Sunday, December 01, 2024

Nesime hanım and her son Naki Turan Tekinsav (1927-1995)


Mr. Naki  Turan Tekinsav says the following in Gösteri Magazine:

 "We collect books and materials mostly about the artistic side of our cinema. My specialty is that I collect magazines, pictures, brochures that everyone has thrown away, discarded, uncollected and most of them closed down, old books that are very hard to find, that is, mostly materials related to the parts that do not interest anyone. No one else has this much material except me. But my biggest enemies are people who buy material about me just for the sake of it, even though they do not understand it or have no interest in it. Unfortunately, there are also such perverted people."


"Onun kitaplarına hala sahaflarda rastlıyorum. Tüm kitaplarının kapak içlerinde, onun yaşamı boyunca düşleyip de hiç bir zaman sahip olmadığı tek bir şey yazıyordu: Naki Turan Tekinsav Kitaplığı..."

"I still come across his books in second-hand bookstores. On the inside covers of all his books, there was written the one thing he had dreamed of throughout his life but never had: Naki Turan Tekinsav Library..." Burçak Evren

Mavi Boncuk |

I knew Naki by when he lived in Kadikoy. He was in his 40s. His collection was more orderly during those years. He showed his signed artist photos stored in suitcases. 

I had by then a lot of books and yet no where near his addiction level. I was truly jelaous. However my unbridled youth made me ask him. 

- Naki Bey what happens to all this when you die. 

He later complained about this to Sami Sekeroglu the founder of  DGSA Turkish Film Archive and it was an ongoing joke about me.  I am sorry I said that then knowing about the sad end of his passion collection. A lesson learned.

E. Akman


Naki Turan Tekinsav

Naki Turan Tekinsav was born in Jan 1st, 1927 in Istanbul, Turkey. He was a major collector on cinema materials and sometimes an actor. He died December 24, 1995 


Maki Turan Tekinsav Filmography 

Actor · 8 credits
1995 Everything Unsaid About Love · as Cast 
1993 The Shadow Play · as Customer In The Pavilion 
1990 The Unforgettable Director of Love Movies · as Cast 
1990 Abdullah from Minye · as Cast 
1989 Arabesque · as Old Man 
1987 Uzayli Zekiye (TV Series) · as Cast 
1987 Billionaire · as Tayyar Amca 
1984 Atla Gel Saban · as kokan adam

Note:He also collected books on Istanbul (E  Akman)



Naki Bey's mother is from Istanbul. This woman lost her mother when she was very young and moved to Denizli, where she worked as a village teacher. Naki Bey's father is a vagabond with a strong artistic side. He sings, plays traditional games and is also a teacher. One day, he goes to the village where his mother works as a teacher. They get married there. The year is 1927, Naki Bey is not yet aware that he is Naki Bey, he has just opened his eyes to the world, when his father leaves his mother and him. His mother never marries again. This is where the life of mother and son begins. They first move to Kayseri, then to Ankara. Naki is a passion for his mother, and she dedicates her life to him. The woman, who considers motherhood an extraordinary duty, accompanies Naki even in the army, and rents a house across from the barracks where she leaves her son.


Naki Bey entered the Faculty of Language, History and Geography, where he studied philosophy and literature but dropped out, and turned to librarianship courses because they interested him. In addition, his second passion was cinema. This continued until he moved to Istanbul in 1954. He was a regular at the dark movie theaters of Kayseri and Ankara. He would often go to the cinema and watch 3-4 movies a day. “Those were the days… The cinema was dark. I had a pen and paper in my hand. The actors, the person who shot the film, how many meters the film was, what the subject was… I would write all of these down, scribble and scribble… And then I would copy and paste them at home.” His real interest in cinema dates back to the 1960s. He would constantly go on and off sets and meet the directors and actors of the period. He bought an 8 mm camera from İzzet Günay. “I would constantly go to the sets with this camera. There was an assistant on one of the sets, a slightly cocky guy. When I would come to the sets, he would say, ‘You can’t shoot.’ I would say, ‘You can’t interfere, I’ll shoot.’ And I would shoot… Shooting time, rehearsal time, rest time… I would always shoot. In fact, when they wanted to show sections from Türkan’s old films during the TRT period, they called me. Again, I had shot the baby version of Hülya Koçyiğit’s daughter Gülşah, which even her mother didn’t have.’ Collecting things, saving, hiding things… All these are the factors that put Naki Bey’s life on an irreversible path. They are the factors that not only drew his life but also transformed it into a basic drive that gave direction. His favorites were cinema books and magazines regardless of the period… Then newspaper clippings, books about Istanbul, theater, art history, and also Atatürk books in the last period of his life… And “artist pictures…” And with their signed versions…

