screenplays. And a new young director starts his career: Mehmet Dinler.

      With Yılanların Öcü (The Revenge of The Serpents), adapted from Fakir Baykurt's novel, Metin Erksan gives a successful example of "film and literature" relations. Erksan's film becomes, with its realistical approach, the event of the year. Once again confronted with the Board of Censors the director has to appeal to the, then, President Cemal Gürsel who, after a private showing held in Ankara, at the President's residence (Çankaya), congratulates all those involved in the shooting.

     Producer-Director Nevzat Pesen makes an unexpected break thanks to a screenplay, by Orhan Elmas, adapting John Steinbeck's "Of Mice and Men" under the title İkimize Bir Dünya (A World for us Two). Thanks to Pesen's apt direction the film came out as one of the most warm and human films of the Turkish cinema.

      Unfortunately İkimize Bir Dünya (A World for us Two) remained the first and last major work of Nevzat Pesen, backed by a memorable composition by character actor Kadir Savun.

1963

      Production totalizes 128 titles. The newcomers of the year are actress Ajda Pekkan and actor Tamer Yiğit, both winner of a contest promoted by film magazine "Ses".

      Comedian Öztürk Serengil starts his "golden age" with Adanalı Tayfur (Tayfur from Adana), directed by Zafer Davudoğlu; former assistant-director Zeki Ökten and journalist İlhan Engin, who had already signed some screenplays, direct their first features. çırpınan bir avuç insanın öyküsünü dürüst bir çaba içinde görüntülediği Otobüs Yolcuları, yılın en iyi filmlerinden biri oldu. Sinema eleştirmeni Halit Refiğ, geçirdiği asistanlık döneminden sonra Yasak Aşk'la bir ilk film ortaya koydu.

      Acı Hayat (Bitter Life) and Susuz Yaz (Waterless Summer), the year's two best films, are both signed by Metin Erksan.

      Acı Hayat (Bitter Life), a box-office hit, succeeds not only in relating a poignant love story set in the big city but also in bringing the Turkish cinema to the attention of a more sophisticated category of filmgoers while Susuz Yaz (Waterless Summer) combines a realistical rendering of rural life and problems with an almost clinical analysis of a sexual passion. Furthermore the film, backed by the acting of newcomer Hülya Koçyiğit and character actor Erol Taş, affirms itself as a key work of its director.Thus Erksan, with a sequel of achievements, proves to be a director continually trying to renew himself while Atıf Yılmaz goes along his way, a bit uncertain and repeating his past performances. Although considered one of the best film of the year Yarın Bizimdir (Tomorrow is for Us) is still unable to reach the level of Gelinin Muradı (The Bride's Wish).

      1963 sees the formation of two professional associations, "Türk Film Prodüktörleri Cemiyeti" (Association of Türkish Film Producers) and "Sine-İş" (Film Workers' Union).

      Actress Nilüfer Aydan receives a "diploma of honor" at the Moscow Film Festival for her part in "Şehirdeki Yabancı" (A stranger in town), directed by Halit Refiğ.

1964

      180 feature films are produced during the year. A further generation of young directors reaches the screen with new thesis, a fresher approach and a preference for social themes. Among them Feyzi Tuna hits the headlines with Aşka Susayanlar (Love Thirsty), Tunç Başaran, Kemal İnci and Remzi Jöntürk direct their first films and short-story writer Tarık Dursun Kakınç, author also of several screenplays, tries his hand at a more stylish Kelebekler Çift Uçar (Butterflies Flies in Pair).

      New directors Cevat Okçugil, Ertem Eğilmez, Orhan Aksoy, Yılmaz Atadeniz are going on while, among a majority of rather fair films, Nevzat Pesen's Ahtapotun Kolları (The Tentacles of The Octopus), Orhan Elmas's Duvarların Ötesi (Over The Walls) and Memduh Ün's Ağaçlar Ayakta Ölür (Trees Dies Standing) hit the first line.Atıf Yılmaz, from the middle generation, passes from one style to the other, trying to find his real personality and signing a sequel of features. Among them Erkek Ali (Ali, The Male) and Keşanlı Ali Destanı (The Legend of Ali From Keşan) stands as the more achieved. yapımevleri: Artist Film (Recep Ekicigil), Kazankaya Film (Hasan Kazankaya), Sibel Film (Müfit İlkiz).

      The year's most important films carries the signatures of Ertem Göreç, Halit Refiğ and Metin Erksan. Ertem Göreç's Karanlıkta Uyananlar (Those Awakening in The Dark), dealing with the workers of a factory, stands as the first "strike film" of the Turkish cinema;

      Halit Refiğ's Gurbet Kuşları (Birds of Nostalgia) follows the problems of a family migrating from a rural region to the big town (İstanbul) and Metin Erksan's Suçlular Aramızda (The Guilt ones are among Us) emerges as a "bourgeois melodrama" enriched with striking visual compositions. An esthete in his own way, at times influenced by foreign filmic schools, Erksan remains a controversial, polemic director but, undoubtedly, a real filmic personality.

     A new young actor enters the movies, Cüneyt Arkın, and with her parts in Halit Refiğ's Şehrazat (Shehrazat) and Erkan's Suçlular Aramızda (The Guilt ones are among Us), actress Leyla Sayar emerges as an erotic, a bit mysterious and somewhat fetichistic "vamp" figure.

      At the Berlin Film Festival the Turkish cinema wins its first international laurels with Metin Erksan's Susuz Yaz (Waterless Summer) being awarded with a Golden Bear as best film. In Turkey Ali İhsan Göğüş, Minister of Tourism and Information, awards all those involved in the shooting of the film during a press conference and Hülya Koçyiğit's is nominated "actress of the year" by the "Türk Kadınlar Birliği" (Union of Turkish Women). Çankaya Köşkü'nde izledikten sonra tüm sanatçıları kutladı.

      The First Antalya Film Festivali is organised by the "Association of Turkish Film Producers" and the Municipality of Antalya. The awards are given as follows:

Best film: Gurbet Kuşları (Birds of Nostalgia), directed by Halit Refiğ.

Best director: Halit Refiğ, for Gurbet Kuşları (Birds of Nostalgia).

Best photography: Ali Uğur, for Acı Hayat (Bitter Life).

Best actress: Türkân Şoray, for Acı Hayat (Bitter Life).

Best actor: İzzet Günay, for Ağaçlar Ayakta Ölür (Trees Dies Standing).

Best suporting actress: Yıldız Kenter, for Ağaçlar Ayakta Ölür (Trees Dies Standing).

Best suporting actor: Ulvi Uraz, for Yarın Bizimdir (Tomorrow is for Us).

      Meanwhile Metin Erksan's Susuz Yaz (Waterless Summer) gets a "Merito Biennale" award in Venice.

1965

      With production up to 213 films the Turkish cinema enters into an "inflation" period. Still deprived of an adequate technical basis and confronted with an unhealthy high rate of productions the Turkish film industry remains tied, on one part, to a heavy star sistem and on the other to the pressure put by regional distributors.

      The "two in a row" system of film shooting (being two features shoot at the same time with the same cast, same crew and identical indoor/ outdoors), started by producer-director Semih Evin, is sublimated by another producer, Hasan Kazankaya, a pioneer in "quickies" shoot in four or six days. This sub-standart policy causes the outcoming of a type of marginal, although high in number, cinema to be known as "confection cinema".

      In order to constantly provide such a cinema with thematical sources all and every type of stories and sources are used. Thus Nuri Akıncı starts with Hazreti Yusuf'un Hayatı (The Life of Prophet Joseph/ Joseph and his Brethren) a line of "religious" films. Aramızda'yla, çarpıcı görüntüler içeren bir burjuva melodramı sergiliyor. Erksan, estetik ustası bir sinemacı kuşkusuz. Yer yer yabancı etkiler taşıyan anlatımı çoğu kez polemikler yaratıyor. Hırçın bir yönetmen Erksan, ama sinemacı.

      Despite the large amount of "quickies" a certain number of worthy films emerges: former film critic Erdoğan Tokatlı signs a promising first film, Son Kuşlar (The Last Birds), Memduh Ün's former assistant, Bilge Olgaç, starts her career as a "woman director" and Haldun Dormen,

     A leading personality of the contemporary Turkish theatre, enters the film world directing Bozuk Düzen (Broken Order) and Güzel Bir Gün İçin (For A Beautiful Day).

      Duygu Sağıroğlu, known as an art director, gives with Bitmeyen Yol (The Unending Road) a highly realistical first film dealing with internal emigration and Feyzi Tuna directs a convincing film about the problems of the young generation,

     Yasak Sokaklar (Forbiden Streets). Among the highlights of the year one can include Abdurrahman Palay's İsyancılar (The Rebels), Atıf Yılmaz's Murad'ın Türküsü (Murad's Folk song) and Halit Refiğ's Kırık Hayatlar (Broken Lives).

     Türk Film Prodüktörleri Cemiyeti ve Antalya Belediyesi'nin ortak girişimleriyle, sinema tarihimizin hâlâ sürmekte olan en önemli Film Şenliği düzenlendi. Ve I. Antalya Film Festivali sonuçları:

      Vedat Türkali, a screen-writer who had given an influential contribution to the contemporary Turkish cinema, and novelist and journalist Cengiz Tuncer direct their first films. Tuncer's Sevmek Seni (To Love You), much too abstract and sophisticated for the normal audience, stands as a "cursed" work unable to have a theatrical release.

     The year's most important and discussed films carries the signatures of Metin Erksan and Halit Refiğ. Erksan's Sevmek Zamanı (A Time to Love) is the story of a passion or of an "amour fou" endowed with purely national elements. Still in the reactions of the main characters an alienation is heavily felt. As a result the film gains its dimention through a rich array of visual and aesthetic values who share, unmistikably, the mark of Erksan's personality.

      While Halit Refiğ's period piece, Haremde Dört Kadın (Four Women in A Harem), based on a script by novelist Kemal Tahir, wins the attention of a definite portion of the audience, Erksan's Sevmek Zamanı (A Time to Love) ends as a further film unable to reach the moviegoers.

      Apart from such "accursed", but in fact "pioneer" works, the box-office hits of the 1964/1965 season ranges between Ertem Eğilmez's Sürtük (The Trollop), a further adaptation of "Pygmalion", Hulki Saner's Fıstık Gibi Maşallah (Thanks God, she's cute) and Ümit Utku's Fabrikanın Gülü (The Rose of The Factory), a mixture of erotica and folk songs.

      According to the figures given by the Municipality of İstanbul audience had reached, during the year, 34.393.634 entries. Apparently the Turkish cinema was going through a "golden age" but with an audience still conditioned, if not subjugated, by an imposed tradition bir deyişle "konfeksiyon sineması" dönemini başlattı.

      Young theather actor Kartal Tibet rises to stardom by impersonating, on the screen "Karaoğlan", hero of a popular comic stripe while Tunç Okan and Selma Güneri enter the film world. Yılmaz Güney gains popular appeal with his small part in Tunç Başaran's On Korkusuz Adam (Ten Fearless Men), set in Cyprus, and soon confirm his acting qualities with a pathetic composition in Duygu Sağıroğlu's Ben Öldükçe Yaşarım (I Live in Death).

     The "Türk Sinematek Derneği" (Turkish Cinématheque Association) is founded during the year. The Association wins, right from the start, a large audience mostly composed of students and starts showing selected foreign and local features.

     In Antalya the Second Film Festival awards the following:

Best film: Aşk ve Kin (Love and Hate), directed by Turgut Demirağ.

Second best film: Keşanlı Ali Destanı (The Legend of Ali from Keşan), directed by Atıf Yılmaz.

Third best film: Karanlıkta Uyananlar (Those Awakening in The Dark), directed by Ertem Göreç.

Best director: Atıf Yılmaz, for Keşanlı Ali Destanı (The Legend of Ali from Keşan).

Best script: Vedat Türkali, for Karanlıkta Uyananlar (Those Awakening in The Dark).

Best photography: Gani Turanlı, for Aşk ve Kin (Love and Hate).

Best musical score: Nedim Otyam, for Karanlıkta Uyananlar (Those Awakening in The Dark).

Best actress: Fatma Girik, for Keşanlı Ali Destanı (The Legend of Ali from Keşan).

Best actor: Fikret Hakan, for Keşanlı Ali Destanı (The Legend of Ali from Keşan).

Best suporting actress: Aliye Rona, for Hepimiz Kardeşiz (We are All Brothers).

Best suporting actor: Erol Taş, for Duvarların Ötesi (Over The Walls).

Best studio: Acar Film.

Best short film: Bir Damla Suyun Hikayesi, (The Story of A Drop of Water), directed by Behlül Dal.

Film sayısı 240. Oyuncu Yılmaz Güney, yönetmen olarak ilk filmini çekti: At, Avrat, Silah. Yücel Uçanoğlu, Nazmi Özer, Ferit Ceylan ve Yavuz Figenli yeni yönetmenler. Alp Zeki Heper, Soluk Gecenin Aşk Hikâyeleri'nde amatör oyuncular kullandı. Şiirsel görüntülere dayalı, ama soyut bir aşk filmi denemesi olan film, halk önüne çıkmadı. Yalnızca özel gösterilerde izlendi.

