Turkish Cinema in the Atatürk Era:
The general state of Turkish cinema, which was developing in the first half of the twentieth century, during the Atatürk Era. Author: İsmet Arasan Published Date: April 12, 2021 The invention of cinema is dated to 1895. Cinema, one of the most dazzling products of the Industrial Revolution and considered the "seventh art," brought entirely new dimensions to human communication at the threshold of the 20th century. Initially perceived as the magic of moving images and interpreted primarily as a means of entertainment, cinema quickly revealed itself as a new language, a new source of art and power. Immediately after its birth, cinema began its journey, spreading to elite venues in Istanbul, then to coffeehouses, and finally to private movie theaters. Fuat Uzkınay's film "The Demolition of the Russian Monument at San Stefano" (November 14, 1914) is considered the beginning of Turkish cinema. However, it is established that Ottoman citizens initiated the first documentary filmmaking. The first film institution in the Ottoman Empire was the Central Army Cinema Department (MOSD). Its director was Sigmund Weinberg, with Cemil Filmer and Mahzar Yalaz as its vice presidents. Kenan Erginsoy, appointed president of the Cinema Branch of the National Defense Society, founded in 1913, began filming documentary films about social developments in the country in 1916. This process has direct connections to the Atatürk era. According to the Armistice of Mudros, signed on October 30, 1918, the equipment held by the MOSD and the National Defense Society was to be transferred to the enemy. A solution was found. The equipment held by these institutions was transferred to the Disabled Veterans Assistance Committee (Disabled Veterans Society, 1919). Film historians share a consensus when evaluating the history of Turkish cinema. Accordingly, the "First Filmmakers" period spans 1896-1914; the "Theatermakers" period spans 1914-1939. This approach contains certain truths, but remains incomplete. In the histories of cinema written to date, particularly during Atatürk's era, there is a significant gap in documentation and information regarding the process of cinema. This gap has only begun to emerge since the early 1980s. The Disabled Veterans Society first began filming a film titled "Mürebbiye" (The Governess) (1919). The film's director was Ahmet Fehim Efendi, and the cinematographer was Fuat Uzkınay. While filming was underway, Izmir was occupied. Consequently, filming was suspended, and the events, including rallies and demonstrations in Istanbul, were documented. The Grand National Assembly of Turkey (TBMM) was established on April 23, 1920. Unity, peace, and order were being shaken in the occupied homeland. During the most intense days of the war, the Army Film Acquisition Department (OFAD) was established within the Turkish Grand National Assembly (TBMM) armies. This department took on the task of filming the equipment and materials transferred to the Disabled Veterans Association. OFAD, which documented the atrocities committed by the occupying forces in retreating villages and towns, edited these films and produced the documentary "İstiklâl" (Izmir Victory) in 1922. Kemal Film, the first domestic film production house established that same year, produced 47 newsreels throughout the War of Independence. On October 22, 1922, Atatürk addressed teachers in Bursa: "A victory won with armies is only a way forward, a means alone. True victory lies in the success of teachers on the path to civilization, which they will be instrumental in creating. It is to unravel the secrets of truth, to uncover its laws, and to open the paths for humanity's creativity in science and art; it is not to conquer countries." It is necessary to emphasize the organization of an "Education Congress" and the opening of a "Museum of Anatolian Civilizations" by a nation at war (1921). The "Exemplary Place Project" (1922), presented to the Grand National Assembly of Turkey by the Commander of the Eastern Armies, which Atatürk deemed "appropriate" and submitted to the Assembly for discussion, was rejected by the authorities on the grounds of financial insufficiency. This project was a purely public education project and envisioned utilizing film-based education and training techniques. The Treaty of Lausanne (1923), signed after the expulsion of the occupying armies from the national borders drawn by the Grand National Assembly of Turkey in 1922, reaffirmed the existence of the newly established Republic of Turkey to the entire world (October 29, 1923). No leader in world political history has ever so concisely demonstrated cinema and its importance as Atatürk's aphorism. It is particularly significant that the source of this saying defines himself, above all, as a "head teacher": "Cinema is such a It is a discovery that will one day be seen to change the face of world civilization more than the discovery of gunpowder, electricity, and continents. Cinema will enable people living in the most remote corners of the world to love and know one another. Cinema will erase the differences of opinion and thought between people and will make the greatest contribution to the realization of the human ideal. We must give cinema the importance it deserves.
The early years of the Republic were the breakthrough years of the Turkish Revolution. Moreover, these years bore the burden of debts inherited from the Ottoman Empire. In 1929, the world came to the brink of economic depression. A period of national excitement began, in which new ideas and initiatives were generated, discussed, and implemented in every field, from agriculture and industry to education, science, and culture. Everyone was aware of the power of cinema in establishing a new society. In this area, unending research was initiated, particularly on the use of educational and instructional films in public education. In 1926, a decision was made to purchase some educational and instructional films produced by Soviet Union filmmakers. These films were presented to the country's audiences under the terms of the Agreement on the Exchange of Films Containing No Propaganda. In 1928, the new Turkish alphabet was adopted. Films written in Arabic script, other than Turkish, were now prohibited from being shown. Business operators declared that serving the "Alphabet Revolution" was an honorable task and participated in the literacy campaign. According to A. Süreyya İlmen's findings, the number of new letters in films reached over half a million in a very short time, while the number in Public Schools, schools, and village halls had already surpassed this figure. As an active member of the International Institute of Cinematography (Institut International du Cinematographe Educatif), established in 1930 under the League of Nations, Türkiye facilitated the exchange of educational, scientific, and instructional films through various means. However, these films were subject to inspection, and some were rejected for propaganda (1932). Turkey, one of 24 countries, signed the Institute's international agreement in 1938. In 1931, when the US applied for a film to promote Turkey, no film was available that accurately and aesthetically presented the country's advancements. According to statistics compiled by state authorities that same year, there were 144 cinemas in Turkey. Thirty-five of these were in Istanbul and 10 in Izmir. The remaining theaters were spread across 53 provinces and 23 districts, concentrated in the western regions of the country. However, this number of tax-paying cinemas was limited. However, coffeehouses, especially village chambers and community centers, also hosted a large crowd of traveling entertainers. On January 21, 1932, Atatürk visited the Opera Cinema in Istanbul. The British film "Çanakkale" was showing. The building had carpeted floors, and attendants in frock coats and white gloves served. Impressed by the atmosphere and the film, Atatürk inquired about the state of the cinema industry in Turkey from Mehmet Rauf Sirman, the owner of the Opera Cinema. The next day, the 33% cinema tax would be reduced to 10%. He also contributed to the opening of cinemas operated in major cities across the country with capital from İş Bankası. However, due to a lack of technical and adequate personnel, filmmakers from Soviet Russia were invited to film the celebrations of the Republic's 10th anniversary, and two films were produced. We also learn that a train departed from Ankara for Samsun on April 21, 1933: the "Mobile Education Train." This train, which traveled 1,002 km, displaying exhibitions, lectures, and films at various stations, is interesting in that it illustrates how the role of cinema in public education was intended to be perceived. Among those giving lectures on this train was the renowned educator İsmail Hakkı Tonguç. We can determine that in 1933, in Istanbul alone, 3 million people purchased tickets and went to the cinema in one year, and this number reached 10 million in 1938. Atatürk, who saw Uzkınay's film "Zafer Yollarda" (Paths of Victory) in 1934, was dissatisfied with the film and requested that the work continue. Upon learning that the film could not be completed due to the lack of moving images in the sections featuring him, Atatürk expressed his reaction as follows: “I am alive… Since I already have all my documents, my sword, and my boots from the War of Independence, did I not fulfill my duty and mission when you called me? If I were faced with such an offer, I would gladly accept it, take part in the film like an artist, and revive memories. This is a national duty. Because proving to Turkish youth how this struggle was won, leaving a memory, will only be possible through this film.”