He writes letters constantly to Marilyn Monroe, Marlon Brando, Natalie Wood, Brigitte Bardot, Frank Sinatra… Most of the letters he writes do not come back empty-handed. Some even write letters. As a result, he manages to collect 1500 “artist” pictures. Once, David Jansenn, who played Dr. Kimble in the TV series “The Fugitive” of the period, came to Istanbul. When Naki Bey learned that this actor, who had previously sent him a photo and a letter, had come to Istanbul, he grabbed the letter and the photo and rushed to Dr. Kimble. In the 1960s, Naki Turan Tekinsav began to be talked about a lot. Another turning point in his life was when he participated in a quiz show hosted by Orhan Boran on the radio and became the first person to answer all eleven questions about cinema. He was awarded and sent to England for a week. When asked what he saw in England on his return, he said he didn’t see any place, I watched movies from 9 in the morning to 12 at night. He didn’t let go of first place for weeks, and won an award worth around 20 thousand liras at the time. Many people including Atilla Dorsay interviewed him about this. In an interview with Ses Magazine, he actually says that he has a very weak memory. He gave the phone number he was asked by looking in his phone book. Then, he answered questions about old movies by listing all the names from the leading roles to the most insignificant roles. “When you are very curious about a subject, your memory exceeds its own power. Moreover, I write down every single movie I see, their actors and directors down to the smallest detail. I memorize them while writing. There were times when I watched 250 movies in a year. If I had always lived in Istanbul until today, I could have seen many more movies. I spent tens of thousands of liras to watch movies and bring signed photos of the artists. They congratulate me because I won money in the competition. However, what is important is not money, but knowledge. "My knowledge of cinema brought in money for the first time."

 

In the meantime, his books and magazines that did not fit in the house, as well as the money he earned from quiz shows, began to attract attention. Newspapers and magazines were insufficient sources of information and photographs about films. The only address they could turn to was live archives like Naki Turan and Agah Özgüç. Naki Turan became the chief staff of the 7 Gün on TV magazine published by Hürriyet newspaper. “Every week, I would rummage through my unnumbered, poorly archived documents to find pictures and articles related to the subject. The magazines and books were getting messy, but eventually I found what I was looking for.” Naki Turan also caught the attention of Uğur Dündar with his live archive. “In 1980, Uğur Dündar interviewed me because of my love and knowledge of cinema. I was living in a nicer house at the time. The people around me were saying to each other, ‘Uğur Dündar has arrived.’ They went inside. Uğur Dündar went all the way up the hill. ‘Disaster, disaster!...’ he said when he saw the books… I said, ‘After a while you’ll start calling them scandals.’ In that interview I said, ‘A book enthusiast is called a bibliophile, a book addict is called a bibliomaniac. As for me, I collect everything that is printed, beyond collecting books. That’s why I’m called a celluloseman.’”

For Naki Turan, who could not organize his life or his books, everything became so chaotic that he could no longer find what he was looking for. After years of librarianship courses, working as a clerk at the Istanbul University Faculty of Medicine Library did not help. He attributes the reason he could never collect books with the logic of a librarian to his constant changing of homes due to his financial situation. He states that he never had a regular library. One day, he took his books, which were piled up in his house until the door could not be opened, to a warehouse. Instead of moving with all the books, he followed this path so that they would be kept in one place permanently. However, that warehouse also caused trouble for Naki Bey. The VAT and tax of the warehouse, which used to be a shop, was charged to Naki Bey. The tax office requested a fine of 10 million liras. When his “cellulose”, as he put it, started to become a “trouble” for him, he asked for help from various places. All he wanted was to provide a place for him and his books until he died. In return, he guaranteed that he would donate his books to the person who helped him when he died. Naki Turan says that he could not get married and establish a regular life because of this occupation. According to him, marriage and books are incompatible… “Most book collectors and enthusiasts – for example, Ibnulemin Mahmud Kemal, Hakkı Tarık Us, Çelik Gülersoy and myself – have one thing in common: Never having been married. Because if the woman you marry is not very cultured and is like a housewife – she sees books as her rivals and is jealous of them. Çelik Gülersoy writes something in one of his articles called ‘What Happened to Books’. A scientist lives in a mansion with his wife and books. When the man dies, the woman says, ‘Whatever happened to my husband happened because of books’ and throws all the books into the sea. Serious books sank, while the others floated on the sea. Maybe it is this situation that scares people like us.”