In İzmir a First Film Festival is organised during the 34 th İzmir International Fair and the following awards are given

Best film: ÜçTekerlekli Bisiklet (The Three Wheeled Bycicle), directed by Lütfi Akad.

Second best film:Sahildeki Ceset (The Corpse on The Sea-side), directed by Natuk Baytan.

Third best film: Ahtapotun Kolları (The Tentacles of the Octopus), directed by Nevzat Pesen.

Best director: Metin Erksan, for Suçlular Aramızda (The Guilty ones are among Us).

Best script: Natuk Baytan, for Sahildeki Ceset (The Corpse on The Sea-side).

Best photography: Kriton İlyadis, for Ahtapotun Kolları (The Tentacles of the Octopus).

Best actress: Sezer Sezin, for ÜçTekerlekli Bisiklet (The Three Wheeled Bycicle).

Best suporting actress:Çolpan İlhan, for Ahtapotun Kolları (The Tentacles of the Octopus).

Best suporting actor: Erol Taş, for Sahildeki Ceset (The Corpse on The Sea-side).

Best studio: Acar Film.

Best musical score: Yalçın Tura, for Keşanlı Ali Destanı (The Legend of Ali from Keşan). kuramcılarının çeşitli kamplara ayrılıp "ATÜT sineması", "halk sineması", "ulusal sinema", "toplumsal gerçekçilik" gibi görüşleri tartıştıkları dönemde Lütfi Ö. Akad, çok önemli bir film patlattı: Senaryo çalışmasını Yılmaz Güney'le birlikte yaptığı Hudutların Kanunu, Türk sinema tarihinin en önemli filmiydi. Akad, ikinci kez doğarken, Yılmaz Güney'in "büyük oyun"u da uzun süre unutulmayacaktı.

      The First Film Festival held in Gaziantep awards, as its "best film", Halit Refiğ's Kırık Hayatlar (Broken Lives). And Metin Erksan's Suçlular Aramızda (The Guilty ones are among Us) wins in Milano, at the MIFED, an award as "best social film".

1966

      The Turkish cinema is soon to break its own record with a total of 240 feature films. Actor Yılmaz Güney directs his first feature film: At, Avrat, Silâh (Horse, Woman and Gun). Yücel Uçanoğlu, Nazmi Özer, Ferit Ceylan and Yavuz Figenli are the new directors of the year. Alp Zeki Heper uses non-professionals in his Soluk Gecenin Aşk Hikâyeleri (Love Stories of A Pale Night). An abstract love story sustained by lirical photographic work the film is unable to have a professional release, apart from some private showings.

      With Ölmeyen Aşk (Undying Love) Metin Erksan follows his very personal line of original cinema not aimed at the big audience.

      Osman Seden, adapting Reşat Nuri Güntekin's novel Çalıkuşu (The Wren), gives a two-part film who remains his best work. Atıf Yılmaz keeps on with his eclectism directing Toprağın Kanı (The Earth's Blood), Pembe Kadın (Pink Woman), Ah Güzel İstanbul (Ah, Beautiful Istanbul) and Ölüm Tarlası (The Filed of Death). And Lütfi Akad, with Sırat Köprüsü (The Sırat Bridge) gives to the Turkish cinema its first "big screen" (Cinemascope) feature.

      In a period rich in theoretical discussions opposing different groups debating on such topics as National Cinema, Social Realism, People's Cinema or Asiatic Type Production Styled Cinema, Lütfi Akad gives a top work. Based on a script by Akad and Güney, Hudutların Kanunu (The Law of The Border) confirms Akad's mastery, or Akad's "renaissance" and allows Güney to play an unforgettable part. Aşkı (Behlül Dal) Tunus'ta Kartaca Sinema Günü'nde Erksan'ın Yılanların Öcü şeref madalyası kazandı.

      Actor Göksel Arsoy changes his type in Altın Çocuk (Golden Boy) and its Bond-type sequels; Cüneyt Arkın brings to the screen actionpacked comic stripe's hero Malkoçoğlu and Sadri Alışık devotes himself to popular comedy with Turist Ömer (Ömer, The Tourist). Yılmaz Gündüz, a newcomer in the acting field, becomes a local James Bond in several cheap quickies.

     The Third Antalya Film Festival awards the followings:

Best film: Bozuk Düzen (Broken Order), directed by Haldun Dormen.

Second best film: Toprağın Kanı (The Blood of the Earth), directed by Atıf Yılmaz.

Third best film: Murad'ın Türküsü (Murad's Folk Song), directed by Atıf Yılmaz.

Best director: Memduh Ün, for Namusum İçin (For my Honor).

Best script: Erol Keskin and Haldun Dormen, for Bozuk Düzen (Broken Order).

Best photography: Mustafa Yılmaz, for Namusum İçin (For my Honor).

Best musical score: Nedim Otyam, for İsyancılar (The Rebels).

Best actress: Selma Güneri, for Son Kuşlar (The Last Birds).

Best actor: Ekrem Bora, for Sürtük (The Trollop).

Best suporting actress: Yıldız Kenter, for İsyancılar (The Rebels).

Best suporting actor : Müşfik Kenter, for Bozuk Düzen (Broken Order).

Best studio: Acar film, for Namusum İçin (For my Honor).

Best short film: Taşların Aşkı (Love of The Stones), directed by Behlül Dal. In Tunisia, at the Film Days of Carthagena, Metin Erksan's Yılanların Öcü (The Vengeance of The Serpents) is awarded a "medal of honor". Yurdatap Kadri ve sosyete terzisi Mualla Özbek Efes Film yapımevlerini kurdular.

1967

      209 features are produced. The popularity of the comic stripes and photo-novels, published in newspapers and magazines, reaches the screen and an era of "action" and "adventure" films starts. Thus Killing, Flash Gordon, Fantoma, Mandrake and Superman became the heroes of several cheap productions, mostly aimed at the juvenile audience.

      Meanwhile new producing companies are founded: "Ak-Ün Film" (İrfan Ünal), "Er Film" (Berker İnanoğlu), "Kadri Film" (Kadri Yurdatap), "Efes Film" (Mualla Özbek).

      Producer-Director Osman Seden goes on shooting his starpacked features; actress Türkân Şoray, backed by the ruling star system, creates her own myth with such films as Tapılacak Kadın (A Woan to Adore) and Ölümsüz Kadın (The Immortal Women); actor Ayhan Işık, the first "theorician" of the star system, mantains his power over all producers; Yılmaz Güney, the screen's lumpen hero and the antithesis of the good looking young actor, places himself against the conventional archetypes first with works bearing the signature of directors like Atıf Yılmaz and Lütfi Akad. In Akad's Kurbanlık Katil (The Victim Killer) and Kızılırmak

Karakoyun (Red River Black Sheep) as well as in Atıf Yılmaz's Balatlı Arif (Arif from Balat) and Kozanoğlu Güney confirms his personal acting style.

      Following Güney's choice Türkân Şoray also stars in a film directed by Lütfi Akad,

      Ana (Mother), and after her performances in Otobüs Yolcuları (Buss Travelers) and Acı Hayat (Bitter Life), portrays a convincing and realistic type of peasant woman. sonraları Atıf Yılmaz ve Lütfi Ö. Akad gibi düzeyli yönetmenlerle çalışarak bu aşamada gerçek oyunculuğu yakaladı. Örneğin Lütfi Ö. Akad'ın Kurbanlık Katil adlı filminde son derece şaşırtıcı bir oyun sergiledi. Aynı yıl gene Akad'ın Kızılırmak-Karakoyun'u, Atıf Yılmaz'ın Balatlı Arif ve Kozanoğlu adlı filmleri, yılın sağlam yapıtlarıydı. Özelliklede Kızılırmak-Karakoyun yılın filmiydi.

      At the 4 th Antalya Film Festival the followings are awarded:

Best drama: Zalimler (The Cruel Ones), directed by Yılmaz Duru.

Best costume film: Bir Millet Uyanıyor (A Nation Awakens), directed by Ertem Eğilmez.

Best comedy: Güzel Bir Gün İçin (For A Beautiful Day), directed by Haldun Dormen.

Best director: Yılmaz Duru, for Zalimler (The Cruel Ones).

Best script: Erol Günaydın and Haldun Dormen, for Güzel Bir Gün İçin (For A Beautiful Day).

Best photography: Ali Uğur, for Zalimler (The Cruel Ones).

Best actress: Fatma Girik, for Sürtüğün Kızı (The Trollop's Daughter).

Best actor: Yılmaz Güney, for Hudutların Kanunu (The Law of The Border).

Best suporting actress: Aliye Rona, for Zalimler (The Cruel Ones).

Best suporting actor: Erol Günaydın, for Güzel Bir Gün İçin (For A Beautiful Day).

Best studio: Acar Film, for Çalıkuşu (The Wren)

Best short film: Ay Doğarken (Moonrise), directed by Behlül Dal.

Second best drama: Hudutların Kanunu (The Law of The Border), directed by Lütfi Akad. sayılmazsa gerçekçi bir tipi canlandırıp bir köylü kadınını oynadı.

     The year also saw a Turkish film awarded at an international festival: Atıf Yılmaz's Ah Güzel İstanbul (Ah, Beautiful Istanbul) got the "Silver Tree" award at the "Comic and humoristic film festival" held in Bordighera (Italy).

1968

      177 feature films were produced and the number of color features increased. The new directors of the year are Aykut Düz, Çetin İnanç and Melih Gülgen. Among them Çetin İnanç held a first place as a director of low-budget, quickly made action pictures. And Uğur Güçlü enters the film world as a new young actor.

     Kara Sevda (Black Love), directed by Seyfi Havaeri, a mixture of folk music and melodramatic events, breaks all box-office records in Anatolia even causing riots.

     Top directors such as Atıf Yılmaz (Yasemin'in Tatlı Aşkı/ The Sweet Love of Yasemin; Köroğlu; Cemile), Memduh Ün (Vuruldum Bu Kıza/ I'm Crazy About that Girl; İlk ve Son/ The First and The Last),

     Lütfi Akad (Kader Böyle İstedi/ Fate Wanted It) are somewhat showing signs of tiredness. The only exception is Akad who with Vesikalı Yarim (My Prostitute Love) gives an appealing drama. Meanwhile Orhan Elmas signs, with Ezo Gelin (Ezo, The Bride) his best film.

      With Kuyu (The Well) Metin Erksan directs a further controversial work full of violence. The story of a tragical passion Kuyu asserts, once more, its director's virulent style and highly charged eroticism.

      One of the year's outstanding films is Yılmaz Güney's Seyyit Han, an example of popular cinema enriched with a poetical style and lirical pathos, a sort of legend fresh and steady in its approach.

     117 film çekildi. Renkli film yapımı hızlandırıldı. Yeni yönetmenler Aykut Düz, Çetin İnanç ve Melih Gülgen. Bu yenilerden Çetin İnanç, piyasa koşullarına uygun ucuz serüven filmleriyle ön plana çıktı. Yeni oyunculardan biri, Uğur Güçlü oldu.

      The by now traditional Antalya Film Festival awards the followings:

Best film: İnce Cumali, directed by Yılmaz Duru.

Second best film: Ölüm Tarlası (The Field of Death), directed by Atıf Yılmaz.

Best director: Yılmaz Duru, for İnce Cumali.

Best script: Türkân Şoray, for İnce Cumali.

Best photography: Gani Turanlı, for Ölüm Tarlası (The Field of Death).

Best actress: Türkân Şoray, for Vesikalı Yarim (My Prostitute Love).

Best actor: Fikret Hakan, for Ölüm Tarlası (The Field of Death).

Best suporting actress: Aliye Rona, for Son Gece (The Last Night).

Best suporting actor: Erol Taş, for İnce Cumali.

Best studio: Erman Film, for Kurbanlık Katil (The Victim Killer).

Best short film: Altın Bıçaklar (Golden Knives), directed by Behlül Dal. destansı anlatımı Türk sinemasına bir "umut ışığı" getiriyordu. Taze ve diri bir soluktu bu.

      In Paris the "Türk Film Arşivi" (Turkish Film Archive) organises, with the assistance of the Turkish Ministery of Foreign Affairs and the French Ministery of Culture, a week of Turkish films. The showing includes Metin Erksan's Sevmek Zamanı (A Time to Love), Lütfi Akad's Kızılırmak-Karakoyun (Red River-Black Sheep), Duygu Sağıroğlu's Bitmeyen Yol (The Unending Road) and Atilla Tokatlı's Denize İnen Sokak (A Street Toward The Sea).

1969

      Production goes up to 230 features. In a period where "Zorro" type action films are increasing Metin Erksan shows signs of regression with Ateşli Çingene (The Hot Gipsy) and Dağlar Kızı Reyhan (Reyhan, The Mountains'girl). As a reaction to a host of foreign comic stripes heroes a local one, a Central Asian warrior named "Tarkan" takes the stand. düzenlendi. Ve gösteriye Sevmek Zamanı (Metin Erksan), Kızılırmak-Karakoyun (Lütfi Ö. Akad), Bitmeyen Yol (Duygu Sağıroğlu), Denize İnen Sokak (Atilla Tokatlı) katıldılar.

