SEE ALSO: BEST OF WORLD CINEMA | ACCORDING TO MAVI BONCUK
Dahlimizin en az olduğu sanat rüyadır. Asıl mesele, insanda
sinema var mıydı? Vardı. Heyecanlı anlarda hayallerin bizi sık sık yoklayışı ve
hatırlayışlarımız gibi. (A. H. TANPINAR / Edebiyat Dersleri)
The art in which we are least interested is dream. The real question is, did humans have cinema? There was. Like dreams frequently checking us out and remembering us in exciting moments. (A. H. TANPINAR / Literature Lessons)
New Turkish Cinema
"The term New Turkish Cinema was first used in the 1975-80s in the sense of “realistic cinema” (Atam, 2011, p. 85). While there are those who think that New Turkish Cinema started with the 1960s coup, there are also those who claim that it emerged in the 1980s or even the 1990s. Metin Erksan’s film Gecelerin Ötesi is the first notable film of the 1960s because it initiated the concept of “social realism”. It is the first film to go beyond the Yeşilçam line as a film that resembles the concept of Neorealistic Italian cinema. Erksan’s films are the first examples associated with the term “cinema art” in Turkish cinema (Teksoy, 2009).
According to Zahit Atam, in the 1980s, an economic-political-cultural crisis occurred in Turkey, and an understanding that kept culture and art separate from each other and excluded art began (2011, pp. 93-94). In addition, due to the limited film promotions and the beginning of the video epidemic period, films could not reach the audience. Furthermore, the audience began to change, very few people watched local films and most local films could not be shown in cinemas (p. 97).
By the 1990s, Yeşilçam had completely collapsed, production ended and directors had to shoot their films with their own budgets. This situation “led to the unexpected result of many new directors producing films that took cinema seriously” (Teksoy, 2009, p. 940). Yavuz Turgul’s Eşkıya film was a turning point in this period, and despite the lack of a promotional campaign, it reached approximately two and a half million viewers. Eşkıya is a film in which attention was paid to its music and camera, and considering the technology of the period, it can be admitted that the camera was used well. It is accepted that Eşkıya made the audience go to the cinema again and revived Turkish films." SOURCE
Bir Yeni Türkiye Sineması ve Zaman-İmge Sineması Olarak Uzak Filmi | Bihter İşler|21 Mayıs 2019
"Although the Yeşilçam period effectively ended after the 1980 coup, it is possible to trace the Yeşilçam aesthetics and narrative patterns in the films of directors who were mostly trained during the Yeşilçam period. However, by the 1990s, the production, distribution and screening conditions of films had completely changed. With the division of large cinemas into small pocket theaters, the entry of global powers into the Turkish market and major American companies opening branches in Turkey with the Foreign Capital Law of 1989, domestic cinema entered a tough competition. During this period, American film companies closed their cinemas for the entire season with package programs, and domestic films could not find a place in the theaters. Distributors avoided taking risks by distributing domestic films. The crisis environment that commercial cinema entered in the 1990s necessitated the emergence of a generation of "producers-directors" who worked with low budgets and had the chance to shoot their own films as they wished. Instead of Yeşilçam's studio system and directors who shoot films for the audience, a generation of young and intellectual directors who convey their inner worlds and the social, political and economic climate of the country, using cinema as a means of expression, is emerging. The majority of the directors in this generation are university educated, have a profession outside the cinema sector, speak a foreign language, have contact with the outside world and have acquired a certain film culture thanks to the Istanbul Film Festival.
With a young generation of directors joining the sector, the practice of producing cinema also changes. With Turkey becoming a member of Eurimages (European Cinema Support Fund) in 1990, examples of art cinema, in addition to commercial cinema, also find an important source of finance. Eurimages provided support to Turkish cinema of 29 million 340 thousand French francs between 1997-2000.58 Although the number of film productions decreased significantly in the 1990s, Eurimages-supported co-production films found a chance to survive.