We learn from reliable sources that in 1935, film conferences were given in both community centers and village halls in the Ankara-Bursa and Thrace regions; films on social, scientific, and health issues were shown, and that thousands of people watched and benefited from them. It is known that 100 of these films originated in the USA, while the others were acquired from Germany. Muhsin Ertuğrul, who primarily defined himself as a theater artist, should be described as the leading actor of cinema during Atatürk's era. In this period, when Cezmi Ar came to the fore in camera operations and Nazım Hikmet Ran was known for his screenwriting, the lack of trained human resources played a significant role in filmmakers' inability to produce sufficient films to meet the needs of the state and the public. On February 10, 1937, the Law on Educational and Technical Films was approved by the Turkish Grand National Assembly and entered into force. According to this law, all taxes and duties would not be levied on educational and technical films produced by government offices, individuals, or institutions; cinemas would be obligated to screen these films before feature films; If they did not comply with this law, they would be fined. However, both the operators and the producers claimed that educational films were specialist work and that experts could not be found. Consequently, due to the ascendance of commercial concerns, educational (educational) films, which allegedly did not exist, were not shown. For years, the most important events in the country's history, the most enthusiastic years and figures of the Turkish National Revolution, were insufficiently documented and remained in the lap of time. Unfortunately, this is a value that cannot be regained or replaced with anything of the same value. Yet, thanks to Atatürk's direct interest and personal support, Muslim Turkish women were the first to star in the films Ateşten Gömlek (1923) and Ankara Postası (1928), which depict the War of Independence. The film Bir Millet Uyanıyor (1932) is among the few works from the War of Independence. Women began watching films together for the first time with Atatürk's initiative. One day… The 1930s… Director Cezmi Ar is filming a film starring Mustafa Kemal. Cezmi Ar can't say to Mustafa Kemal, "Of course, stand like this, stand like that," but he shouts fiercely at the other actors. Atatürk says, "Come, Cezmi, come, you're the commander-in-chief here. I don't know this job. The important thing is that it turns out well. You will shout at me with the same intensity and rage." In the last days of his life, Cezmi Ar will say, "I've never worked with an actor like that again." Another day... In Ankara, in 1937, at the Çankaya Presidential Palace, Atatürk is discussing a film script with director Münir Hayri Egeli. Atatürk wrote the script and named it. The film will be called "I Am a Child of Revolution." Münir Hayri Egeli will direct the film, and Atatürk will star in it. But it's the final years of his life, and this plan will not be realized. Atatürk is a source of inspiration. He retains his place as the horizon and future consciousness of his country and humanity.
References
ABİSEL, Nilgün, Essays on Turkish Cinema, Phoenix Publications, 2005.
EVREN, Burçak, Turkish Cinema, Türsak-Antalya Culture and Arts Foundation Publications, 2007.
ÖZTÜRK, Serdar, Cinema, Spectatorship, and Politics in the Early Republican Period, Elips Publications, 2005.
SCOGNAMILLO, Giovanni, History of Turkish Cinema, Kabalcı Publications, 1998.
Kaynakça
ABİSEL, Nilgün, Türk Sineması Üzerine Yazılar, Phoenix Yayınları, 2005.
EVREN, Burçak, Türk Sineması, Türsak-Antalya Kültür ve Sanat Vakfı Yayınları, 2007.
ÖZTÜRK, Serdar, Erken Cumhuriyet Döneminde Sinema, Seyir, Siyaset, Elips Yayınları, 2005.
SCOGNAMILLO, Giovanni, Türk Sinema Tarihi, Kabalcı Yayınları, 1998.
More resources
Cem, Cemil Cahit. “The Atatürk Film Issue,” Milliyet. October 22, 1955.
Çalapala, Rakım. “The Shirt of Fire Must Be Re-Turned,” Yıldız. Volume 11, No. 129, June 15, 1944.
Dorsay, Atilla. Cinema and Our Age II. Istanbul: Hil Publishing House, 1984.
_______ The Years of Decline and Renaissance in Our Cinema. Istanbul: Remzi Bookstore, 2005.
Dorsay, Atilla. “The Atatürk Film is a General Success,” Cumhuriyet. May 27, 1983.
_______ “The Atatürk Film is a General Success,” Cumhuriyet. May 27, 1983.
Egeli, Münir Hayri. Unknown Memories of Atatürk. Istanbul: Yenilik Publishing House, 1954.
Ali Özuyar Interview
It is known that Gazi made references to cinema in some of his speeches. The most famous of these is the remark Gazi made to Münir Hayri Egeli during the script development of his film "I Am a Child of Revolution." As you know, Egeli met with Gazi numerous times to discuss the script of this film. During these meetings, the script was discussed, and Gazi made numerous remarks about the importance of the art of cinema and filmmakers. Egeli later summarized what he heard from Gazi as, "Cinema is such a discovery that one day it will be seen that it will change the face of world civilization more than the discovery of gunpowder, electricity, or continents..." Similarly, on May 18, 1931, after watching Charlie Chaplin's film "City Lights" at the Ankara Yeni Sineması, he said the following about filmmakers, in the presence of Chaplin: "These are the great men of the world. They are instrumental in the advancement of humanity."