      The year's most interesting film comes from director Halit Refiğ. Bir Türk'e Gönül Verdim (I Gave my Heart to A Türk), tells the story of a foreign woman and a Turkish man bound with a love full of humanity and a compassion who reaches universal heights is a work of Halit Refiğ. Based on a true story the film is also enriched by Ahmet Mekin's acting.

      In Adana the local film club, the Municipality and the "Turkish Film Archive" join together for the first Golden Silk Cocoon Film Festival with awards given to the followings:

Best film: Kuyu (The Well), directed by Metin Erksan.

Secont best film: Ezo Gelin (Ezo, The Bride), directed by Orhan Elmas.

Third best film: Seyyit Han, directed by Yılmaz Güney.

Best director: Metin Erksan, for Kuyu (The Well)

Best script: Safa Önal, for Menekşe Gözler (Violet Eyes)

Best photography: Gani Turanlı, for Seyyit Han

Best musical score: Nedim Otyam, for Seyyit Han

Best actress: Fatma Girik, for Ezo Gelin (Ezo, The Bride)

Best actor: Yılmaz Güney, for Seyyit Han.

Best suporting actress: Aliye Rona, for Kuyu (The Well) and Kader Böyle İstedi (Fate Wanted It)

Best suporting actor: Hayati Hamzaoğlu, for Kuyu (The Well)

Best studio: Lale Film

At the 6 th Antalya Film Festival neither best film nor best director awards are given. The remaining awards are as follows:

Second best film: Bin Yıllık Yol (A Thousand Year's Road), directed by Yılmaz Duru.

Third best film: İnsanlar Yaşadıkça (As Long as People Live), directed by Memduh Ün.

Best script: Türkân Duru, for Bin Yıllık Yol (A Thousand Year's Road)

Best photography: Ali Yaver, for Öksüz (The Orphan)

Best actress: Hülya Koçyiğit, for Cemile

Best actor: Cüneyt Arkın, for İnsanlar Yaşadıkça (As Long as People Live)

Best suporting actress: Muazzez Arçay, for Bin Yıllık Yol (A Thousand Year's Road)

Best suporting actor: Ferit Şevki, for Cemile

Best child actor: Zafer Karakaş, for Cemile

Best short film: Rüya Gibi (Like a Dream), directed by Behlül Dal.

1970

      Production numbers 226 titles. Selda Alkor emerges as the year's new actress; Yücel Çakmaklı and Temel Gürsu direct their first pictures.

      Producer Türker İnanoğlu starts co-producing with Iran and coproductions leads to the big screen systems. With Ertem Göreç's Pamuk Prenses ve Yedi Cüceler (Snow White and The Seven Dwarfs) starts an era of "fairy tales movies", followed by a row of pictures starting child actors leaded by İlker İnanoğlu (Yumurcak/ The Kid) and Menderes Utku (Afacan/ The Handful Child). Çetin İnanç's action packed "Çeto" hits the box-office and Yılmaz Köksal, the film's leading actor, wins a chance to stardom.

     While top ranking directors are mostly busy with melodramas such as Metin Erksan's Eyvah (Alas!), Duygu Sağıroğlu's Meçhul Kadın (The Unknown Woman) and Atıf Yılmaz's Kara Gözlüm (My Dark Eyed One),

     Umut (Hope) becomes a turning point for the Turkish cinema. With Yılmaz Güney's simple, real and effective direction Umut (Hope) focuses also on a documentary line and approach. ağırlık verdikleri dönemde Umut, yeni bir "dönüm noktası" getirir Türk sinemasına. Çünkü, Yılmaz Güney'in mizansen cambazlıkları arkasına sığınmadan sade ve yalın bir dille meydana getirdiği Umut, gerçekçi çabaları belgeci bir tutumla en iyi yansıtan bir yapıttı. "Umudu umutsuzluğa dönüştüren" ilginç bir sinema örneğiydi kuşkusuz...

     Temel Gürsu's Dikkat Kan Aranıyor (Attention, Blood is Needed) and Bilge Olgaç's Linç (Lynching), adapted from Kerim Korcan's novel, are two of the year's interesting works and Yücel Çakmaklı's Birleşen Yollar (Uniting Roads) emerges as a first example of a "national cinema" based on an Islamic way of thoughts. The 2 nd Adana Film Festival's awards are:

Best film: Umut (Hope), directed by Yılmaz Güney.

Second best film: Bir Türk'e Gönül Verdim (I Gave my Heart to A Türk), directed by Halit Refiğ

Third best film: Linç (Lynching), directed by Bilge Olgaç

Best director: Bilge Olgaç, for Linç (Lynching)

Best script: Yılmaz Güney, for Umut (Hope)

Best photography: Ali Yaver, for Linç (Lynching)

Best musical score: Arif Erkin, for Umut (Hope)

Best actress: Fatma Girik, for Büyük Yemin (The Big Oath)

Best actor: Yılmaz Güney, for Umut (Hope)

Best suporting actress: Seden Kızıltunç, for Bir Türk'e Gönül Verdim (I Gave my Heart to A Türk)

Best suporting actor: Bilal İnci, for Büyük Yemin (The Big Oath)

Best studio: Lale Film Aranıyor, Bilge Olgaç'ın Kerim Korcan uyarlaması Linç, yılın sözü edilen filmleriydi. Yücel Çakmaklı ise, Birleşen Yollar'la İslam düşüncesinin ilk örneğini oluşturan, "milli sinema" akımını başlattı. And at the 7 th Antalya Film Festival the awards went as follows:

Best film: Bir Çirkin Adam (An Ugly Man), directed by Yılmaz Güney

Second best film: Kınalı Yapıncak (The Hennaed Grape), directed by Orhan Aksoy.

Third best film: Büyük Öç (The Big Revenge), directed by Yılmaz Duru.

Best director: Ertem Eğilmez, for Kalbimin Efendisi (The Master of my Heart)

Best script: Sadık Şendil, for Kalbimin Efendisi (The Master of my Heart)

Best photography: Kriton İlyadis, for Kınalı Yapıncak (The Hennaed Grape)

Best actress: Belgin Doruk, for Yuvanın Bekçileri (The Guardians of The Home)

Best actor: Yılmaz Güney, for Bir Çirkin Adam (An Ugly Man)

Best suporting actress: Lale Belkıs, for Kalbimin Efendisi (The Master of my Heart)

Best suporting actor: Hayati Hamzaoğlu, for Bir Çirkin Adam (An Ugly Man)

Best child actor: İlker İnanoğlu, for Yumurcak (The Kid)

Best short film: Vurgun (The Bends), directed by Behlül Dal. Two Turkish films were awarded in foreign festivals: Yılmaz Güney'sUmut (Hope) won a Special Jury Award at Grenoble (France) and Ümit Utku's Yara (The Wound) was choosen as Third Best Film at the Tangier Film Festival.
Tunalım...

HİSTORY OF THE TURKISH CİNEMA

dannagarcia — Sun, 17 May 2009 02:59:05 +0200

1971-1980

A Chronological History Of The Turkish Cinema

1971

     Production increases up to 265 features. Arzu Okay, Tarık Akan and Murat Soydan are the new faces of the year while actress Lale Oraloğlu and actor Fikret Hakan direct their first films. Metin Erksan passes to musical melodramas, staring top singer Emel Sayın, but manages to emphasis his strong and personal filmic flair and taste despite trite plots. Lütfi Akad also follows the popular trend directing star singer Zeki Müren in Rüya Gibi (Like A Dream) and folk singer and composer Orhan Gencebay in Bir Teselli Ver (Give me Confort). Although being the first attempt at a "genre" later on known as "arabesque", Bir Teselli Ver (Give me Confort) ends as a box-office disappointment.

      Süreyya Duru's fairy tale Keloğlan becomes a nation-wide success and Yılmaz Güney, with Ağıt (Elegy), Acı (Pain) and Umutsuzlar (The Hopeless Ones) brings new material to his mature and poetical style. Ağıt (Elegy), the tragic story of a gang of smugglers, succeeds in entering the Venice Film Festival and Baba (Father), aimed at a popular audience, ends as one of the year's top grossers.

     Awards at the 3. Adana Film Festival are as follows:

Best film: Ağıt (Elegy), directed by Yılmaz Güney.

Second best film: Acı (Pain), directed by Yılmaz Güney.

Third best film: Umutsuzlar (The Hopeless Ones), directed by Yılmaz Güney

Best director: Yılmaz Güney

Best script: Yılmaz Güney, for Ağıt (Elegy)

Best photography: Gani Turanlı, for Acı (Pain), Ağıt (Elegy) and Umutsuzlar (The Hopeless Ones)

Best musical score: Metin Bükey, for Acı (Pain)

Best actress: Fatma Girik, for Acı (Pain)

Best actor: Yılmaz Güney, for Ağıt (Elegy)

Best suporting actor: Süleyman Turan, for Yarın Son Gün (Tomorrow is The Last Day)

Best studio: Lale Film and Ören Film

Jury's special award: Aliye Rona, for sevices rendered to the Turkish cinema.

At the 8 th Antalya Film Festival the awards went to the followings:

Best film: Ankara Ekspresi (Express to Ankara), directed by Muzaffer Aslan

Second best film: Öleceksek Ölelim (Let's Die if we Have to), directed by Orhan Elmas

Third best film: Pamuk Prenses ve Yedi Cüceler (Snow White and The Seven Dwarfs), directed by Ertem Göreç

Best director: Muzaffer Aslan, for Ankara Ekspresi (Express to Ankara)

Best script: Bülent Oran, for Ankara Ekspresi (Express to Ankara)

Best photography: Cengiz Tacer, for Ankara Ekspresi (Express to Ankara)

Best actress: Filiz Akın, for Ankara Ekspresi (Express to Ankara)

Best actor: Fikret Hakan, for Hasret (Longing)

Best suporting actress: Suna Selen, for Pamuk Prenses ve Yedi Cüceler (Snow White and The Seven Dwarfs),

Best child actor: Menderes Utku, for Afacan Küçük Serseri (Afacan The Little Tramp)

Best short film: Hasret (Longing), directed by Behlül Dal. Gibi'yi, Orhan Gencebay'la Bir Teselli Ver'i yönetti. Ne var ki ilk arabesk eğilimli filmlerden biri olan Bir Teselli Ver her yönden Akad için büyük bir "fiyasko" oldu.

      In Milano, at "Children's Film Festival", Ülkü Erakalın's Afacan Küçük Serseri (Afacan The Little Tramp) wins the first prize.

1972

     With 299 features produced during the year the Turkish cinema breaks all its past records. Among them 158 are in color.

      A new young actor, Serdar Gökhan, starts his career; star actress Türkân Şoray directs her first film, Dönüş (The Come-back), showing a professional quality; Metin Erksan gives a fairy-tale, Keloğlan Can Kız (Keloğlan and The Girl Can);

     Yücel Çakmaklı, theorician of the "national cinema", concretises his Islamic approach in Çile (Ordeal) and Zehra. Meanwhile Melih Gülgen opens new horizons to the erotic/action cinema with Parçala Behçet (Tear Them to Pieces, Behçet) and actor Behçet Nacar becomes the leading figure of the genre.

     Utanç (Shame), directed by Atıf Yılmaz, takes into consideration the problem of women pressured by social rules; Lütfi Akad, with Irmak (The River) and Gökçe Çiçek (Gökçe, The Flower), takes a close look at rural traditions and old costums. Both works are first examples of a new approach. And, following his İnce Cumali, Yılmaz Duru signs his best film with Kara Doğan (Dark Doğan).

     The 9 th Antalya Film Festival awards the followings:

Best film: Zulüm (Cruelty), directed by Atıf Yılmaz

Second best film: Sev Kardeşim (Love, Brother), directed by Ertem Eğilmez

Third best film: Üvey Ana (The Step-mother), directed by Ülkü Erakalın

Best director: Atıf Yılmaz, for Zulüm (Cruelty)

Best script: Sadık Şendil, for Sev Kardeşim (Love, Brother)

Best photography: Cengiz Tacer, for Zulüm (Cruelty)

Best actress: Zeynep Aksu, for Üvey Ana (The Step-mother)

Best actor: Murat Soydan, for Üvey Ana (The Step-mother)

Best suporting actress: Fatma Karanfil, for Üvey Ana (The Step-mother)

Best suporting actor: Süleyman Turan, for Güllü

Best character actress: Şükriye Atav, for Emine

Best character actor: Münir Özkul, for Sev Kardeşim (Love, Brother)

And the 4 th Adana Film Festival award are:

Best film: Kara Doğan (Dark Doğan), directed by Yılmaz Duru

Second best film: Yaralı Kurt (The Wounded Wolf), directed by Lütfi Akad

Third best film: Irmak (The River), directed by Lütfi Akad

Best director: Yılmaz Duru, for Kara Doğan (Dark Doğan)

Best script: Sabah Duru, for Kara Doğan (Dark Doğan)

Best photography: Ali Uğur, for Kara Doğan (Dark Doğan)

Best actress: Hülya Koçyiğit, for Zehra

Best actor: Cüneyt Arkın, for Yaralı Kurt (The Wounded Wolf)

Best suporting actress: Muhterem Nur, for Kara Gün (Dark Day)

Best suporting actor: Osman Alyanak, for Irmak (The River)

1973

      Production goes down to 209 features, with only 30 of them in black and white. Festivali'nde Afacan Küçük Serseri (Ülkü Erakalın) birincilik ödülü aldı.