He complains that he cannot do a professional job related to books or cinema. We have actually seen Naki Turan in various productions. In Yavuz Turgul's "Aşk Filmlerinin Unutulmaz Yonetmeni", as one of the actors who has completed his era and asked Haşmet Asilkan for a role. Along with Sami Hazinses, Nubar Terziyan and Cevat Kurtuluş. The last representatives of an era... They are the last faces of Yeşilçam seen on the screen... Four people who have now become symbols... 

He also appeared before us as the man playing the clarinet in a coffee shop in "Muhsin Bey." He says that he was dragged into acting by the offer of advertisers who liked his appearance while he was going to Radar Reklam to visit a friend. He is also sought after in historical and religious films because of his long white beard that complements his appearance. In addition, he also played the character of Uncle Saffet in the TV series "Süper Baba". He also took part in the productions of "Milyarder","Yunus Emre", "Kuruluş", "Yaprak Dökümü", "Arabesk", "Minyeli Abdullah" and "Zeyrek Yokuşu." They are all movies and TV series from the nineties, and unfortunately, Naki Bey's window of life is about to close. 

The year is 1993. Naki Turan is 66 years old. His passions, to which he gave everything, are now starting to betray him. With the loss of his mother, with whom he had lived for 65 years, he is now all alone with his cellulose. His body is on the verge of collapse. Before his death, he was taken care of by SİNE-SEN for two and a half years. SİNE-SEN meets Naki Bey while he has been dreaming of establishing a large documentation center for many years. The SİNE-SEN officials, who provided support to Naki Bey during his prostate surgery in those days and went to his house when he recovered, are horrified. The officials describe the books, one on top of the other like a pile of tiles, floating in a swamp. They go back with an offer 1-2 months after this terrible home visit. However, Naki Bey is hesitant, afraid that they will cut off contact with him after the books. He consults Münir Özkul, Selda Akor and Arzu Film. Then he trusts and approves. SİNE-SEN officials state that they had not had any difficulties up to this point, but they will have difficulties from now on. The possibility of Naki Bey having an heir, reports from the mental hospital, notaries, a lot of paperwork… Then Naki Turan is placed in the Oriental Hotel.

A cat lover, a regular at Simurg Bookstore in Beyoğlu. A beautiful man who never let his cat Mestan talk, who was in love with cinema and Türkan Şoray, Naki Turan Tekinsav was hospitalized on November 20, 1995. He said goodbye to this world on November 29, 1995 in Şişli Eftal. In his own words, we remembered a “cellulose man” in this way thanks to his beloved cellulose.

Film Writer Burçak Evren talks aboutNaki Turan Tekinsav: 

His cinema life, collecting everything related to cinema was like his profession. I went to the house he lived as a tenant in Erenköy (He was always a tenant throughout his life). It was a fairly large basement of an old mansion. He had difficulty opening the outer door. Because even the back of it was full of stacks of books that prevented the door from opening properly. There was no library in the house, but each stack of books was placed on top of each other in a system that he could easily find. The corridors, rooms, kitchen, bedroom, even the toilet had shelves built; books were lined up on them so that there was no space left. It was not a junk house, it had its own order, but even this order had an appearance that was disturbing. Even in this appearance, he easily knew where each book was, but he never let anyone else touch them. 