[1] Atatürk and Cinema: Gazi's Cinema (Ali Özuyar)
Atatürk's interest in literature, and his ability to find
time to read books even during his busiest times, has been repeatedly mentioned
in numerous sources. The interest in cinema, a leader who prioritized the arts,
as he did during the War of Independence and even after the founding of the
Republic of Turkey, has been a subject rarely discussed. Ali Özuyar, a graduate
of the History Department of Ankara University's Faculty of Language, History,
and Geography, has published articles on cinema in magazines such as Antrakt,
Sinema, Pencere, Sosyal Tarih, Sinematürk, and Atlas Tarih. His book Gazi's
Cinema (2021), published by Yapı Kredi Publications, reveals Atatürk's
relationship with cinema from many perspectives. Özuyar, whose books "A
History of Turkish Cinema in the Silent Period" (2017) and "Cinema in
the Corridors of the Foreign Affairs: The Political Power of Cinema in the
Early Republican Period" (2019) were published by Yapı Kredi Publications,
describes the genesis of this book in his foreword:
During my work on "Cinema in the Corridors of the
Foreign Affairs" (2019), published by Yapı Kredi Publications, I contacted
the Presidential Archives of the Republic of Turkey. I requested documentation,
specifying my research topic and keywords, as required by procedure. Two or
three weeks later, my request was approved, and I was sent a CD containing
documents related to my research. Among these were a small number of documents
related to the cinema hall established at the Çankaya Presidential Palace, films
brought to the Presidential Palace from Istanbul and abroad, the purchased
sound cinema machine, and so on. These documents, which had never been
published or discussed in any scholarly work, provided brand new information
about Atatürk's perspective on cinema. I had previously written several
articles on this topic, but due to a lack of new information and documentation,
I had been unable to pursue the matter further. The limited number of documents
in the Presidential Archives provided the basis for this. I am confident that
many more documents on this subject will emerge in the coming years. (Özuyar,
2021, p. 11)
The documents Özuyar obtained during the preparation of his
second book initiated the source collection process for Gazi's Cinema. The
author has presented this six-chapter study, based on documents obtained from
the Republic, the Ottoman Empire, and the Turkish Revolution History Institute
at Ankara University, as well as information cited in the memoirs of Atatürk's
relatives. The book's six main chapters, following the foreword and
"Beginning," are titled "Presidency of the Republic Cinema,"
"Cinemas and Cities Where Gazi Watched Films," "Films Shot on
Gazi's Instructions," "Gazi in Front of the Camera," "Gazi
and the New Turkey through the Eyes of Foreign Filmmakers (1922-1938),"
and "Gazi's Last Journey on the Silver Screen." The epilogue,
"Ending," following these chapters, includes a 1948 article by Falih
Rıfkı Atay on the relationship between Atatürk, the Republic of Turkey, and
cinema. It then provides a chronology of the films Atatürk watched between 1923
and 1938.
The first section consists of four subheadings. In
"Cinema at the Çankaya Mansion," Özuyar explains that a room in the
vineyard house known as the Çankaya Mansion, where Atatürk first arrived in
Ankara with the Representative Committee on December 27, 1919, was converted
into a cinema in June 1921. Here, Atatürk watched numerous films brought from
Istanbul and abroad. Film screenings, which continued for approximately three
years, were interrupted in 1924 by a broken reel gear in the projection
machine, but the machine was repaired within a week, and screenings resumed.
Özuyar notes that, according to sources he accessed, Atatürk
did not limit this habit to a specific day or time, watching films at every
opportunity. He states that films for screenings at the Çankaya Mansion were
selected based either on Atatürk's favorite actors and film genres or on
suggestions from his private secretary and film companies. He points out that,
based on the films he watched, he enjoyed comedies, romantic comedies, and
musical dramas (Özuyar, 2021, p. 23). In discussing Atatürk's relationship with
cinema, the author evokes the films of the period, cinemas, and production
companies in his work. He notes that many of the films shown at the Çankaya
Mansion were brought from İpek Film. For example, in March 1938, İpek Film
obtained The Cocoanuts and Nazım Hikmet's Istanbul Symphony, requested by the
company. It is clear that several newly established film companies at the time
played a significant role not only in the cinema of the time but also in our
cinematic history. Furthermore, it is noteworthy that a film directed by Nazım
Hikmet was among the films Atatürk wanted to see. The fact that Atatürk, who
was aware of the dominant role of art in a modern society, followed with
interest the productions of writers and directors with very different views is
an indication of his subtlety in evaluating works of art.
After silent films screened at the Çankaya Mansion until
1929, Turkish audiences were introduced to sound films for the first time with
Henry King's She Goes to War (1929), released at the Opera Cinema on September
25th of that year. Thanks to a sound camera procured from RCA, a major
filmmaker at the time, sound films began to be shown at the mansion (Özuyar,
2021, p. 28). In later years, the film about Turkey from Julien Bryan's 1936
news series "March of Time," requested by the Ambassador to
Washington, was also screened at the mansion's cinema. Furthermore,
co-productions gradually began to materialize towards the second half of the
1930s. The Turkish-Soviet co-production "Türkiyenin Kalbi Ankara"
(Heart of Turkey, Ankara), released in March 1934, became a pioneer not only in
its nature as a co-production but also in its content, marking the beginning of
films being shot or developed in Turkey during that period. Özuyar recounts
these developments as follows:
While the Ministry of Education had abandoned the production
of "The Man Who Didn't Kill," they were determined to produce a joint
film with the Soviets. This time, the story would be based on the revolutions
rather than the War of Independence, depicting how the revolutions of the past
decade had taken Turkey and where they had taken it. This way, the footage shot
by the Soviet film crew during the tenth-anniversary celebrations would not be
wasted and would be used in the production of the new film. (2021, p. 34)
According to sources accessed by the author, who points out
that the documentary will center on Ankara and tell the story of Turkey's
modernization journey, the script, written by S. Yutkevich and Lev Arnshtam,
presents a six-part narrative of the past and present. Following the completion
of post-production after filming, the fifty-five-minute film premiered in
Moscow, and for screenings in Turkey, the film was delivered to the Ministry of
Education in March 1934. The special screenings attended by Atatürk took place
at the Çankaya Presidential Palace, with a meeting to which the film's
screenwriters were also invited. In the second chapter of the book, Ali Özuyar
examines the films Atatürk watched with his fellow citizens in Ankara,
Istanbul, and Izmir, as well as the cinemas where these screenings took place.