      Türkân Şoray directs her second feature, the rather fair Azap (Torment); Safa Önal with Umut Dünyası (Hopeful World) and Ertem Eğilmez with Canım Kardeşim (My Dear Brother) looks, with a warm and humanitarian approach, at the lives and problems of the "small people" reaching a much more successful level of expression. And with Gelin (The Bride) and Düğün (The Wedding) Lütfi Akad brings a new interpretation to the problem of internal emigration.

     Akad's Gelin (The Bride) competes at the Second International Teheran Film Festival; in Paris a week of Yılmaz Güney's films is held and Türkân Şoray's Dönüş (The Come-back) enters the Moscow Film Festival.

     Awards of the 10 th Antalya Film Festival are:

Best film: Hayat mı Bu (Is This Life), directed by Orhan Aksoy

Second best film: Dinmeyen Sızı (Unending Ache), directed by Nejat Saydam.

Third best film: Suçlu (Guilty), directed by Mehmet Dinler

Best director: Nejat Saydam, for Dinmeyen Sızı (Unending Ache)

Best script: Hamdi Değirmencioğlu, for Hayat mı Bu (Is This Life),

Best photography: Melih Sertesen, for Dinmeyen Sızı (Unending Ache)

Best actress: Hülya Koçyiğit, for Tanrı Misafiri (A Guest from God)

Best actor: Tarık Akan, for Suçlu (Guilty)

Best suporting actress: Semra Sar, for Hayat mı Bu (Is This Life)

Best suporting actor: Yıldırım Önal, for Dinmeyen Sızı (Unending Ache)

Best child actor: Menderes Utku, for Afacan Harika Çocuk (Afacan, The Wonder Boy)

Best short film: Yuva Hasreti (Homesick), directed by Behlül Dal.

At the 5 th Adana Film Festivali the followings are awarded:

Best film: Gelin (The Bride), directed by Lütfi Akad

Second best film: Canım Kardeşim (My Dear Brother), directed by Ertem Eğilmez

Third best film: Mahpus (Prisoner) , directed by Nejat Saydam

Best director: Ertem Eğilmez, for Canım Kardeşim (My Dear Brother)

Best musical score: Cahit Oben, for Canım Kardeşim (My Dear Brother)

Best actress: Türkân Şoray, for Mahpus (Prisoner)

Best actor: Kadir İnanır, for Utanç (Shame)

Best suporting actress: Ülkü Ülker, for Utanç (Shame) and Nazan Adalı, for Gelin (The Bride)

Best studio: Ören Film sayısı ise bu yıl 30'a düştü. Çifte Rabialar'la dinsel filmler gene yeni bir tırmanışa geçti.

1974

     189 features were produced during the year with only 6 of them in black and white.

     The new directors are Ömer Kavur and Tunç Okan, the year's new young actress Gülşen Bubikoğlu and Kemal Sunal starts as a promising comedian.

     The Turkish film workers gathers in newly organised unions, thus Nazif Taştepe is put at the head of the "Türk Film İşcileri Sendikası" (Union of the Turkish Film Workers) and Şerif Gören is elected as President of "Film-Sen, Türkiye Film Emekçileri Sendikası " (Union of Turkey's Film Laborers).

      Director Oksal Pekmezoğlu starts a new trend with "Beş tavuk bir horoz" (Five chickens, one rooster) adapted from an Italian comedy staring Lando Buzzanca. Such new trend of erotic comedies will become, in the near future, one of the main reasons of the forthcoming crisis.

     Tunç Okan, a former action pictures star, directs his first film in Sweden and by relating, with a good mixture of realism and blackhumor, the adventures of a group of Turkish workers trying to illegaly enter into a foreign country signs with Otobüs (The Bus) an exciting film. The year's best feature bears the signature of Şerif Gören who, following a script by Yılmaz Güney, gives in Endişe (Anxiety) a vivid picture of the struggle between coton workers and their landlord mixing it with a drama centered around a vendetta. Another first film, Ömer Kavur's Yatık Emine (Emine, The Leaning One), relates the story, set in the years of World War I, of a prostitute exiled in a small town.

     Lütfi Akad completes with Diyet (Blood Money) his trilogy based on internal migration (Düğün/The Wedding; Gelin/The Bride). Süreyya Duru, a purely commercial director, reaches unexpected heights with Bedrana and Atıf Yılmaz shoots the remaining parts of Zavallılar (The Miserables), started by Yılmaz Güney. Although directed by two different cinematographers the films achieves a startling unity of style and intentions.

     Meanwhile Yılmaz Güney, following his Umut (Hope), opens with Arkadaş (Friend) a new era. In the general panorama of 1974's Turkey the film, dealing with social contradictions and oppositions, open to all discussions and controversies remains, with its mature style, freshness and warmth a milestone in the history of the contemporary Turkish cinema.

     Furthermore by being released in theaters previously devoted only to foreign movies Arkadaş also break a tradition reaching a different category of moviegoers and ending as a box-office champion.

     While the Adana Film Festival puts an end to its competitive showings the 11 th Antalya Film Festival goes on with its traditional awards:

Best film: Düğün (The Wedding), directed by Lütfi Akad

Second best film: Bedrana, directed by Süreyya Duru

Third best film: Umut Dünyası (Hopeful World), directed by Safa Önal

Best director: Lütfi Akad, for Düğün (The Wedding)

Best script: Sadık Şendil, for Oh Olsun (You Asked for It)

Best photography: Enver Burçkin, for Pir Sultan Abdal

Best musical score: Yılmaz Duru, for Namus Borcu (Dept of Honor)

Best actress: Perihan Savaş, for Bedrana

Best actor: Hakan Balamir, for Yunus Emre

Best suporting actress: Yıldız Kenter, for Kızım Ayşe (My Daughter Ayşe)

Best suporting actor: Orçun Sonat, for Sokaklardan Bir Kız (A Girl from The Streets) sayısı 6'da kaldı. Yeni yönetmenler Ömer Kavur'la Tunç Okan, yeni oyuncu ise Gülşen Bubikoğlu ve Kemal Sunal.

     The Turkish cinema gained also attention in several foreign countries and international film festivals: a "Turkish Film Retrospective", organised in Paris by the French Cinématheque, included Yılmaz Güney's Ağıt (Elegy), Muhsin Ertuğrul's Bir Millet Uyanıyor (A Nation Awakens), Lütfi Akad's Düğün (The Wedding) and Feyzi Tuna's Kızgın Toprak (Hot Land).

      Kızgın Toprak (Hot Land) took also part, in Tashkent in the "Asian and African Countries Film Festival" and actress Fatma Girik was awarded with a "special prize" by the Women's Committee for her part in the said film.

     Süreyya Duru's Bedrana won the CIDALC award at the Karlovy Vary festival and at the 20 th San Remo Film Festival Erkan Yücel had the Best Actor award for his part in Endişe (Anxiety) .

      Tunç Okan's Otobüs (The Bus) brings several international awards of the Turkish cinema: at the Taormina Film Festival Okan's opus gets the "Golden Charybe", in Karlovy Vary the Art and Experimental Cinema's International Award as well as the Don Quixote award assigned by the Film Clubs Federation. Otobüs (The Bus) also wins, in Strasbourg, the award of the Human Rights Film Festival and the Santarem Film Festival brings two more awards, the Best Film award and the special award assigned by the film critics.

1975

     225 features are produced all in color thus puting an end to the black and white era.

     A new actress is introduced to the Turkish screen, Müjde Ar; star actors Ayhan Işık and Fikret Hakan enters into production; Ertem Eğilmez's comedy Hababam Sınıfı (The Rascals' Class) and its sequels hits the box-office.

     The year's popular trend leans on erotic comedies and Nazmi Özer's Civciv Çıkacak Kuş Çıkacak (Will It be A Chick or A Bird) becomes a top-grosser.

     Based on some of Yılmaz Güney's scripts, Temel Gürsu's İzin (Permission) and Bilge Olgaç's Bir Gün Mutlaka (One Day for Sure) ranks as partly successful works. Intended as a realistical cop story Melih Gülgen's Cemil misses its aim through actor Cüneyt Arkın's interference.

     The year's best film is Süreyya Duru's Kara Çarşaflı Gelin (The Black Veiled Bride).

      In Paris the "Association Françaises des Cinemas d'Art et d'Essai" (French Association of Art and Experimental cinemas) organises a Turkish Film Week and Yılmaz Güney's Arkadaş (Friend), Atıf Yılmaz's Kuma (The Second Wife/ The Concubine), Yılmaz Güney's Umut (Hope), Şerif Gören's Endişe (Anxiety), Ömer Kavur's Yatık Emine (Emine, The Leaning One) and shorts such as Bebek (The Baby), Yollar Boyunca Türkiye (Turkey Across The Roads), directed by Cengiz Tacer and Sabahattin Eyüboğlu's Karagöz'ün Dünyası (Karagöz's World) are presented in a parisian theater.

     In Paris, again, during the "8 th Short Films Festival" organised by the European Union of Cinema and TV workers, Behlül Dal's Güneşin Battığı Yer (The Place Where The Sun Sets) wins a special award of honor.

     Meanwhile.... the "Türk Filmciler Derneği" (Association of Turkish Filmmakers) awards 43 film artists having completed their 25 years in the field with a certificate of honor; at the "4 th Yarımca Art Festival", held in İzmit ,Yılmaz Güney's Arkadaş (Friend) is awarded Best Film and Süreyya Duru's Bedrana Second Best Film. Türk sinemasındaki yerini koruyacaktı.

      The 12 th Antalya Film Festival awards the followings:

Best film: Endişe (Anxiety), directed by Şerif Gören.

Second best film: Arkadaş (Friend), directed by Yılmaz Güney

Third best film: Zavallılar (The Miserables), directed by Yılmaz Güney and Atıf Yılmaz

Best Director: Şerif Gören, for Endişe (Anxiety)

Best script: Yılmaz Güney, for Endişe (Anxiety)

Best photography: Kenan Ormanlar, for Endişe (Anxiety)

Best musical score: Atilla Özdemiroğlu and Şanar Yurdatapan, for Arkadaş (Friend)

Best actress: Hülya Koçyiğit, for Diyet (Blood Money)

Best actor: Erkan Yücel, for Endişe (Anxiety)

Best suporting actress: Seden Kızıltunç, for Zavallılar (The Miserables)

Best suporting actor: Erol Taş, for Diyet (Blood Money)

1976

     164 features are produced. Cüneyt Arkın directs Şahin (The Falcon) and Kartal Tibet signs his first feature, Tosun Paşa.

      Erotic comedies brings to the screen a host of theatrical actors as "hot heroes" of the genre. Top ranking among them are Ali Poyrazoğlu, Aydemir Akbaş, Sermet Serdengeçti, Mete Inselel, Hadi Çaman, İlhan Daner, Alev Sezer, Rüştü Asyalı, Özcan Özgür and Yüksel Gözen while top leading ladies are Arzu Okay and Mine Mutlu.

     The following awards are assigned during the 13 th Antalya Film Festival:

Best film: Deli Yusuf (Crazy Yusuf), directed by Atıf Yılmaz.

Second best film: Mağlup Edilmeyenler (The Unconquered ones), directed by Atıf Yılmaz

Third best film: Pisi Pisi (Pussy Cat), directed by Zeki Ökten.

Best director: Atıf Yılmaz, for Deli Yusuf (Crazy Yusuf)

Best script: Umur Bugay, for İşte Hayat (That's Life)

Best photography: Gani Turanlı, for Ağrı Dağı Efsanesi (The Legend of Mount Ararat)

Best musical score: Melih Kibar, for Hababam Sınıfı Sınıfta Kaldı (The Rescals' Class Misses its Grads)

Best actress: Adile Naşit, for İşte Hayat (That's Life)

Best actor: Cüneyt Arkın, for Mağlup Edilmeyenler (The Unconquered ones)

Best suporting actress: Diler Saraç, for Pisi Pisi (Pussy Cat)

Best suporting actor: İlhan Yüce, for İşte Hayat (That's Life). Organised by the Ministry of Tourism and the "Film San Vakfı" (Film Artists Foundation), headed by Ümit Utku, a First Istanbul International Film Festival is held with awards as follows:

Best film: (not awarded)

Second best film: Ben Sana Mecburum (I am Compelled to You), directed by Ülkü Erakalın

Third best film:Yazgı (Fate), directed by Ülkü Erakalın

Best director: Natuk Baytan, for Babacan (Fatherly)

Best photography: Enver Burçkin, for Ben Sana Mecburum (I am Compelled to You)

Best musical score: Cahit Berkay, for Ben Sana Mecburum (I am Compelled to You)

Best actress: Meral Orhansoy, for Ben Sana Mecburum (I am Compelled to You)

Best actor: Sadri Alışık, for Ben Sana Mecburum (I am Compelled to You)

Best suporting actress: Aliye Rona, for Söyleyin Anama Ağlamasın (Tell my Mother not to Cry)

Best suporting actor: Macit Flordun, for Ben Sana Mecburum (I am Compelled to You).