Naked (Ali Özgentürk, 1990), Blue Exile (Erden Kıral, 1991), Fanatik (Şerif Gören, 1993), Kuşatma Altında Aşk (Ersin Pertan, 1995), Ağır Roman (Mustafa Altıoklar, 1996), Akrebin Yolculukluğu (Ömer Kavur, 1996), Eşkıya (Yavuz Turgul, 1996), Güneşe Yolculuk (Yeşim Ustaoğlu, 1997), Sis ve Gece (Sinan Çetin, 1998) receive support from Eurimages. As can be seen in these examples, Eurimages is one of the important actors in the reconstruction process of Turkish cinema after Yeşilçam and provides significant support not only to examples of art cinema but also to popular box office films. In this way, the cinema sector in Turkey is also mobilized. Eurimages, which provides encouraging support for film production in festivals abroad and during economic crisis periods when it is difficult to make films, also plays an important role in increasing the visibility of Turkish cinema. In the early 1990s, the founding directors of the trend we call New Turkish Cinema today also begin to make their first films. Reha Erdem becomes the pioneer of the new era with his first medium-length work A Ay (1988), Zeki Demirkubuz with C-Blok (1993), Yeşim Ustaoğlu with İz (1994), Nuri Bilge Ceylan with his first short film Koza (1995) and Derviş Zaim with his film Tabutta Rövaşata (1996). These directors, due to the conditions, adopt the auteur director attitude and have a say in the entire production.
The films produced by these names receive support from Eurimages and various funds abroad and enter international circulation, thus gaining the chance to be shown all over the world. With globalization, directors, films and sector representatives from all over the world come together with festivals, competitions and special screenings. In a sense, the dream of a "global village" ceases to be a dream in the 2000s and becomes a reality itself. The expansion of the possibilities of digital cinema also brings with it the ability to easily overcome transportation, communication and physical boundaries.
In this period, Turkish cinema successfully evaluates globalization and new production, distribution and screening models and makes a breakthrough abroad.
Turkish films screened all over the world, especially in Cannes, Berlin and Venice, return with important awards from the places they are screened. The successes of the directors who started producing in the 1990s in festivals and their recognition in the field of cinema also affect the new generation. The most decisive elements in the cinema of the 2000s are to produce productions that will gain visibility abroad in terms of content, form and aesthetics and that will integrate with the European art cinema tradition. In a period when filmmaking is becoming global all over the world and standardization trends are also increasing, Turkish cinema will also enter into a new search in this sense." SOURCE
58 Çiçek Coşkun, “1990 Sonrası Türk Sineması”, https://www.sadibey.com/dosyalar/Gerekli_ Seyler/1990_Sonrasi_Turk_Sinemasi [Erişim Tarihi: 10.02.2014].
Türk Sineması’nın Tarihine Genel Bir Bakış | Barış SAYDAM
Since the 1990s, there has been a significant decrease in the number of domestic films released, dropping to 9-10 films. After 2002, there has been a significant increase in the number of domestic films. There has been a steady increase, reaching 70 in 2009. In 2004, Law No. 5224 on the “Evaluation, Classification and Support of Motion Pictures” was enacted. This enactment was a turning point for Turkish Cinema. With this law, the censorship period in the country was legally closed, and an international evaluation and classification system was introduced.
New Turkish Cinema | Films of 20th Century
1994
IZ | 1994 YEŞIM USTAOĞLU
Police Kemal, who is nearing retirement, faces a suicide
case. Was the incident a murder or a suicide?
BLOCK C | 1994 ZEKI DEMIRKUBUZ
Tulay, a restless woman whose marriage is slowly
disintegrating sets out to come to terms with various traumas while continually
being watched by Halit, a resident in her apartment complex.