This second chapter, consisting of six subheadings, is devoted to the film
screenings Atatürk attended during his visit to Istanbul on November 17, 1930,
and to developments during this period. During his visit on January 12, 1932,
he was informed that Opera Film had screened a film called Çanakkale, which
Atatürk had requested to see due to its subject matter and the audience's
interest. Özuyar recounts the following anecdote about the resolution of a
problem faced by cinema operators on the day of the screening:
Gazi, having learned of the tax problem facing cinema
operators through the film "Çanakkale," instructed the Minister of
Economy, Ali Fuat (Ağralı), who was with him, to resolve the issue. After
returning to Ankara, he pursued the matter further. Following financial
studies, the 30% tax paid by cinema operators was reduced to 10%, and this
problem, which had been a burden to cinema operators for a long time, was
resolved through Gazi's intervention. (2021, p. 53)
Atatürk's second visit to the Elhamra Cinema, following the
Çanakkale film, was for the film "Congress is Entertaining."
Documents obtained by Özuyar indicate that, later in Istanbul, he watched the
film "Iron Door," along with Keriman Halis's World Beauty Queen
award, along with other citizens.
The fourth subheading of the section is devoted to the films
Atatürk watched in Ankara. The section, which includes comprehensive
information about the newly opening cinemas in the capital at the time,
highlights the efforts to transform Ulus into a center of cinema, just as it
was a center of life (Özuyar, 2021, p. 59). By the mid-1920s, Ankara had the
National Cinema and the Karacabey Hamamı Cinema. New theaters continued to open
from the latter half onward. Özuyar notes that the Yeni Sinema (New Cinema) was
Atatürk's most frequent cinema in Ankara during the first half of the 1930s,
emphasizing that this theater also screened domestic films, which were few in
number but attracted considerable audience interest. As is well known, the
early era of Turkish cinema was dominated by productions directed by
theatergoers. The 1931 film "Istanbul Sokaklarında," directed by
Muhsin Ertuğrul, a pioneer of Turkish theater, and featuring actors from the
City Theater, was one of the films that garnered significant audience interest.
Atatürk saw this film thanks to a recommendation from Cemal (Granda) Bey, who
worked at the Çankaya Presidential Palace. One evening, upon returning from a
screening, Atatürk encountered Cemal Bey and asked him how he liked the film.
Upon receiving a positive response, he immediately booked his place in the
cinema for the next screening that night (Özuyar, 2021, p. 75). Among the many
anecdotes shared in the book, this excerpt particularly resonated with me.
Atatürk's exchange of views on art with the people he interacted with in his
daily life, and his interest in a film suggested by them, further fueled my
admiration for Atatürk's intellectual side and interest in art. For a moment, I
imagined myself chatting with Atatürk about films at a meeting or after a film
screening. Then, I wondered which of the films screening today would have
impressed him and what his comments would be.
While Nightingale was the last film Atatürk saw at Yeni
Sinema, it is also stated that his last visit to this theater was for a concert
by Melek Tokgöz and his friends Selahattin Pınar, the tambour player, and Nobar
Tekyay, the violinist (Özuyar, 2021, p. 80). In the following subheading,
Özuyar discusses the films Atatürk watched in Izmir. As in previous chapters,
he provides information on how many times Atatürk visited the city, on what
dates, and in which districts he stayed. Undoubtedly, one of the most striking
locations in the Izmir section is the Uşakizade Mansion. Before discussing the
screenings held in the mansion's garden, Ali Özuyar touches upon the conditions
prevailing in Izmir for filmmakers at the time. Cemil (Filmer) Bey, one of
Turkey's first filmmakers who opened the summer Lale Cinema next to the Ankara
Cinema, met Atatürk during a visit to Izmir and spoke about his cinematic work
and the films he had shot at the front lines with Halide Edip Adıvar. At
Atatürk's request, these films were screened one evening in the garden of the
Uşakizade Mansion, with guests present (Özuyar, 2021, p. 83).
After the screening at the Uşakizade Mansion, Atatürk's
first film viewing in Izmir was at the Elhamra Cinema. He watched a documentary
about the nationwide tours following the founding of the Republic with fellow
citizens there. On his second visit to the Elhamra Cinema, he watched Victor
Kastro's documentary "Gazi Numune Çiftliği" (Gazi Numune Farm) and
the musical comedy "Aşk Resmigeçidi" (Love Official Passage).
"Aşk Resmigeçidi" (Love Official Passage) was the last film Atatürk
saw in Izmir. Ali Özuyar shares the following anecdote about the Gazi Numune
Çiftliği film: "On this farm, which bore his name, the Gazi had quickly
demonstrated 'what human determination and dedication can do in the most
unlikely places.' He wanted everyone, especially villagers and farmers, to see
this through a promotional film. He assigned Ferit İbrahim (Özgürar), someone
he knew and trusted, to this task" (2021, p. 94). The film, which Özgürar
began preparing in 1929, will depict how a land considered barren in Ankara was
transformed into productive land using modern agricultural tools and methods.
During the same period, in addition to films showcasing the rapid progress made
by the newly established Republic of Turkey, Atatürk's nationwide tours were
also recorded numerous times and combined with previous recordings to be shown
in theaters.
Özuyar also mentions a script written by Münir Hayri Egeli
at Atatürk's request. Atatürk and Egeli worked on the script, titled "I Am
a Child of Revolution," several times. When the script was completed and
filming began, Egeli went to Germany to study directing. Özuyar notes that
Egeli was the first student to travel abroad with government support for film
education. When Egeli returned home with a document stating that he was
"fit to direct," all preparations for filming were completed;
however, due to Atatürk's health, these shoots were never possible (Özuyar,
2021, p. 116). In the next chapter of the book, the author discusses Atatürk's
film work, which featured him in front of the camera. He participated in the
filming of Nizamettin Nazif's film "A Nation Awakens," which depicts
the War of Independence. Completed in the last quarter of 1932, the film was
released the same year. Footage of Atatürk appearing in front of the camera for
the first and last time for a film is featured in the film's final sequence
(2021, p. 125).
In the fifth chapter of the book, Ali Özuyar records the
film proposals and requests from foreign filmmakers about Atatürk, the founding
of the Republic of Turkey, and the subsequent revolutions. Among the proposals
received during this period, he describes the filming of the film Atatürk
accepted under the title "An American Filmmaker Who Admired the
Gazi." Julien Bryan, a reporter for the March of Time, visited Turkey in
September 1936 and captured footage of Atatürk on the beach leading to the
Deniz Köşkü (Marine Mansion), in the dining hall, and playing with his adopted
daughter Ülkü Adatepe on Florya Beach. With many more images, in Özuyar’s
words, “an extremely comprehensive film emerges that deals with Gazi and
modernizing Turkey” (2021, p. 134).