     Two Turkish features are awarded abroad: Bizim Aile (Our Family), directed by Ergin Orbey, wins the special prize assigned by the "Uzbek Socialist Republic's Workers Confederation" at the "Tashkent Film Festival" and, in Moscow, Ali Özgentürk's documentary short Yasak (Forbiden) gets a Silver Medal. kazandı. Erkan Yücel, Endişe'yle 20. San Remo Film Şenliği'nde (İtalya) en başarılı oyuncu seçildi.

1977

     124 features are produced. Korhan Yurtsever and Ümit Efekan directs their first film. The Ministry of Culture's Cinema Office enters into activity. Metin Erksan makes a comeback to the screen with Sensiz Yaşayamam (I can't Live Without You) the story of a young woman who hires a killer to murder her. Sensiz Yaşayamam (I can't Live Without You) remains, so far, Erksan's last cinematographical work.

     Young director Korhan Yurtsever signs with Fırat'ın Cinleri (The Spirits of Euphrates), adapted from a short story by Osman Şahin, an interesting first film while Süreyya Duru centers is Güneşli Bataklık (The Sunny Swamp) around the feud between workers and big holdings and Atıf Yılmaz, adapting a novel by Cengiz Aytmatov, gives with

      Selvi Boylum Al Yazmalım (The Red Scarf) a human dimention to the conflict between love and labor. The film, directed with warmth and sensitivity, leans also on the apt acting of Kadir İnanır, Türkân Şoray and Ahmet Mekin.

     The 14 th Antalya Film Festival awards the followings:

Best film: Kara Çarşaflı Gelin (The Dark Veiled Bride), directed by Süreyya Duru

Second best film: Kapıcılar Kralı (The King of The Porters), directed by Zeki Ökten

Third best film: Merhaba (Hello), directed by Özcan Arca

Best director: Zeki Ökten, for Kapıcılar Kralı (The King of The Porters)

Best script: Vedat Türkali, for Kara Çarşaflı Gelin (The Dark Veiled Bride)

Best photography:Çetin Gürtop, for Baş Belası (The Troublemaker)

Best actress: Semra Özdamar, for Kara Çarşaflı Gelin (The Dark Veiled Bride)

Best actor: Kemal Sunal, for Kapıcılar Kralı (The King of The Porters)

Best suporting actress: Gönül Hancı, for Merhaba (Hello)

Best suporting actor: Hüseyin Peyda

Best short film: Safranbolu'da Zaman (Time in Safranbolu), directed by Süha Arın

Second best short: Çöpçüler (The Screet-cleaers), directed by Feyzi Tuna

Third best short : Piri Reis Haritası (The Piri Reis Map), directed by A. Ulvi and L. Sönmez. Çarşaflı Gelin'le gene Süreyya Duru gerçekleştirdi.

1978

     126 features are produced during the year. A new actor, Bulut Aras, and a new director, Erden Kıral, enters into the film world.

      Action pictures follows the increase of erotic comedies and Cüneyt Arkın rises as the number one star of the action or gang films. Moreover, following the trend of the martial arts epics, by now very popular in the market, Arkın creates his own kind of super-hero myth. In the meantime singers such as Ferdi Tayfur, İbrahim Tatlıses and Orhan Gencebay creates a sort of "actorsinger" supremacy enhancing the so-called "arabesque" style of folk-singing.

     Ahmet Taner Kışlalı, Minister of Culture and Tourism, shows an interest toward the film industry passing a law on "Social/ Security". And Semih Servidal is elected President of the newly formed "Türkiye Film İşçileri Sendikası" (Turkish Union of Film Workers).

     Sultan, from a script Yavuz Turgul, emerges as Kartal Tibet's leading actor turned director, best film. Erden Kıral's Kanal (The Canal), based on the true story of a public officer fighting against

      landowners, stands out as an honest and frank picture while Yavuz Özkan, directing Maden (The Mine), signs one of the year's best film with his rendering, as a first example of political cinema, of the crude struggle between coal-mine workers and mining companies.

      Sürü (The Herd), directed by Zeki Ökten from a script by Yılmaz Güney, emerges as the most important film of the period. Starting in the barren lands of Anatolia and ending in the turmoil of a big city (Ankara) this tragic story of a migration reaches, through an impressive narration, the eights of a truly competent collective work. Sürü (The Herd) thus stands as an example of national cinema reaching, by its human appeal, universal standarts and dimentions. aktardığı filmde, oyuncu olarak Kadir İnanır-Türkan Şoray-Ahmet Mekin üçlüsünün içtenlikli oyunları da bu arada dikkati çekti.

      At the 15th Antalya Film Festival the awards goes to the followings:

Best film: Maden (The Mine), directed by Yavuz Özkan

Best second film: Selvi Boylum Al Yazmalım (The Red Scarf), directed by Atıf Yılmaz

Best third film: Fırat'ın Cinleri (The Sprits of Euphrates), directed by Korhan Yurtsever

Best director: Atıf Yılmaz, for Selvi Boylum Al Yazmalım (The Red Scarf)

Best script: Umur Bugay, for Çöpçüler Kralı (The King of the Street-cleaners)

Best photography: Çetin Tunca, for Selvi Boylum Al Yazmalım (The Red Scarf)

Best musical score: Cahit Berkay, for Fırat'ın Cinleri (The Sprits of Euphrates)

Best actress:Hale Soygazi, for Maden (The Mine)

Best actor: Tarık Akan, for Maden (The Mine)

Best suporting actress: Meral Orhansoy, for Maden (The Mine)

Best suporting actor: Şener Şen, for Çöpçüler Kralı (The King of the Street-cleaners)

Best short film: Urartu'nun İki Mevsimi (The Two Seasons of Urartu), directed by Süha Arın

Second best short film: Ladik, directed by Güner Sarıoğlu

Third best short film:Üç Bölümlük Kısa Film (A Short Film in Three Parts), directed by Özcan Arca.

     Muhsin Ertuğrul, Baha Gelenbevi and Bedia Muvahhit are awarded with a medal and a certificate of honor, for services rendered of the Turkish cinema, by the "Association of Filmmakers".

      A Turkish film Week is held in Bulgaria with the participation of Atıf Yılmaz's Selvi Boylum Al Yazmalım (The Red Scarf), Feyzi Tuna's Kızgın Toprak (Hot Land), Süreyya Duru's Kara Çarşaflı Gelin (The Dark Veiled Bride) and Zeki Ökten's Kapıcal Kralı (The King of the Porters).

     At the "Tashkent Film Festival" Türkan Şoray is awarded "best actress" for her part in Selvi Boylum Al Yazmalım (The Red Scarf) and Kara Çarşaflı Gelin (The Dark Veiled Bride) gets the special award of the Syndicates'Union at Karlovy Vary. yarışmadan çekilme kararı aldılar. Ve böylece de yalnızca kısa metrajlı film yarışması yapılabildi. Süha Arın'ın Tahtacı Fatma adlı kısa filmi, en iyi film seçildi.

1979

     195 features are produced. The soft-core cinema reaches its peak with a total of 131 film passing to hard-core with Naki Yurter's Öyle Bir Kadın ki (She's Such A Woman) while soft-core actress Zerrin Egeliler breaks a world record by acting, during the year, in 37 erotic vehicles.

     Actor Tuncel Kurtiz directs in Sweden a film dealing with the Turkish workers, Gül Hasan (Hasan the Rose), and Ali Özgentürk signs his first feature, Hazal, the dramatic story of a peasant woman who, in Eastern Anatolia, marries by proxy.

     Erden Kıral gives with Bereketli Topraklar Üzerinde (On Fertile Lands) the best adaptation of an Orhan Kemal's novel; Ömer Kavur signs one of the year's best film with Yusuf ile Kenan (Yusuf and Kenan) the poignant and realistic story of the friendship between two childrens lost in a big city: Şerif Gören follows the events in the life of a Turkish woman working in Germany (Almanya Acı Vatan/German, Bitter Homeland), Yavuz Özkan deals with a railroad strike (Demiryolu/ Railroad) and Atıf Yılmaz gives an example of experimental cinema by strikingly directing Adak (The Vow) based on the true story of a peasant who sacrifices his 2,5 years old son.

     Zeki Ökten's Düşman (The Enemy), from a script by Yılmaz Güney, deals with a contemporary social problem and actor Aytaç Arman, playing the part of Ismail the worker who, at first, gets abused until he starts to achieve his own consciousness, gives a top performance. Apart from its style Düşman (The Enemy) emerges also as a model in acting and actor's direction.

     Protesting the interference of the Board of Censors baning some films and heavily cuting others the producers entering the 16th Antalya Film Festival draw back their entries so that only short films participates and Tahtacı Fatma (Fatma, the Wood-worker) wins the "Best short film" award.

     A first cartoon film festival, the "Nasreddin Hoca Çizgi Filmleri Yarışması" (Nasreddin Hodja Cartoon Films Contest), is organised by the Ministry of Culture with awards going to:

First prize: Hoca ve Hırsızlar (The Hodja and the Thieves), directed by Tunç İzberk and Tonguç Yaşar's Suçlu Kim (Who's Guilty).

Second prize: Ateş Benice.

Third prize: Emre Senem.

     During the year the Turkish cinema, present at several international festivals, suceeds in becoming a center of attention and in gaining worldwide appeal mainly through Sürü (The Herd).

     At the 32nd Locarno Film Festival Sürü (The Herd) is awarded with the "Golden Leopar", as best film, and actress Melike Demirağ shares with Rebecca Horn the "Best actress" award. As the producer and scriptwriter of the film Yılmaz Güney obtains the festival's "special award".

     Sürü (The Herd) is a winner in Berlin, at the 29th Film Festival, with awards from the "International Protestant film Jury" and the "Catholic Film Organization". Ökten's film gets a further award, as best film, during the "International Film Contest" organised by the Belgian Royal Film Archive.

     Meanwhile Süha Arın's Tahtacı Fatma (Fatma, The Woodworker) gets a First Prize at the 3rd Balkan Film Festival and Özcan Arca's Üç Bölümlük Kısa Film (A Short Film in Three Parts) obtains the award given by the Federal German Ministery of Youth, Family and Health in the course of the 25th Oberhausen Short Films Festival.

1980

     Feature films production goes down to 68. Two new directors signs their first film: Sinan Çetin (Bir Günün Hikayesi/ The Story of A Day) and Şahin Gök (Kurban Olduğum/ Let me be A Victim).

     Although carrying all the amateurism of a "first film" Sinan Çetin's work shows signs of a filmic personality while Kartal Tibet, in adapting Aziz Nesin's Zübük (The Swindler), gives the best of himself in a satirical comedy who not only entertains but also forces the audience to think and ponder once confronted with The Swingler, an uncultured but shrewd and nasty small-town politician.

     The year's best film comes from Atıf Yılmaz two, in Talihli Amele (The Lucky Workman), tells the pityful story of a poor bricklayer who, heralded and abused as an advertisement star, reaches a wealthy status but ends as a lunatic.The plot gives to Atıf Yılmaz the opportunity of taking a deep look at the world of advertising and all its schemes.

      The 17th Antalya Film Festival is postponed due to the military "coup" of September 12.

      The Cinema Office of the Ministry of Culture organises a "National Cinema Congress" and awards with a certificate a number of cinema people having accomplished their 25 years in the field.

     During the year the Turkish cinema gathers further appreciations achievements abroad: Sürü (The Herd) runs for 8 weeks in Zürich and 7 in Basle. At the London Film Festival Ökten's film is awarded "best film" among 93 participating ones; at the Rotterdam Festival an enquiry made among film critics ranks it aong the "three best ones" and the 10th International Festival awards it as "best film".

     At the 30th Berlin Film Festival Zeki Ökten's Düşman (The Enemy) gets the jury's special screenplay award as well as the "grand prix" of the International Catholic Film Office.

     Ali Özgentürk's Hazal brings five international awards to the Turkish cinema:

First prize at the Prades Film Festival,

"Grand Prix" at the San Sebastian Film Festival,

The "Golden Ducat" at the 20th Manheim International Film Festival plus awards from the "Catholic Jury" and the People's Jury.

Lahey Film Festival's award.

Another prize-winner is Erden Kıral's Bereketli Topraklar Üzerinde (On Fertile Lands) with:

The Jury's special award and the award assigned by the French Union of art and experimental cinemas at the International Nantes Film Festival

Finally Ömer Kavur's Yusuf ile Kenan (Yusuf and Kenan) gets the "Grand Prix" at the International Film Fair.