His only friends were the books he collected as an obsession, and his elderly mother, who never left him alone even during his military service. His only concern was to find a place to rent, which he had to constantly search for because of his books. He had many books, but he did not have much money to pay rent. He asked me to talk to the History Foundation, of which I was a member, about this matter. His only request was to donate all his books there in return for a rent fee. But this request was not received very warmly either. After he passed away, I came across the books he had patiently put together in many places. The first of these was a warehouse where books that had been ruined by floods were piled up with the municipality's excavator. I think a second-hand bookseller had bought them and wanted to sell them to me. But there wasn't a single book among them that could be touched and wasn't ruined. I was sad... 

After he passed away, I came across the books he had patiently put together in many places. The first of these was a warehouse where books that had been ruined by floods were piled up with the municipality's excavator. I think a second-hand bookseller had bought it and wanted to sell it to me. But there was not a single book among them that could be touched and was not ruined. I was sad... Another place I saw his books after he died was the library of a union for cinema. The condition of the books here was close to the first one, if not as good as it was. All the books were put in a newly built library for them, but they were all taped together with duct tape so that no one would steal or read them. In other words, you couldn't take any book off the shelves, and even if you wanted to, you had to tear that book. Then these books went somewhere. I still come across his books in second-hand booksellers. On the inside covers of all his books, there was written the one thing he had dreamed of throughout his life but never had: Naki Turan Tekinsav Library...

Source:

"Bana babam anlattı Naki Turan Tekinsav'ı.....Ben de dayanamadım kendisine sordum elbette... "Neden ömrünü sinema kitaplarına harcadın Naki abi" Yüzüme baktı uzun uzun "Zengin olmak için" dedi.... Gençliğimin cehaleti ile "E olamamışsın ama" dedim Güldü "Sana öyle geliyo" dedi sadece...."
Ferdi Eğilmez

Ertem Eğilmez's son Ferdi Eğilmez then wrote a tribute. Those who know him know him... His name is Naki Turan Tekinsav... He collected books with an indescribable, incorrigible and incurable obsession. On the day he passed away, 50,000 books were found in his house. Moreover, all of them were books about cinema... He collected, collected, collected throughout his life with his limited budget. He lived with his mother, who was more than necessary fond of him, and his books throughout his life. His mother did not leave Naki Bey even during his military service. She rented a house across from the barracks where he did his military service. Mother and son served together for two years. One day, he participated in a quiz show hosted by another master Orhan Boran on the radio. Since he answered 11 questions about cinema correctly, he was invited back the following week. He guessed it again. He guessed it again. He guessed it again. When he guessed the more difficult questions in the 7th week, he was rewarded by the program and sent to England. When asked what he did and where he saw in England on his return, he replied, "I didn't see any places, I only watched 45 movies."  

Unfortunately, there is very little information about this cinema phenomenon lover, as he was someone who spoke and explained little. I always remember him coming to Arzu Film from time to time and sitting quietly in a corner because of his love for Ertem Eğilmez. I remember that he loved listening to scripts being worked on. While listening to the script, he would sometimes get sad, cry, and sometimes laugh with his little laugh. He would nod his head in approval of the script, hug only Ertem Bey and leave the company. My father told me about Naki Turan Tekinsav. I couldn't resist, so of course I asked him. "Why did you spend your life on cinema books, Naki Abi?" He looked at my face for a long time. "To get rich," he said... With the ignorance of my youth, I said, "Well, you couldn't." He laughed and said, "That's how it seems to you."

Today, I remember this silent, white-bearded brother, my father's friend, with mercy and love, and on this occasion I both apologize to him and pray for his mercy.... 

I have come to the end of my article and my quotes. I also came across Naki Bey, who did not talk much to anyone, was quiet, calm, suspicious, and hesitant, in the Gecedeste book. Rest in peace cellulozman...

münir özkul’u evlendirdik umman’la

onbeş ocak çarşamba

fakir münir ağbinin şahidi

umman’ın şahidi naki bey

ne davetiye ne çelenk çiçek

hiç kimsenin haberi yok

beyoğlu evlendirme dairesinde küçük bir arka oda

başka hiç kimse yok nikahta

çıktık beyoğlu’na

bir pastanede profiterol ısmarladı bize damat

naki bey hüngür hüngür ağladı

profiterolü sel aldı


(Ferhan Şensoy  book "Gecedeste" 2019 / Ortaoyuncular Yayınları)