The sixth chapter, which addresses the recorded footage of
Atatürk's funeral, continues in the section titled "Finishing," which
serves as an epilogue. As I mentioned before, an article by Falih Rıfkı Atay is
included. During the founding of the Republic, newly developed technology
allowed the recording of certain images and sounds. Atay draws attention to
this fact, stating that the Atatürk Institute has a duty to find and preserve
footage of Atatürk and the founding of the Republic of Turkey, to copy and distribute
it to theaters across the country, and to share it with citizens. Following
this article, the reader is presented with a list of all the films Atatürk saw,
accessible through documentation, from the film "Charlotte d'Adha"
(Charlotte's Death Row), which he saw at the Ankara Cinema in Izmir in 1923, to
the last film he saw, "Istanbul Symphony" (Istanbul Symphony), at the
Çankaya Presidential Palace in March 1938. This book, meticulously prepared by
Ali Özuyar, appears to have the potential to pioneer future studies on Atatürk
and cinema. Baran Barış was born in Izmir. He completed his first undergraduate
degree in Turkish Language and Literature Teaching at Dokuz Eylül University in
2012 and his second in the Sociology Department at Anadolu University in 2016.
He began his master's degree in Turkish Language and Literature at Celal Bayar
University in 2013, graduating in 2016 with a thesis titled "A Feminist
Critical Approach to the Works of Ayla Kutlu." In 2014, he began his
second graduate degree in Women's Studies at Ege University, graduating in 2017
with a thesis titled "Exposing Patriarchy in the Works of Leylâ Erbil and
Pınar Kür: A Feminist Psychoanalytic Reading." He is currently pursuing
his doctoral studies. In 2022, she won first place in the 11th Film Criticism
and Film Analysis Competition organized by Sekans Cinema Culture Magazine with
her article titled "Psychoanalytic and Semiotic Analysis of Gökalp Gönen's
Film "Lâl." Her research interests include literature, cinema,
semiotics, language, and gender studies. Along with her academic work, her
writings on literature and cinema continue to be published in various journals
and websites, and her edited files continue to appear in literary magazines
such as Roman Kahramanları and Lacivert Öykü and Şiir Magazine.
Atatürk ve Sinema: GAZİ’NİN SİNEMASI (Ali Özuyar)
Atatürk’ün edebiyata olan ilgisi, en yoğun zamanlarında bile
kitap okumaya ayıracak zamanı mutlaka bulması pek çok kaynakta dile
getirilmiştir birçok kez. Milli Mücadele döneminde olduğu gibi Türkiye
Cumhuriyeti’ni kurduktan sonra da sanata önem veren bir liderin sinemaya
merakı, çok üzerinde durulmayan konulardandı. Ankara Üniversitesi, Dil ve Tarih
Coğrafya Fakültesi’nin Tarih bölümünden mezun olan, Antrakt, Sinema,
Pencere, Toplumsal Tarih, Sinematürk, Atlas Tarih gibi dergilerde
sinema üzerine yazıları okurla buluşan Ali Özuyar’ın Yapı Kredi
Yayınları’ndan yayımlanan kitabı Gazi’nin Sineması (2021),
Atatürk’ün sinemayla ilişkisini birçok yönüyle ortaya koyuyor. 2017’de Sessiz
Dönem Türk Sinema Tarihi ve 2019’da Hariciye Koridorlarında
Sinema: Erken Cumhuriyet Dönemi’nde Sinemanın Politik Gücü adlı
kitapları yayımlanan Özuyar, önsözünde bu kitabın ortaya çıkış aşamasını
şöyle anlatıyor:
Yapı Kredi Yayınları’ndan çıkan Hariciye Koridorlarında
Sinema (2019) adlı çalışmam sırasında Türkiye Cumhuriyeti Cumhurbaşkanlığı
Arşivi’yle iletişime geçmiş; prosedür doğrultusunda çalışma konumu ve anahtar
kelimeleri yazarak belge talebinde bulunmuştum. İki üç hafta sonra talebime
olumlu yanıt verildi ve çalışma konumla ilgili bazı belgeler bir CD’ye kayıtlı
olarak tarafıma gönderildi. Bunların arasında Çankaya Köşkü’nde kurulan sinema
salonu, Köşk’e İstanbul’dan ve yurtdışından getirilen filmler, satın alınan
sesli sinema makinesi vb. gibi konularda az sayıda belge de bulunuyordu. Hiçbir
yerde yayımlanmamış ya da bilimsel bir çalışmada konu edilmemiş olan bu
belgeler, Atatürk’ün sinemaya bakışı hakkında yepyeni bilgiler veriyordu. Daha
önceleri bu konuyla ilgili birkaç makale yazmış ancak yeni bilgi ve belgeler olmadığı
için konuyu bir adım öteye götürememiştim. Cumhurbaşkanlığı Arşivi’ndeki az
sayıdaki belge buna vesile oldu. Eminim ilerleyen yıllarda bu konuyla ilgili
daha birçok belge ortaya çıkacaktır. (Özuyar, 2021, s. 11)
Özuyar’ın ikinci kitabının hazırlık sürecinde ulaştığı
belgeler, Gazi’nin Sineması kitabının kaynak toplama
çalışmalarını başlatmış ve yazar, hem Cumhuriyet, Osmanlı ve Ankara
Üniversitesi Türk İnkılâp Tarihi Enstitüsü’nden elde ettiği belgeler hem
de Atatürk’ün yakınlarının yazdıkları hatıratlarda kaynak belirtilerek yer
verilen bilgilere dayanarak yazdığı, altı bölümden oluşan bu çalışmasını okurun
ilgisine sunmuştur. Kitapta önsöz ve “Başlarken” başlıklı metinleri izleyen
altı temel bölüm, “Riyaset-i Cumhur Sineması”, “Gazi’nin Film Seyrettiği Sinema
ve Şehirler’”, “Gazi’nin Talimatıyla Çekilen Filmler”, “Gazi Kamera
Karşısında”, “Yabancı Sinemacıların Gözünden Gazi ve Yeni Türkiye (1922-1938)”,
ve “Beyaz Perdede Gazi’nin Son Yolculuğu” başlıklarını taşımaktadır. Bu
bölümlerin ardından gelen “Bitirirken” adlı sonsöz bölümünde ise Falih
Rıfkı Atay’ın Atatürk, Türkiye Cumhuriyeti ve sinema ilişkisini konu edindiği,
1948 yılına ait bir yazıya, sonrasında ise Atatürk’ün 1923 ile 1938
yılları arasında izlediği filmlerin kronolojisine yer vermektedir.