In Corsica, at the 2nd Film Festival of Mediterranean Cultures Hakkâri'de Bir Mevsim (A Season in Hakkâri) won the "best film" award.

Furthermore, Ali Özgentürk's At (The Horse) was awarded "best film" at the Italian 1983 Lecce International Film Festival and Şerif Gören's Derman won the Jury's special award in Valencia.Tunalım..

HİSTORY OF THE TURKISH CİNEMA

dannagarcia — Sun, 17 May 2009 02:57:09 +0200

1981-1990

A Chronological History Of The Turkish Cinema

1984

      The number of films produced during the year rises to 124.

     Screen-writer Yavuz Turgul directs his first feature and Orhan Elmas Kayıp Kızlar (Lost Girls) ranks as the year's biggest box-office hit.

      While the film industry struggles against the video boom two generations of directors signs a sequel of worthy features: in Firar (Escape) Şerif Gören gives one of his most audacious works in dealing with the story of a further lonely and oppressed woman and emphasising his heroin's sexual frustrations; in Ölmez Ağacı (The Undying Tree) Yusuf Kurçenli reaches a truly human dimention by telling the love story of a Turkish girl and a Greek youngman. Further portraits of women revolting against their conditions are sketched by Yavuz Turgul in Fahriye Abla (Sister Fahriye) and Atıf Yılmaz in Bir Yudum Sevgi (A Mouthful or Love). With his personal approach to the "women liberation" theme Atıf Yılmaz gives, with Bir Yudum Sevgi (A Mouthful of Love), to the Turkish cinema one of its most important works.

      Ali Özgentürk's Bekçi (The Guardian), Erdoğan Tokatlı's Fidan, Şerif Gören's Gizli Duygular (Secret Emotions), Bilge Olgaç's Kaşık Düşmanı (The Spoon Haters), Ertem Eğilmez's Namuslu (The Honest one), Tunç Okan's Cumartesi Cumartesi (Saturday Saturday) and Muammer Özer's works, stands as the year's noteworthy films.

      The "Film Yapımcıları Derneği

FİYAP" (Association of Film Producers) is founded. The Association, headed by producer Türker İnanoğlu, prepares and presents to the government a report dealing with video piracy and the peril it represents for the Turkish film industry.

At the 21st Antalya Film Festival the followings are awarded:

Best film: Bir Yudum Sevgi (A Mouthful of Love), directed by Atıf Yılmaz

Second best film: Kardeşim Benim (My Brother), directed by Nesli Çölgeçen

Third best film: Kaşık Düşmanı (The Spoon Haters), directed by Bilge Olgaç

Best director: Atıf Yılmaz, for Bir Yudum Sevgi (A Mouthful of Love)

Best script: Bilge Olgaç, for Kaşık Düşmanı (The Spoon Haters)

Best photography: Selçuk Taylaner, for Kardeşim Benim (My Brother)

Best musical score: Yalçın Tura, for Bir Yudum Sevgi (A Mouthful of Love)

Best actress: Hale Soygazi, for Bir Yudum Sevgi (A Mounhful of Love)

Best actor: Tarık Akan, for Pehlivan (The Wrestler)

Best suporting actress: Zuhal Olcay, for İhtiras Fırtınası (Tempest of Passion)

Best suporting actor: Macit Koper, for Bir Yudum Sevgi (A Mouthful of Love)

Award of honor: Sezer Sezin

Ömer Kavur'un Füruzan'dan uyarladığı Ah Güzel İstanbul ile Kırık Bir Aşk Hikayesi; Atıf Yılmaz'ın Deli Kan'ı, Ali Özgentürk'ün At'ı ve Sinan Çetin'in Çirkinler de Sever'i yılın özgün denemeleri olarak dikkati çektiler.

During the course of the year the Turkish cinema wins further awards in international film festivals abroad:

Erden Kıral's Hakkâri'de Bir Mevsim (A Season in Hakkari) is chosen as the "opening film" at the 1984 Los Angeles Olympic Games,

Şerif Gören's Derman gathers two awards at the 24th Karlovy Vary Festival:

The International Film Critics award,

The International Film Clubs Federation award.

Erden Kıral's Ayna (The Mirror) wins the Critics' award at the 3rd Film Festival of Mediterranean Cultures.

Ali Özgentürk's At (The Horse) is awarded the "grand prix" at the 1984 Sao Paulo International Film Festival. 1985

     127 features are produced. The film world gains two new directors, Başar Sabuncu (Çıplak Vatandaş/The Naked Citizen) and Ümit Elçi (Kurşun Ata Ata Biter/ Bullets Ends When Fired) plus a new producing company, Cengiz Ergun's "Estet Film".

      Halit Refiğ's Alev Alev (The Flame) is the year's biggest box-office hit and singer Küçük Emrah (Little Emrah) pushes further on the "arabesque" type musical melodram.

      The number of quality films increases: Atıf Yılmaz slides toward a socio-fantastic cinema with Adı Vasfiye (Her Name is Vasfiye), Nesli Çölgeçen, working on a script by Yavuz Turgul, brings a new dimention to comedy with Züğürt Ağa (The Broken Landlord) and with it character actor Şener Şen rises to stardom. Another successful example of social comedy is Başar Sabuncu's Çıplak Vatandaş (The Naked Citizen) and Şerif Gören brings his own interpretation in the re-make of Yılanların Öcü (The Vengeance of the Serpents).

      Ömer Kavur's Amansız Yol (Road Without Pity), Muammer Özer's Bir Avuç Cennet (A Handful of Heaven), Atıf Yılmaz's Dul Bir Kadın (A Widow), Bilge Olgaç's Gülüşan, Şerif Gören's Kan (Blood), Atilla Candemir's Kırlangıç Fırtınası (Sparrows' Tempest), Ömer Kavur's Körebe (Blindfold), Şerif Gören's Kurbağalar (The Frogs), Ümit Elçi's Kurşun Ata Ata Biter (Bullets Ends When Fired), Feyzi Tuna's Kuyucaklı Yusuf and Sinan Çetin's 14 Numara (No. 14) ranks among the year's best achievements. paylaştı. Metin Erksan'ın Susuz Yaz'la Berlin'de kazandığı büyük başarıdan sonra, bir Türk filminin "ikinci büyük zaferi"ydi bu. İnsanoğlunun temel sorunlarını sergileyen Yol, bir "sinema baş yapıtı" ve de "Türk sinemasının son yıllarda gerçekleştirdiği en güçlü filmlerinden biri" olarak kabul edildi.

     The Mimar Sinan Üniversity starts a retrospective titled "The Turkish cinema for the young ones". And at the 22nd Antalya Film Festival the awards are:

Best film: Dul Bir Kadın (A Widow), directed by Atıf Yılmaz

Second best film: 14 Numara (No. 14), directed by Sinan Çetin

Third best film: Bir Avuç Cennet (A Handful of Heaven), directed by Muammer Özer

Best director: Sinan Çetin, for 14 Numara (No.14)

Best script: Muammer Özer, for Bir Avuç Cennet (A Handful of Heaven)

Best photography: Orhan Oğuz, for Dul Bir Kadın (A Widow)

Best musical score: Tarık Öcal, for Bir Avuç Cennet (A Handful of Heaven)

Best actress:Zuhal Olcay, for Amansız Yol (Road Without Pity)

Best actor: Hakan Balamir, for 14 Numara (No.14)

Best suporting actress: Keriman Ulusoy, for 14 Numara (No.14)

Best suporting actor: Engin İnal, for Bir Kadın Bir Hayat (One Woman One Life) The Ministry of Culture and Tourism sponsors a film contest for feature films and short subjects. A four million Turkish Liras' award goes to the following films and producers:

Amansız Yol (Road Without Pity), directed and produced by Ömer Kavur.

Körebe (Blindfold), directed by Ömer Kavur, produced by Atıf Yılmaz,

Alev Alev (Flame), directed by Halit Refiğ, produced by Türker İnanoğlu,

Pehlivan (The Wrestler), directed by Zeki Ökten, produced by Şeref Gür, and the best short films chosen are:

Yeşile Renk Veren Şehir (The City who Gives Colour to Green), produced by Özdemir Birsel

Egemenlik Kayıtsız Şartsız Milletindir (Sovereignty Pertains Unconditionally to the People), produced by Behlül Dal,

Çömlekçi (The Potter), produced by Neşet Kırcaoğlu

Sultanahmet Meydanı (Sultanahmet Square), produced by Arif Keskiner,

Neşet Günal, produced by Prof. Sami Şekeroğlu başkaldıran "yeni kadın imajı"nı getirdiler beyaz perdeye. Ve "kadının kurtuluşu" açısından, özellikle de Bir Yudum Sevgi, Türk sinemasının son yıllarda çevrilen en önemli filmlerinden biri oldu.

      The year's first foreign award went to Şerif Gören's Derman and at the 25th Karlovy Vary Film Festival Talat Bulut won the "best character actor" award assigned by the Film Institute of the University of Prague. Derman was also awarded, as best film, with a "Golden Sword" at the 4th International Damascus Film Festival.

     At the 4th New German Cinema Film Festival held in Luxembourg Erden Kıral's Hakkâri'de Bir Mevsim (A Season in Hakkâri) was chosen "best film" by the audience.

      For his part in Pehlivan (The Wrestler), Tarık Akan won the Jury's "special mention" at the 35th Berlin International Film Festival.

      In the course of the 7th International Festival of Women's Films, held in Paris, Bilge Olgaç's Kaşık Düşmanı (The Spoon Haters) won the "best film" award as well as the "special award" assigned by the French press. And Halil Ergün was chosen "best actor" by the audience.

      At the Ist Tokyo International Film Festival, Ali Özgentürk's At (The Horse) was awarded a prize of 250 thousand US Dollars.

      Gülibik, A Turkish-German co-production, won the award assigned by the "Educational Film Library Association" at the New-York Film Festivali and Erden Kıral's Ayna (The Mirror) obtained the "grand prix" of the Figuera da Foz International Film Festival (Portugal).

     Süha Arın's short film Kapalıçarşı'da Kırkbin Adım (Forty Thousand Steps at the Grand Bazar), jointly produced by the Ministry of Culture and Tourism and the Turkish Touring and Automobile Association, won the Jury's Honor Award at the Touristic Films Festival held in Vienna.

      In occasion of the "Istanbul International Film Days", organised by the "Istanbul Culture and Art Foundation", the following awards are assigned: "special mention" to Erden Kıral's Ayna (The Mirror), competing for the "Golden Tulipe Award"; a one million Turkish Liras prize, assigned by the "Eczacıbaşı Foundation", to Atıf Yılmaz producer and director of Bir Yudum Sevgi (A Moutful of Love). And a certificate of High Honor went to Zeki Öktem for his outstanding Pehlivan (The Wrestler). 1986

     Film production goes up to 185 features. The year's new actresses are Şahika Tekand and Sibel Turnagöl, the new directors Erdoğan Kar, Nisan Akman, İsmail Güneş and Tevfik Başar. And a new producer, Lokman Kondakçı, enters into the film world with his "Varlık Film" company.

      With Aaahh Belinda, staring Müjde Ar, Atıf Yılmaz signs the year's box-office hit (40 millions Turkish Liras).

      The interest toward the cinema is growing up and a law on "Cinema, Video and music works" is passed and applied which was prepared by the contributions of Mr. Mükerrem Taşçıoğlu, the pre-minister of Culture and Tourism. Over 20 features bring new insights and approaches to the national cinema. Among them Atıf Yılmaz's Aaahh Belinda,

     Ömer Kavur's Anayurt Oteli (Hotel Motherland), Başar Sabuncu's Asılacak Kadın (A Woman to Hang), Nesli Çölgeçen's Züğürt Ağa (The Broken Landlord) and Yavuz Turgul's Muhsin Bey (Mr. Muhsin) ranks as best achievements.Ömer Kavur's Anayurt Oteli (Motherland Hotel), backed by Macit Koper's composition, stands as a noteworthy example of literary adaptation.

     With Halkalı Köle (The Ringed Slave) from a novel by Bekir Yıldız, Ümit Efekan signs his best work and actress Zuhal Olcay tops with her incissive acting. Sinan Çetin's political Prenses (Princess), gives way to some polemics and the director's subsequent work, Gökyüzü (Sky), follows an escapist and abstract pattern.

     Atıf Yılmaz's Asiye Nasıl Kurtulur (How to Save Asiye) comes out as a brilliant musical and his Değirmen (The Mill) as a competently done period satyre. Further noteworthy films are Halit Refiğ's Teyzem (My Aunt), Süreyya Duru's Fatma Gül'ün Suçu Ne (Why Fatma Gül is Guilty), İsmail Güneş's Gün Doğmadan (Before Sunrise), Başar Sabuncu's Kupa Kızı (The Queen of Heart), Nisan Akman's Beyaz Bisiklet (The White Bycicle), Tevfik Başer's 40 Metrekare Almanya (40 Square Meters of Germany), Yusuf Kurçenli's Merdoğlu Ömer Bey, Zeki Ökten's Ses (The Voice), Ali Özgentürk's Su da Yanar (Water also Burns), Şerif Gören's Beyoğlu'nun Arka Yakası (The Back streets of Beyoğlu), Süreyya Duru's Uzun Bir Gece (A Long Night), Erdoğan Tokatlı's Suçumuz İnsan Olmak (Guilty of Being Humans) and Erdem Kıral's Dilan.

