Sinema Tarihi
24/2/2008 · Kategori: Sinema Tarihi
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
At the 21st Antalya Film Festival the followings are awarded:
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:
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 ****** 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:
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:
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:
The Ministry of Culture's 4 million Turkish Liras awards goes to the followings producers:
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:
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:
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