Birinci bölüm, dört alt başlıktan oluşur. “Çankaya Köşkü’nde
Sinema”da Özuyar, Atatürk’ün Temsil Heyeti’yle birlikte ilk kez 27 Aralık
1919’da geldiği Ankara’da 1921 yılının Haziran ayında taşındığı, Çankaya
Köşkü adıyla bilinen bağ evindeki bir odanın sinema salonuna
dönüştürüldüğünü ve Atatürk’ün bu salonda İstanbul ya da yurtdışından getirilen
pek çok filmi izlediğini ifade eder. Yaklaşık üç yıl süren film gösterimleri,
1924 yılında projeksiyon makinesinin makara dişlisinin kırılması nedeniyle
sekteye uğrasa da bir hafta içinde makine tamir edilir ve gösterimler kaldığı
yerden devam eder.
Özuyar, ulaştığı kaynaklara göre Atatürk’ün her
fırsatta film izleyerek bu alışkanlığını belirli bir gün ve saatle
sınırlandırmadığına değiniyor. Çankaya Köşkü’ndeki gösterimler için ya Atatürk’ün
sevdiği oyuncular ve film türlerine ya da özel kalemiyle film şirketlerinin
önerilerine bağlı olarak filmlerin seçildiğini belirtiyor ve izlediği
filmlerden hareketle komedi, romantik komedinin yanı sıra müzikal dramlardan
keyif aldığına dikkat çekiyor (Özuyar, 2021, s. 23). Atatürk’ün sinemayla
ilişkisini ele alırken dönemin filmleri, sinema salonlarıyla birlikte yapım
şirketlerini de çalışmasında anımsatan yazar, Çankaya Köşkü’ndeki sinema
salonunda gösterilen filmlerin birçoğunun İpek Film’den getirtildiğini
belirtir. Sözgelimi, 1938’in Mart ayında istenen Üç Ahbap Çavuşlar (The
Cocoanuts) ve Nâzım Hikmet’in İstanbul Senfonisi filmleri
İpek Film’den temin edilmiştir. O dönemde yeni yeni kurulan birkaç film
şirketinin dönemin sinemasıyla birlikte sinema tarihimiz için de önemli bir
görev üstlendiği görülmektedir. Öte yandan Atatürk’ün izlemek istediği
filmlerin arasında Nâzım Hikmet’in yönettiği bir filmin olması da
dikkate değerdir. Çağdaş bir toplum için sanatın başat rolünün farkında olan
Atatürk’ün çok farklı görüşlerdeki yazarların, yönetmenlerin üretimlerini
ilgiyle takip etmesi, sanat yapıtlarını değerlendirmedeki inceliğin bir
göstergesidir.
1929 yılına kadar Çankaya Köşkü’nde gösterilen sessiz
filmlerden sonra ilk kez o yılın 25 Eylül’ünde Opera Sineması’nda gösterime
giren, Henry King imzalı She Goes to War (1929) adlı filmle
birlikte Türk izleyicisi de sesli filmlerle tanışmış, dönemin önemli
şirketlerinden RCA’dan temin edilen sesli sinema makinesi sayesinde köşkte de
sesli filmler izlenmeye başlamıştır (Özuyar, 2021, s. 28). İlerleyen yıllarda
Washington Büyükelçisi’nden istenen, Julien Bryan’ın 1936 tarihli haber
serisi March of Time’ın Türkiye’yi anlatan bölümü de köşkün
sinemasında izlenen filmler arasındadır. Bunun dışında 1930’ların ikinci
yarısına doğru ortak yapımlar da yavaş yavaş gerçekleşmeye başlarken 1934
yılının Mart ayında gösterilen, Türk-Sovyet ortak yapımı Türkiye’nin
Kalbi Ankara filmi, yalnız bir ortak yapım olmasıyla değil, içeriğiyle
de Türkiye’de o yıllarda çekimleri yapılan ya da projelendirilen filmlerin
öncüsü olmuştur adeta. Özuyar, bu gelişmeleri şu sözlerle aktarıyor:
Maarif Vekâleti, Öldürmeyen Adam filminin yapımından
vazgeçmişse de Sovyetler ile ortak bir filmin yapılmasında kararlıydı. Bu sefer
hikâye İstiklal Harbi’nden çok inkılaplar üzerine kurulacak ve on yılda yapılan
inkılapların Türkiye’yi nereden alıp nereye getirdiği anlatılacaktı. Bu sayede
Sovyet film ekibinin onuncu yıl kutlamalarında yapmış olduğu çekimler de boşa
gitmemiş ve yeni filmin yapımında kullanılmış olacaktı. (2021, s. 34)
Belgeselde Ankara’nın merkeze alınarak Türkiye’deki
modernleşme yolculuğunun anlatılacağına işaret eden yazarın ulaştığı kaynaklara
göre filmin senaryosu S. Yutkevich ile Lev Arnshtam imzalarını
taşırken geçmiş ve bugün, altı bölümlük bir anlatıyla sunulmaktadır. Çekimlerin
ardından post prodüksiyonunun da tamamlanmasıyla oluşan elli beş dakikalık
filmin ilk gösterimi Moskova’da yapılmış, Türkiye’deki gösterimler için
ise film, 1934 yılının Mart ayında Maarif Vekâleti’ne teslim
edilmiştir. Atatürk’ün katıldığı özel gösterimler, Çankaya Köşkü’nde
filmin senaristlerinin de davet edildiği bir toplantıyla
gerçekleştirilmiştir. Ali Özuyar, kitabın ikinci bölümde Ankara, İstanbul
ve İzmir olmak üzere Atatürk’ün yurttaşlarla beraber izlediği filmleri ve bu
gösterimlerin yapıldığı sinema salonlarını ele alır. Altı alt başlıktan oluşan
bu ikinci bölüm, Atatürk’ün 17 Kasım 1930 tarihinde yaptığı İstanbul ziyareti
esnasında katıldığı film gösterimlerine ve bu dönemdeki gelişmelere
ayrılmıştır. 12 Ocak 1932 tarihindeki ziyaretinde ise konusu ve izleyicilerin
ilgisi nedeniyle Atatürk’ün izlemek istediği, Opera Film’in İngiltere’den
getirttiği Çanakkale adlı filmin gösteriminde bulunduğu
bilgisi yer almıştır. Özuyar, bu filmin gösteriminin yapıldığı gün, sinema
işletmecilerinin bir sorunun çözümüne ilişkin şu anekdotu aktarır:
Çanakkale filmi vesilesiyle sinema işletmecilerinin
vergi sorunundan haberdar olan Gazi, bu sorunu çözmesi için yanında bulunan
İktisat Vekili Ali Fuat (Ağralı) Bey’e talimat verdi. Ankara’ya döndükten sonra
da bu işin üzerine gitti. Yapılan mali çalışmaların ardından sinemacıların
ödediği % 30 oranındaki vergi miktarı % 10’a düşürüldü ve sinema
işletmecilerinin uzun zamandır belini bükmekte olan bu sorun Gazi’nin
müdahalesiyle çözülmüş oldu. (2021, s. 53)
Atatürk’ün Çanakkale filminden sonra Elhamra
Sineması’na ikinci gelişi, Kongre Eğleniyor filmi nedeniyle
olur. İlerleyen tarihlerde ise İstanbul’da yurttaşlarla birlikte Keriman
Halis’in Dünya Güzellik Kraliçesi seçildiği filmle birlikte Demir Kapı adlı
filmi izlediği bilgisi, Özuyar’ın ulaştığı belgeler arasında yer
almaktadır.