      Awards at the 23. Antalya Film Festival goes as follows:

Best film: Aaahh Belinda, directed by Atıf Yılmaz.

Second best film: Yılanların Öcü (The Vengeance of the Serpents), directed by Şerif Gören.

Third best film: Adı Vasfiye (Here Name is Vasfiye), directed by Atıf Yılmaz.

Best director: Atıf Yılmaz, for Aaahh Belinda.

Best script: Yavuz Turgul, for Züğürt Ağa (The Broken Landlord)

Best photography: Aytekin Çakmakçı

Best musical score: Atilla Özdemiroğlu, for Kurbağalar (The Frogs) and Züğürt Ağa (The Broken Landlord)

Best actress: Müjde Ar, for Aaahh Belinda and Adı Vasfiye (Her Name is Vasfiye)

Best actor: Kadir İnanır, for Yılanların Öcü (The Vengeance of the Serpents)

Best suporting actress: Füsun Demirel, for Züğürt Ağa (The Broken Landlord)

Best suporting actor: Erdal Özyağcılar, for Yılanların Öcü (The Vengeance of the Serpents)

Best studio: Fono Film

Jury's special award: Beyaz Bisiklet (The White Bycicle), directed by Nisan Akman.

The jury of the awards sponsored by the "Eczacıbaşı Foundation", in the course of the "İstanbul International Film Days" splits the 2 million Turkish Liras award between the following three directors:

Atıf Yılmaz, for Adı Vasfiye (Her Name is Vasfiye)

Nesli Çölgeçen, for Züğürt Ağa (The Broken Landlord)

Ömer Kavur, for Amansız Yol (Road Without Pity).

The Ministry of Culture's 4 million Turkish Liras awards goes to the followings producers:

Lokman Kondakçı, for Gün Doğmadan (Before Sunrise), directed by İsmail Güneş,

Lokman Kondakçı, for Merdoğlu Ömer Bey, directed by Yusuf Kurçenli,

Kadri Yurdatap, for Beyaz Bisiklet (The White Bycicle), directed by Nisan Akman.

Selim Soydan, for Kurbağalar (Frogs), directed by Şerif Gören

İsmet Kazancıoğlu, for Kan (Blood), directed by Şerif Gören.

      During the year the Turkish cinema participates to several foreign film festivals: Amansız Yol (Road Without Pity) is showed at the Tashkent Film Festival while

      Hakkâri'de Bir Mevsim (A Season in Hakkâri), Ayna (The mirror), Bekçi (The guardian), Kaşık Düşmanı (The Spoon Haters) and Kan (Blood) compete in Venice and in Rimini, at the European Cinema Festival Adı Vasfiye (Her Name is Vasfiye) gains attention through its approach to women's problems.

      At the 14th Strasbourg Film Festival, Ali Özgentürk's Bekçi (The Guardian) and Muammer Özer's Bir Avuç Cennet (A Handful of Heaven) are awarded, ex-aequo, "Second Best Film".

     Yokuş (The Slope), a short directed by Dilek Gökçe, gets the International Grand Jury's award at the 32nd Oberhausen Short Film Festival, and Zeki Ökten's Pehlivan (The Wrestler), competing among 31 films at the 11th International Sport Films Festival wins the award assigned by the International Olympic Games Committee.

      Bir Avuç Cennet (A Handful of Heaven) obtains a "mention" in France at the 7th World Country Cinema Festival as well as the "grand prix" of the 7th International Immigrants Films Festival (Sweden), and actress Hülya Koçyiğit obtains the "best actress" award, for her part in Kurbağalar (Frogs) at the 8th Nantes Three Continents Festival. 1987

      185 features are produced. The year's new directors are Şahin Kaygun, Zülfi Livaneli, Engin Ayça, Orhan Oğuz, Muzaffer Hiçdurmaz and Yavuzer Çetinkaya.

      The number of personal and original films grows steadily gaining, at the box-office, much more appeal than the conventional and star-packed vehicles. In other words, the "author's cinema", once started by directions such as Lütfi Akad, Metin Erksan, Atıf Yılmaz and Yılmaz Güney, goes on in the works of Erden Kıral and Ömer Kavur gaining a new and contemporary freshness. Such an approach is also sustained by the performances of actresses (instead of stars) such as Zuhal Olcay, Şahika Tekand, Nur Sürer, Şerif Sezer, Fatoş Sezer and Gülsen Tuncer.

      Atıf Yılmaz follows his Adı Vasfiye (Her Name is Vasfiye) and Aaahh Belinda with a third social fantasy: Hayallerim, Aşkım ve Sen (My Fantasies, my Love and You) and the year's achievements are: Şahin Kaygun's Afife Jale Erden Kıral's Av Zamanı (The Hunting), Engin Ayça's Bez Bebek (The Rag Doll), Ümit Elçi's Bir Avuç Gökyüzü (A Handful of Sky), Tunç Başaran's Biri ve Diğerleri (One and the Others), Muzaffer Hiçdurmaz's Çark (The Wheel), Süreyya Duru's Çil Horoz (The Rufffed Rooster), Şahin Kaygusuz's Dolunay (Full Moon), Nisan Akman's Dünden Sonra Yarından Önce (After Yesterday and Before Tomorrow), Erdoğan Tokatlı's 72. Koğuş (Ward 72), Ömer Kavur's Gece Yolculuğu (Night Trip), Yusuf Kurçenli's Gramofon Avrat (The Gramophone Woman), Bilge Olgaç's İpekçe (Silky), Başar Sabuncu's Kaçamak (Escape), Atıf Yılmaz's Kadının Adı Yok (The Woman Has No Name), Muammer Özer's Kara Sevdalı Bulut (The Love Crazy Cloud), Şerif Gören's Katırcılar (The Muleteers) and On Kadın (The Women), Korhan Yurtsever's Zincir (The Chain), Zülfü Livanelli's Yer Demir Gök Bakır (Earth of Iron Sky of Copper), Sami Güçlü's Yarın Yarın (Tomorrow Tomorrow), Yavuz Özkan's Yağmur Kaçakları (The Rain Smugglers), İrfan Tözüm's Rumuz Goncagül (Symbol Rosebud) and Nesli Çölgeçen's Selamsız Bandosu (The Band of Selamsız).

     "SESAM-Sinema Eseri Meslek Sahipleri Birliği" or "Union of Professional Owners of Cinema Works" is founded and producer Türker İnanoğlu nominated President.

      Awards of the 24 th Antalya Film Festival goes to:

Best film: Muhsin Bey (Mr. Muhsin), directed by Yavuz Turgul,

Second best film: Anayurt Oteli (Motherland Hotel), directed by Ömer Kavur,

Third best film: Hayallerim, Aşkım ve Sen (My Fantasies, my Love and You), directed by Atıf Yılmaz,

Best director: Ömer Kavur, for Anayurt Oteli (Motherland Hotel),

Best script: Yavuz Turgul, for Muhsin Bey (Mr. Muhsin),

Best photography: Çetin Tunca, for Hayallerim, Aşkım ve Sen (My Fantasies, my Love and You),

Best musical score: Atilla Özdemiroğlu, for Muhsin Bey (Mr. Muhsin),

Best actress: Türkân Şoray, for Hayallerim, Aşkım ve Sen (My Fantasies, my Love and You),

Best actor: Şener Şen, for Muhsin Bey (Mr. Muhsin),

Best suporting actress: Hümeyra, for Asiye Nasıl Kurtulur (How to Save Asiye)

Best suporting actor: Uğur Yücel, for Muhsin Bey (Mr. Muhsin),

Award of honor: Metin Erksan

At the "International Film Days of Istanbul" Ömer Kavur's Anayurt Oteli (Motherland Hotel) wins the "Eczacıbaşı Foundation" best film award.

The Ministry of Culture and Tourism's 8 million Turkish Liras awards are assigned to the following producers:

Abdurrahman Keskiner, for Muhsin Bey (Mr. Muhsin)

Kadri Yurdatap, for Bir Kırık Bebek (A Broken Doll)

Ömer Kavur, for Gece Yolculuğu (Night Trip)

Türker İnanoğlu, for Gönülden Gönüle (From Heart to Heart)

Lokman Kondakçı, for İpekçe (Silky).

      The 2.5 Million Turkish Liras short film award goes to Behlül Dal for his Mavi Yolculuk (Blue Trip).

      The Turkish cinema gains further attention abroad: in Nantes, at the 9th Three Continents Festival, director Metin Erksan is honored with a retrospective covering five of his works:

      Yavuz Özkan's Maden (The Mine) gets its Parisian release in four theaters; Zülfü Livaneli's Yer Demir Gök Bakır (Earth of Iron Sky of Copper) enters the Cannes Film Festival's "Un certain regard" section and Ömer Kavur's Anayurt Oteli as well as Zeki Ökten's Ses (The Voice) competes in Valencia.

     Muammer Özer's Bir Avuç Cennet (A Handful of Heaven), already winner of several awards, gets the "best script" and "best film" awards at the 13 th Santarem International Film Festival.

     Ömer Kavur's Anayurt Oteli (Motherland Hotel)shares, at the 44 th Venice Film Festival, the FIPRESCI award with Ermanno Olmi's "Lunga vita alla signora" as well as sharing, at the 8 th Valencia Mediterranean Film Festival, with Mazzacura's "La notte Italiana" the "bronze medal" as "Third best film". At the 9th Nantes Three Continents Film Festival Anayurt Oteli (Motherland Hotel) takes the "grand prix" and Macit Koper is awarded "best actor".

     The year's last award goes to Zülfi Livaneli's Yer Demir Gök Bakır (Earth of Iron Sky of Copper) winner, at San Sebastian, of the OCIC prize. 1988

      Three new women directors sings their first feature: Mahinud Ergun, with Gece Dansı Tutsakları (Prisoners of A Night Dance), writer Füruzan and painter Gülsün Karamustafa coauthoring Benim Sinemalarım (My Movie Houses).

     Atıf Yılmaz's Kadının Adı Yok (The Women Has No Name) breaks all past box-office records and Yılmaz's adaptation of Duygu Asena's novel gathers, in İstanbul, 140 million Turkish Liras in 6 weeks.

     A Turkish-Sooviet co-production, based on a work by Cengiz Aykmatov and directer by Hocakulu Narliyev (The day grows longer and becomes a century) is launched.

      Among the actors of the young generation Tarık Tarcan gains a particular attention.

     The social security problem of artists and workers of the Turkish cinema are taken into consideration with the close interest of State Minister Adnan Kahveci and Foreign Minister Mesut Yılmaz.. State Minister Adnan Kahveci launches an "Off-Shore Media Project" aiming at bringing foreign founds to Turkey.

      The "Film Actors' Association" (SODER) is founded and Türkan Şoray is nominated President.

     The Prime Minister Turgut Özal honors the laying of the foundation of a "rest house" for indigent actors.

     Başar Sabuncu's Zengin Mutfağı (Wealthy Kitchen), Zeki Ökten's Düttürü Dünya (Whistling World), Şerif Gören's Polizei (The Cop) and Füruzan-Karamustafa's Benim Sinemalarım (The Movie Houses) are the year's noteworthy items. Tunç Başaran's Biri ve Diğerleri (One and the Others) is awarded "best film" by the "Eczacıbaşı Foundation", in the course of the 7 th Istanbul International Film Days. The said foundation awards Yusuf Kurçenli's Gramofon Avrat (Gramaphone Woman), adapted from a short-story by Sabahattin Ali, a certificate of honor while Yavuz Turgul's Muhsin Bey (Mr. Muhsin) gets the Jury's Award. Afife Jale (Şahin Kaygun), Av Zamanı (Erden Kıral), Bez Bebek (Engin Ayça), Bir Avuç Gökyüzü (Ümit Elçi), Biri ve Diğerleri (Tunç Başaran), Çark (Muzaffer Hiçdurmaz), Çil Horoz (Süreyya Duru), Dolunay (Şahin Kaygun), Dünden Sonra Yarından Önce (Nisan Akman), 72.Koğuş (Erdoğan Tokatlı), Gece Yolculuğu (Ömer Kavur), Gramafon Avrat (Yusuf Kurçenli), Her Şeye Rağmen (Orhan Oğuz), İpekçe (Bilge Olgaç), Kaçamak (Başar Sabuncu), Kadının Adı Yok (Atıf Yılmaz), Kara Sevdalı Bulut (Muammer Özer), Katırcılar (Şerif Gören), On Kadın (Şerif Gören), Zincir (Korhan Yurtsever), Yer Demir Gök Bakır (Zülfü Livaneli), Yarın Yarın (Sami Güçlü), Yağmur Kaçakları (Yavuz Özkan), Rumuz Goncagül (İrfan Tözüm), Selamsız Bandosu (Nesli Çölgeçen).