AŞK ÖLÜMDEN SOĞUKTUR | 1994 CANAN GEREDE
BABAM ASKERDE | 1994 HANDAN İPEKÇI
BIR SONBAHAR HIKAYESI| 1994 YAVUZ ÖZKAN
BIR YANIMIZ BAHAR BAHÇE| 1994 BILGE OLGAÇ
BIZE NASIL KIYDINIZ | 1994 METIN ÇAMURCU
BULUŞMA | 1994 ARTUN YERES
ÇÖZÜLMELER | 1994 YUSUF KURÇENLI
GERILLA | 1994 OSMAN SINAV
MANISA TARZANI | 1994 ORHAN OĞUZ
SOĞUK GECELER (KALTE NÄCHTE) | 1994 KADIR SÖZEN
SON GÜN SON GECE| 1994 ORHAN ELMAS
TÜRK TUTKUSU (LA PASION TURCA) | 1994 VICENTE ARANDA
YOLCU | 1994 BAŞAR SABUNCU
YORGUN ÖLÜM| 1994 MESUT TANER
1995
AŞK ÜZERINE SÖYLENMEMIŞ HER ŞEY | ERDEN KIRAL, ÖMER KAVUR, İRFAN TÖZÜM, YUSUF KURÇENLI, ZEKI ÖKTEN
BAY E | SINAN ÇETIN
BIR KADININ ANATOMISI | YAVUZ ÖZKAN
BÖCEK| ÜMIT ELÇI
KOZA | NURI BILGE CEYLAN
SEN DE GITME| TUNÇ BAŞARAN
TEK AYAKLI KUŞLAR | YÜCEL UÇANOĞLU
YER ÇEKIMLI AŞKLAR | ORHAN OĞUZ, MEMDUH ÜN, BARIŞ PIRHASAN,
ATIF YILMAZ, ALI ÖZGENTÜRK
1996
SOMERSAULT IN A COFFIN | 1996 DERVIS ZAIM
Mahsun, thief with an unalterably bad reputation. There is almost no car he can't steal, no lock he can't open. He brings at dawn the cars that he has stolen them. He even washes them clean. However what he does can not be considered only as enjoying himself with a drive. Stealing cars is a way fro him to shelter from the cold winter. Because this thief neither has a place to stay nor a proper job. That's why his shortcut to get over with winter is to get in prison as soon as possible. But, as he is notorious with even robbing the prison he was serving time in, no judge wants to see his face and no prison accepts him. And one day, this starved and contemporary Charlot falls in love with a girl, a heroin addict. "Somersault In A Coffin" aims to underline the taut unity of possibilities and impossibilities about human beings. That's because mankind is endowed with the capacity of not only establishing the balance of life under the most suitable conditions, but also refusing any balance they have established and not to accept what is rational and suitable for themselves.
ESKIYA / THE BANDIT | 1996 YAVUZ TURGUL
The film, which is about a bandit who comes to Istanbul after serving a 35-year jail sentence, "blends fairy tale elements while carrying the notion of reality within a fictional story."
80. ADIM | 1996 TOMRIS GIRITLIOĞLU
BIR ERKEĞIN ANATOMISI | 1996 YAVUZ ÖZKAN
HOLLYWOOD KAÇAKLARI | 1996 MUAMMER ÖZER
HOŞÇAKAL İSTANBUL | 1996 SAMI GÜÇLÜ
IŞIKLAR SÖNMESIN | 1996 REIS ÇELIK
İSTANBUL KANATLARIMIN ALTINDA | 1996 MUSTAFA ALTIOKLAR
KÖPEKLER ADASI | 1996
HALIT REFIĞ
MUM KOKULU KADINLAR | 1996 İRFAN TÖZÜM
SON TÜRBEDAR | 1996 YÜCEL
ÇAKMAKLI
1997
AKREBIN YOLCULUĞU | 1997 ÖMER KAVUR
AVCI | 1997 ERDEN KIRAL
KARDEŞLER (GESCHWISTER) | 1997 THOMAS ARSLAN
KUŞATMA ALTINDA AŞK | 1997 ERSIN PERTAN
MEKTUP | 1997 ALI
ÖZGENTÜRK
NIHAVEND MUCIZE |
1997 ATIF YILMAZ
ÖLMEYE YATMAK | 1997 ESEN
IŞIK
Zeynep, a young Turkish immigrant tries to escape from her husband's brutality. This time she finds herself confronted by the Swiss immigration services, who threaten to deport her.
USTA BENI ÖLDÜRSENE | 1997 BARIŞ PIRHASAN
YANLIŞ SAKSININ ÇIÇEĞI | 1997 FIDE MOTAN
YURTDIŞI TURNESI | 1997 AYŞE POLAT
YÜREK YARASI | 1997 OĞUZ
GÖZEN
1998
HER ŞEY ÇOK GÜZEL OLACAK / EVERYTHING WILL BE BEAUTIFUL | 1998 ÖMER VARGI
GEMIDE / ON BOARD | 1998 SERDAR AKAR
Sailors want to remain in their small world, warm and cozy and full of lies, but they kidnap a prostitute from some pimps.It won awards at film festivals in Ankara and Antalya, including the Golden Orange for Second Best Film. It was shot concurrently with A Madonna in Laleli (Turkish: Laleli'de bir Azize), directed by Kudret Sabancı, and many of the main characters from the two films cross paths.