Bölümün dördüncü alt başlığı, Atatürk’ün Ankara’da
izlediği filmlere ayrılmıştır. O tarihlerde başkentte yeni yeni açılmakta olan
sinema salonlarına dair kapsamlı bilgilerin yer aldığı başlıkta Ulus’un yaşam
merkezi olduğu gibi sinemanın da merkezi haline getirilmesi için çalışıldığına
dikkat çekilmiştir (Özuyar, 2021, s. 59). 1920’lerin ortalarında Ankara’da
Milli Sinema ve Karacabey Hamamı Sineması bulunmaktadır. İkinci yarıdan
itibaren ise yeni salonlar açılmaya devam etmiştir. 1930’ların ilk yarısında
Atatürk’ün Ankara’da en çok gittiği sinema salonun Yeni Sinema olduğunu
belirten Özuyar, bu salonun o dönemde az sayıda ama izleyicinin yoğun
ilgisine mazhar olan yerli filmleri de gösterdiğinin altını çizer. Bilindiği
gibi, sinemamızın ilk döneminde tiyatrocular tarafından yönetilen yapımlar
çoğunluktadır. Türk tiyatrosunun öncülerinden Muhsin Ertuğrul’un yönettiği
ve Şehir Tiyatrosu’ndan oyuncuların kadrosunda yer aldığı, 1931 yapımı İstanbul
Sokaklarında, izleyicinin büyük ilgisiyle karşılaşan filmlerin başında
gelmektedir. Atatürk ise bu filmi, Çankaya Köşkü’nde çalışan Cemal
(Granda) Bey’in önerisi sayesinde izlemiştir. Bir akşam film gösteriminden
dönen Cemal Bey ile karşılaşan Atatürk, filmi nasıl bulduğunu sorar ve
aldığı olumlu yanıt üzerine hemen o gece sonraki seans için sinemadaki yerini
alır (Özuyar, 2021, s. 75). Kitapta aktarılan pek çok anekdot arasında epey
etkilendiğim ve hoşuma giden alıntı bu oldu. Atatürk’ün günlük yaşamında bir
arada bulunduğu insanlarla sanat üzerine görüş alışverişi yapması, onların
önerisiyle bir filmi merak etmesi, Atatürk’ün entelektüel yönüne, sanata
olan ilgisine duyduğum hayranlığın artmasını sağladı. Bir toplantıda ya da film
gösterimi sonrasında Atatürk’le filmler üzerine sohbet ettiğimi düşündüm bir
an. Sonra da mesela bugün gösterimde olan filmleri izlese hangilerinden
etkileneceğini, ne yorumlar yapacağını merak ettim.
Gece Bülbülü, Atatürk’ün Yeni Sinema’da izlediği son
film olurken bu salona son kez Melek Tokgöz ve arkadaşları
tamburi Selahattin Pınar’la kemani Nobar Tekyay’ın konseri için
geldiği bilgisi yer almaktadır (Özuyar, 2021, s. 80). Bunu izleyen alt başlıkta
Atatürk’ün İzmir’de izlediği filmleri ele alan Özuyar, önceki bölümlerde
olduğu gibi Atatürk’ün kente daha önce kaç kez, hangi tarihlerde geldiği
ve hangi ilçelerde kaldığına dair bilgileri okuyucunun dikkatine sunar. İzmir bölümünde
kuşkusuz en dikkat çeken mekânlardan biri, Uşakizade Köşkü’dür. Köşkün
bahçesinde yapılan gösterimlerden bahsetmeden önce Ali Özuyar, İzmir’de o
dönemdeki sinemacıların koşullarına değinir. Türkiye’nin ilk sinemacılarından
biri olan ve Ankara Sineması’nın yanında yazlık Lale Sineması’nı açan Cemil
(Filmer) Bey, bir İzmir ziyareti sırasında Atatürk’le tanışır ve sinema
çalışmalarından, elinde Halide Edip Adıvar’la cephede çekilmiş filmler
olduğundan bahseder. Bu filmler, Atatürk’ün isteğiyle, Uşakizade Köşkü’nün
bahçesinde konukların da bulunduğu bir akşam gösterilir (Özuyar, 2021, s. 83).
Atatürk’ün Uşakizade Köşkü’ndeki gösterimden sonra İzmir’de
film izlediği ilk salon, Elhamra Sineması’ndadır. Cumhuriyet’in
kuruluşundan sonra yapılan yurt gezilerinin yer aldığı bir belgeseli bu
sinemada yurttaşlarla birlikte izler. İkinci kez Elhamra Sineması’na geldiğinde
ise Victor Kastro’nun Gazi Numune Çiftliği belgeselini
ve Aşk Resmigeçidi adlı müzikal komediyi izler. Aşk
Resmigeçidi, Atatürk’ün İzmir’de izlediği son film olur. Ali Özuyar, Gazi
Numune Çiftliği filmine ilişkin de şu anekdotu paylaşır: “Gazi, kendi
sanını taşıyan bu çiftlikte ‘en olmayacak sanılan yerlerde insan azim ve
himmetinin neler yapacağını’ kısa sürede göstermişti. Bunu çekilecek bir
tanıtım filmiyle herkesin özellikle de köylünün ve çiftçinin görmesini
istiyordu. Bu konuda yakından tanıdığı ve güvendiği bir isim olan Ferit İbrahim
(Özgürar) Bey’i görevlendirdi” (2021, s. 94). Özgürar’ın 1929 yılında
hazırlıklarına başladığı filmde Ankara’da verimsiz olarak görülen bir arazinin
modern tarım araçları ve yöntemlerle nasıl verimli hale getirildiği
anlatılacaktır. Aynı dönemde yeni kurulan Türkiye Cumhuriyeti’nin kısa zamanda
kat ettiği yolların halka gösterildiği filmlerin yanı sıra Atatürk’ün
yaptığı yurt gezileri de pek çok kez kaydedilmiş ve önceki kayıtlarla
birleştirilerek salonlarda gösterilmiştir.