     A First Ankara Film Festival is held in the capital and the "First Film Contest", aiming at encouraging young directors, awards the followings:

Best film: Her Şeye Rağmen (Despite Everything), directed by Orhan Oğuz

Second best film: Bez Bebek (The Rag Doll), directed by Engin Ayça

Third best film: Dolunay (Full Moon), directed by Şahin Kaygun

Best actress: Şerif Sezer, for Her Şeye Rağmen (Despite Everything)

Best actor: Talat Bulut, for Her Şeye Rağmen (Despite Everything)

Best suporting actress: Derya Yücel, for Bir Kırık Bebek (A Broken Doll)

Best suporting actor: Orhan Çağman, for Bir Kırık Bebek (A Broken Doll)

Best script: Engin Ayça, for Bez Bebek (The Rag Doll)

Best photography: Salih Dikişçi, for Dolunay (Full Moon)

Best musical score: Cahit Berkay, for Her Şeye Rağmen (Despite Everything), Çark (The Wheel), Sızı (Pain) and Sis (Fog).

The awards of the Short Film Contest goes as follows:

Best short film: Marjinal, directed by Oğuzhan Tarcan

Second best short: Uslu Köyün Masalı (Tale of the Wellbehaved Village), directed by Neşet Kırcalıoğlu

Third best short: Vapurlar (Boats), directed by Mehmet Güreli.

      And the Turkish cinema goes further on in gaining attention and appreciation in competitions and festivals abroad. Sinan Çetin's 14 Numara (No.14) competes at the 16 th Strasbourg Film Festival; Director of Photography Jurgen Jurges gets the German Camera Award, for his work in Zülfü Livanelli's Yer Demir Gök Bakır (Earth of Iron Sky of Copper) at the Foto Kino Fair held in Kölh. tarihinin en büyük gişe rekorunu (İstanbul sinemalarında 6 haftada 140 milyon TL) kırdı.

     Orhan Oğuz's Her Şeye Rağmen (Despite Everything) is nominated "best film" among Europe's best critics choice following an award in Cannes (The Youth Award). Oğuz's film is also a winner at the 37 th Mannheim Film Festival obtaining a "grand prix" covering 20.000 German Marks.

      Finally Yavuz Tuğrul's Muhsin Bey (Mr. Muhsin) gets the Jury's special award at the 36 th San Sebastian Film Festival. And at the 25 th Antalya Film Festival awards goes as follows:

Best film: Gece Yolculuğu (Night Ride), directed by Ömer Kavur

Best Second film: Dolunay (Full Moon), directed by Korhan Yurtsever

Third best film: Zincir (The Chain), directed by Korhan Yurtsever

Best director: Ömer Kavur, for Gece Yolculuğu (Night Ride)

Best photography: Salih Dikişçi, for Gece Yolculuğu (Night Ride)

Best music score: Atilla Özdemiroğlu, for Gece Yolculuğu (Night Ride)

Best actress: Gülşen Bubikoğlu, for Kurtar Beni (Save me)

Best actor: Aytaç Arman, for Gece Yolculuğu (Night Ride)

Best suporting actress: Fatoş Sezer, for Kurtar Beni (Save me)

Best suporting actor: Tanju Gürsu, for Kurtar Beni (Save me)

Award of honor: Süreyya Duru bölümü'nde birincilik ödülüne değer görüldü. Ve daha önce de Cannes Film Şenliği'nde gençlik ödülü almıştı.

      In Ankara the Turkish-American Association present a Showing of Award Winning Turkish Films.

     The end of 1988 brings further awards to the Turkish cinema: at the 8 th Amiens International Film Festival, Hülya Koçyiğit is nominated "Best Actress" for her part in Engin Ayça's Bez Bebek (The Rag Doll).

      In Paris a retrospective of Yılmaz Güney's films is held, including Umut (Hope) Ağıt (Elegy) Endişe (Anxiety), Zavallılar (The Miserables) and Düşman (The Ennemy).

      Kaçamak (Escape), directed by Başar Sabuncu, Bez Bebek (The Rag Doll), directed by Engin Ayça, Her Şeye Rağmen (Despite Everything), directed by Orhan Oğuz, participate to the 32nd London Film Festival.

      In Ottawa a Showing of Turkish Films is organised by the Ontario Film Institute, the Toronto Turkish Association and the Turkish Embassy in Ottawa. The showing includes: Zeki Ökten's Pehlivan (The Wrestler), Bilge Olgaç's İpekçe (Silky), Nisan Akman's Beyaz Bisiklet (The White Bycicle), Atıf Yılmaz's Aaahh Belinda, Halit Refiğ's Aşk-ı Memnu (Forbidden Love) and Ömer Kavur's Amansız Yol (Road without Pity).

     And the year's last award is given to director Lütfi Ö. Akad. Akad gets the "Grand Award for Culture and Art", awarded by the Ministry of Culture and Tourism for services and contributions to the film art.

     The Ministry of Culture and Tourism also awards, with a prize of 8.000.000 Turkish Liras, the following films:

Ada (The Island), directed by Süreyya Duru and produced by Dilek Duru,

Kurtar Beni (Save Me) directed by Halit Refiğ and produced by Türker İnanoğlu

Av Zamanı (The Hunting), directed by Erden Kıral and procuded by Kadri Yurdatap,

Dolunay (Full Moon), directed and produced by Şahin Kaygun,

Selamsız Bandosu (The Band of Selamsız), directed by Nesli Çölgeçen and produced by Nahit Ataman.

The Ministry's Committee chooses, for its "Jury's Special Award", Orhan Oğuz, director of Her Şeye Rağmen (Despite Everything) for his "contribution to the Turkish cinema and his success on the international film world."
Tunalım...

TÜRK SİNEMASININ İLKLERİ

dannagarcia — Sun, 17 May 2009 02:52:36 +0200

Ayhan Işık, Kuzey Vargın film setinde…

   Fuat Uzkınay’ın, 14 Kasım 1914’te, Osmanlı İmparatorluğu’nun 1. Dünya Savaşı’na girdiği günlerde, Ayastefanos’taki Rus Anıtı’nı yıkılırken kamerasıyla görüntülediği 150 metrelik belgesel, Türk sinema tarihinin ilk filmi olarak kabul ediliyor.

     Yönetmenliğini ve senaryosunu Celal Esat Arseven’in üstlendiği "Koruyan Ölü", 1917’de yurtdışında çekilen ilk film olarak tarihe geçti. İlk konulu film denemesi olan "Leblebici Horhor Ağa"nın çekimi ise, 1916 yılında başrol oyuncularından birinin ölümüyle yarım kaldı. Sedat Simavi’nin 1918 yılında çektiği "Alemdar Mustafa Paşa", ilk tarihi belgesel film denemesi oldu.

     Ahmet Fehim ve Fazlı Necip’in 1919 yılında yönetmenliğini yaptığı "Binnaz" adlı film, 55 lira ile dönemin en fazla hasılatını topladı. Aynı tarihte ilk komedi denemesi olarak çekimlerine başlanan ve yönetmenliğini İsmet Fahri Gülünç’ün yaptığı "Tombul Aşığın Dört Sevgilisi" adlı filmin çekimleri, çıkan bir anlaşmazlık nedeniyle yarım kaldı.

     Şarlo filmlerin etkilerini taşıyan "Bican Efendi Vekilharç", ilk "sinema tipi dizi" özelliğiyle tarihte yerini alırken, ilk korku film denemesi de 1953 yılında yönetmenliğini Mehmet Muhtar’ın yaptığı "Drakula İstanbul’da" idi.

     Muhsin Ertuğrul’un "Halıcı Kız"ı, Atlas Sineması’nda gösterilerek, halk önüne çıkan "ilk renkli film" olarak kayıtlara geçti.

     "Hollywood Rüyası" da, 1956’da Amerika’da yapılan ilk Türk filmi oldu.

     Aydın Arakon’un yönettiği ve Neriman Köksal’ın başrolde oynadığı "Fosforlu Cevriye" ile, bol bol argolu filmlerle birlikte "külhanbeyi tipli kadın kahramanlar" dönemi 1959 yılında başladı.

     Zeynep Değirmencioğlu’nun rol aldığı "Ayşecik" adlı filmle 1960 yılında "çocuk yıldızlı filmler"" dönemi başlarken, 27 Mayıs 1960’tan sonra sinemadaki "toplumsal gerçekçilik" akımını yansıtan ilk film Metin Erksan’ın "Gecelerin Ötesi" oldu.

     1960 Harekatı"Nın Etkileri

     Ertem Gönenç’in "Karanlıkta Uyananlar" adlı filmi 1964’te yapıldı ve ilk işçi hareketi, grev filmi oldu. Önce sansüre takılan film, daha sonra izleyiciyle buluştu. Yine aynı yıl Halit Refiğ’in "erotizm" denemesi yaptığı, erotik simgelere yer verdiği film de "Şehrazat"tı.

     "Tehlikeli Adam" adlı film 1965 yılında çekildi. Bu film konusuyla "gecekondu sinemasının" başlangıcı olarak kabul edilirken, 1970’deki "Pamuk Prenses ve Yedi Cüceler" ile "masal filmleri" dönemi başladı. Türk Sineması’nın "Batman"ı 1973’te çekilirken, tamamen doğa içerikli olan ve 1993 yılında yapılan "Manisa Tarzanı" ise ilk çevre filmi özelliğini taşıdı.

     Kadın Oyuncular Dönemi

     Halide Edip Adıvar’ın "Ateşten Gömlek" adlı romanından, aynı isimle Muhsin Ertuğrul tarafından 1923 yılında beyazperdeye aktarılan film, Türk asıllı kadın oyuncuların sinemada ilk rol aldıkları yapıt olarak tarihe geçti. Bedia Muvahhit ve Neyyire Neyir’in rol aldığı film, aynı zamanda ilk Kurtuluş Savaşı filmi özelliğine sahip.

     İlk uzun metrajlı çizgi film denemesi olarak 1951’de yapılan "Evvel Zaman İçinde" adlı filmin, Amerika’ya banyo için gönderilen negatifleri ise kayboldu.

     Melih Gülgen’in "Parçala Behçet"i ile 1972’de seks ve avantür filmlerinde yeni bir furya başladı. 1974’te de "Beş Tavuk, Bir Horoz" ile Türk sineması’nda "seks komedileri" dönemi start aldı.

     Rekor "Vizontele"de

     1. Antalya Film Festivali’nde, 1962 yılında Türkan Şoray’a "En Başarılı Kadın Oyuncu" ödülünü kazandıran "Acı Hayat" filmi yabancı seyircinin de ilgisini çekerken, o yılların gişe rekorunu kırdı.

     Şerif Gönen’in yönetmenliğini yaptığı, Şener Şen ve Lale Mansur’un başrollerini paylaştığı "Amerikalı", büyük ilgi görerek 1993’ün gişe rekoruna sahip oldu.

     Yavuz Turgul’un 1996’da çektiği, Şener Şen, Uğur Yücel ve Şermin Şen’in başlıca rolleri paylaştığı "Eşkıya" da, 1996-1997 sezonu süresinde yaklaşık 2,5 milyon kişiye ulaşarak geçen dönemin seyirci rekorunu elde etti.

     Yılmaz Erdoğan ve Ömer Faruk Sorak’ın yönetmenliğini yaptığı, Yılmaz Erdoğan, Demet Akbağ, Cem Yılmaz ve Altan Erkekli’nin rol aldığı "Vizontele" ise, bugüne kadar ulaştığı 3 milyon 302 bin 910 seyirciyle yeni rekorun sahibi oldu.

     Yönetmen Sorak’ın Değerlendirmesi

     "Vizontele"nin yönetmenliğini Yılmaz Erdoğan’la birlikte yapan Ömer Faruk Sorak, çektikleri filmin Türk Sinema tarihinin izleyici ve hasılat rekorunu kırmasının "güzel bir şey" olduğunu belirterek, "Umarım önümüzdeki 87 yıl, filmlerin yapmış olduğu hasılat değil de yurtdışında başarıların kazanıldığı bir süreç yaşanır" dedi.

     Sorak, "Türk Sineması, 87 yıl kendi kabuğunda büyüdü ve gelişti. Bundan sonra uluslararası platforma açılması, filmlerin uluslararası alanlarda başarılar kazanması gerekir" diye konuştu. Yaklaşık 2,5 milyon izleyiciye ulaşan "Eşkıya"nın, Türk Sineması’nın en iyi hasılat yapan filmlerinden biri olduğunu hatırlatan Sorak, sürekli ileriye dönük bir sürecin yaşanması ve gelecek yıl da "Vizontele"yi geçen filmlerin üretilmesi gerektiğini kaydetti.

     Sorak, Türk Sineması’nda, ticari kaygıların dışına çıkılarak sinemaya hak ettiği değerin verilmesi gerektiğini vurgulayarak, "Ayrıca, önümüzdeki süreçte sinema endüstrisinin gelişerek, büyük bir sektör haline gelmesi gerekir" dedi.
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