LALELI'DE BIR AZIZE | 1998
KUDRET SABANCI
Three friends who are running illegal businesses in the back streets of Istanbul and trying to market women, try to do business for their own interests without their bosses. While they are taking a Romanian prostitute to a "client" by introducing her as a virgin, they are robbed by four men they encounter. Both their money and the woman are gone. When they find the woman beaten later, they will try to take revenge on those who did this, but...
HOŞÇAKAL YARIN | 1998 REIS ÇELIK
KAÇ PARA KAÇ | 1998 REHA ERDEM
KAÇIKLIK DIPLOMASI | 1998 TUNÇ BAŞARAN
KARIŞIK PIZZA | 1998 UMUR TURAGAY
LEOPARIN KUYRUĞU | 1998 TURGUT YASALAR
NISAN ÇOCUKLARI / APRILKINDER | 1998 YÜKSEL YAVUZ
PARÇALANMA | 1998 CANAN GEREDE
YARA| 1998 YILMAZ ARSLAN
1999
ASANSÖR | 1999 MUSTAFA ALTIOKLAR
BEKLE BENI İSTANBUL | 1999 OĞUZ GÖZEN
EYLÜL FIRTINASI | 1999 ATIF YILMAZ
GÖLGELER SILINIRKEN | 1999 OĞUZ GÖZEN
GÜNEŞE YOLCULUK | 1999 YEŞIM USTAOĞLU
GÜVERCIN | 1999 NAZIF TUNÇ
HAREM SUARE | 1999 FERZAN ÖZPETEK
HUMMADRUZ | 1999 HASAN KARACADAĞ
KAC PARA KAC/ RUN MONEY RUN | 1999 REHA ERDEM
KAHPE BIZANS | 1999 GANI MÜJDE
KARA KENTIN ÇOCUKLARI | 1999 ORHAN OĞUZ
LOLA + BILIDIKID | 1999VKUTLUĞ ATAMAN
MAYIS SIKINTISI / CLOUDS OF MAY | 1999 NURI BILGE CEYLAN
PROPAGANDA | 1999 SINAN ÇETIN
RENKLI – TÜRKÇE | 1999 AHMET ÇADIRCI
SALKIM HANIMIN TANELERI | 1999 TOMRIS GIRITLIOĞLU
SEVGILIM İSTANBUL| 1999 SEÇKIN YAS
ÜÇÜNCÜ SAYFA / THIRD PAGE | 1999 ZEKI DEMIRKUBUZ
UCUNCU SAYFA / THIRD PAGE | 1999 ZEKI DEMIRKUBUZ
2000
ABUER KADAYIF | 2000
ADADA BIR SONBAHAR | 2000
AĞAÇLAR AYAKTA ÖLÜR | 2000
BALALAYKA | 2000 ALI ÖZGENTÜRK
ÇILEKLI PASTA | 2000
DANSÖZ | 2000
DAR ALANDA KISA PASLAŞMALAR / OFFSIDE | 2000 SERDAR AKAR
Thirty-something Suat still lives with his parents and works
at his father's store when not practicing as goalie for the local football
team, Esnaf Spor. The neighborhood's greatest wish is for Esnaf Spor to win the
amateur league championship.
FASULYE | 2000
FILLER VE ÇIMEN / ELEPHANTS AND GRASS | 2000 DERVIS ZAIM
Elephants and Grass is a 2001 Turkish drama film, written and
directed by Derviş Zaim, about six different stories that merge into a common
theme. The film, which went on nationwide general release across Turkey on
January 5, 2001, won awards at film festivals in Antalya and Istanbul,
including the Golden Orange Behlül Dal Jury Special Award.
GÜLE GÜLE | 2000 ZEKI ÖKTEN
HEMŞO | 2000
KAHPE BIZANS | 2000
KARA KENTIN ÇOCUKLARI | 2000
KOMSER ŞEKSPIR | 2000
OYUNBOZAN | 2000
ÖLÜM PEŞIMIZDE | 2000
ŞARKICI | 2000
YAZ AŞKIM | 2000
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