Özuyar, Atatürk’ün isteğiyle Münir Hayri Egeli’nin
yazdığı bir senaryodan da söz eder. Ben Bir İnkılap Çocuğuyum başlıklı
metin üzerinde Atatürk ve Egeli birçok kez çalışırlar. Senaryo
tamamlanıp çekim aşamasına gelindiğinde ise Egeli yönetmenlik eğitimi
alması için Almanya’ya gider. Özuyar, Egeli’nin sinema eğitimi için
yurtdışına devlet desteğiyle giden ilk öğrenci olduğunu kaydeder. Egeli,
“rejisörlük edebilir” yazılı bir belgeyle yurda döndüğünde çekimler için bütün
hazırlıklar tamamlanır; ancak Atatürk’ün sağlık durumu nedeniyle bu
çekimlerin yapılmasına hiçbir zaman olanak bulunamaz (Özuyar, 2021, s. 116).
Bununla birlikte kitabın sonraki bölümünde yazar, Atatürk’ün kamera karşısına
geçtiği film çalışmalarından bahseder. Nizamettin Nazif’in Kurtuluş
Savaşı’nı anlatan Bir Millet Uyanıyor adlı filmin
çekimlerine katılır. 1932’nin son çeyreğinde tamamlanan film, aynı yıl
izleyicilerle buluşur. Atatürk’ün ilk ve son kez kamera karşısına bir film için
geçtiği görüntüler, filmin son sekansında yer alır (2021, s. 125).
Kitabın beşinci bölümünde Ali Özuyar, yabancı
sinemacıların Atatürk ve Türkiye Cumhuriyeti’nin kuruluşu, hemen
akabinde yapılan devrimlerle ilgili film teklif ve taleplerini kaydeder. Bu
dönemde gelen teklifler arasından Atatürk’ün kabul ettiği filmin çekimlerini
“Gazi’ye Hayran Amerikalı Bir Sinemacı” başlığında anlatır. March of
Time’ın muhabiri Julien Bryan, 1936 yılının Eylül ayında Türkiye’ye
gelir ve Atatürk’ün Deniz Köşkü’ne giden kumsaldaki, yemek salonundaki ve
Florya plajında manevi kızlarından Ülkü Adatepe’yle oynarken görüntülerini
çeker. Daha birçok görüntüyle birlikte, Özuyar’ın ifadesiyle, “Gazi’yi ve
modernleşen Türkiye’yi konu edinen son derece kapsamlı bir film ortaya çık[ar]”
(2021, s. 134).
Atatürk’ün cenaze töreninin kaydedildiği görüntülere
değinilen altıncı bölümün devamında gelen ve sonsöz niteliğinde olan
“Bitirirken” başlıklı bölümde daha önce de belirttiğim gibi Falih Rıfkı
Atay’a ait bir yazıya yer verilir. Cumhuriyet’in kurulduğu dönemde yeni yeni
gelişen teknoloji, bazı görüntü ve seslerin kaydedilmesine olanak
vermektedir. Atay, bu gerçeğe dikkat çekerek Atatürk Enstitüsü’ne bir
görev düştüğünü, Atatürk’e ve Türkiye Cumhuriyeti’nin kuruluş dönemine ait
görüntülerin bulunarak saklanması, kopyalanarak ülke genelindeki salonlara
dağıtımlarının yapılıp yurttaşlarla paylaşılması gerektiğini ifade eder. Bu
yazının sonrasında ise Atatürk’ün 1923 yılında İzmir’deki Ankara Sineması’nda
izlediği Şarlo İdam Mahkumu adlı filmden 1938 yılının Mart
ayında Çankaya Köşkü’nde izlediği son film olan İstanbul Senfonisi’ne
kadar izlediği, belgelerde ulaşılabilen bütün filmlerin listesi okurla
paylaşılır. Ali Özuyar’ın büyük bir özenle hazırladığı bu kitabın Atatürk
ve sinema üzerine yapılacak ilerleyen yıllardaki çalışmalara öncülük edecek
içerikte olduğu görülmektedir.
İzmir’de doğdu. 2012’de Dokuz Eylül Üniversitesi, Türk Dili
ve Edebiyatı Öğretmenliğinde birinci lisansını, 2016’da Anadolu Üniversitesi,
Sosyoloji Bölümünde ikinci lisansını tamamladı. 2013’te Celal Bayar
Üniversitesi, Türk Dili ve Edebiyatı Anabilim Dalında başladığı yüksek lisans
programından Ayla Kutlu’nun Eserlerine Feminist Eleştirel Bir Yaklaşım başlıklı
teziyle 2016’da mezun oldu. 2014’te Ege Üniversitesi, Kadın Çalışmaları
Anabilim Dalında ikinci yüksek lisans eğitimine başladı ve Leylâ Erbil ve Pınar
Kür’ün Eserlerinde Ataerkinin İfşası: Feminist Psikanalitik Bir Okuma başlıklı
yüksek lisans teziyle 2017’de mezun oldu. Doktora eğitimine devam etmektedir.
2022’de Sekans Sinema Kültürü Dergisi’nin düzenlediği 11. Film Eleştirisi ve
Film Çözümlemesi Yarışmasında “Gökalp Gönen’in Lâl Filminin Psikanalitik ve
Göstergebilimsel Çözümlemesi” başlıklı makalesiyle birinci oldu. Edebiyat,
sinema, göstergebilim, dil ve toplumsal cinsiyet çalışmaları, araştırmacının
çalışma alanları arasındadır. Araştırmacının akademik çalışmalarıyla beraber
edebiyat ve sinema üzerine yazıları çeşitli dergi ve internet sitelerinde
yayımlanmaya, editörlüğünü üstlendiği dosyalar, Roman Kahramanları ve Lacivert
Öykü ve Şiir Dergisi gibi edebiyat dergilerinde yer almaya devam etmektedir.
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M for Movie - Atatürk ve Sinema: GAZİ’NİN SİNEMASI (Ali Özuyar)
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