Source in Turkish 

Cumhuriyet Kitap Supplement

“Naki Turan Tekinsav has been collecting books since he was 6 years old. His library contains 50 thousand books, all about Istanbul and cinema. Maybe we can find a formula that will keep Naki Bey, his mother and his books alive without separating them, what do you think? Turan Tekinsav is a ‘cellulose maniac’ who has been collecting books since he was six (he says so himself, not us). Since he is 63 years old today, that means he has been after books for 57 years, only books. He has no other hobbies, no other characteristics. In fact, he is a cold-blooded bitch. He doesn’t talk to anyone. Even if he did, you wouldn’t understand him, and he wouldn’t listen to you anyway. You can’t keep him in one place or on one subject for five minutes. In short, Naki Bey is a mess of delusions from head to toe, who gets cranky as he gets older. But this man has been collecting books for 57 years, only books. 

Recently, Naki Bey was going to the second-hand booksellers in Beyazıd, (He has been going for 35 years. It doesn't matter if it's snow, winter or the apocalypse. Moreover, he doesn't get on the bus if it's a minibus. He is always a foot soldier in big Istanbul.) Around Cağaloğlu Hill, Naki Bey suddenly broke out in a cold sweat, his head spun, his chest tightened, and he stood there for 15-20 minutes. 

From that day on, his health started to check Naki Bey frequently. He was grumbling in his stomach and lungs, but he definitely didn't think a heart attack was becoming him. In the meantime, he melted like a candle. Those who know him will bear witness, in 10 days, old Naki Bey turned into a needle and thread. It turned out that he was checking his heart, but he didn't know it. Until he needed a walking stick. When his friends saw him with a walking stick in Çınaraltı one day, they were surprised as if they had seen an alien. Naki Bey and a walking stick are something that can't be! Finally, he was convinced and went to Beyoğlu Municipality Hospital. It really was a heart attack. They forcefully put him in. 

However, on the night of the third day, Naki Bey grabbed the hat and ran away from the hospital. He had to run away. Because other than his books, he had an 85-year-old bedridden mother and no one else to look after her while she was in the hospital. His father left when Naki Bey was only six. The woman never remarried and never left her son alone since that day. Even in the army! She took him by the hand and delivered him to the branch, rented a room right across from the barracks and served with her son for two years. During this time, she also took on the task of collecting books according to the lists Naki Bey prepared. Mother and son were separated only once in their lives. That was during Naki Bey's 85-day trip to England. (During this time, Naki Bey watched a total of 105 films, 45 of which were at the London cinema.) Naki Bey, his mother and his books! 

Now one of the three has a heart attack, another cannot walk, and the books are going crazy. Everything that has happened to Naki Bey up until now happened because of his books (*). He could not hold down a job because of his books. He never got married because of his books (just like famous collectors Ibnulemin Mahmud Kemal and Hakki Tarik Us). 

He was never interested in any woman. Because according to him, ‘the biggest enemy of books is women’. As if all this were not enough, Naki Bey could not find a house because of his books. He was evicted from seven houses between 1970 and 1990. The reason is always the same: Books pose a fire hazard, the house will collapse because of books, and even books cause fleas! Naki Bey is currently looking for a house again, but he cannot find one, and he will not find one. Because he has no income, he is penniless. He cannot even pay the rent of the house he is about to throw out. On the other hand, his heart is beating badly, but he cannot get treatment because there is no one to look after his mother. And of course the ‘hyenas’ who hear this are beating down his door to get their books cheaply. Sir, this is the situation of Naki Bey. We disturbed him in the hope that you could find a formula that would “keep him alive” without separating him, his mother and his books. Best regards.

(*) There are approximately 50 thousand books in the “Naki Bey Library”. And all of these books are only about “Istanbul” and “cinema.”</p>

Source: Cumhuriyet Kitap Supplement, August 31, 1990, Issue 28, P.10.


THINGS THAT HAPPEN TO NAKİ BEY’S BOOKS COULD BECOME A NOVEL

I used to see Naki Turan Tekinsav, one of the people mentioned in ‘What I Saw and Heard in the Second-Hand Book Market’,[*] almost every day in his later years at Simurg İbrahim’s shop on Hasnun Galip Street. He would hardly talk to anyone, and would sit quietly in a corner. If I remember correctly, it had not been long since he had lost his mother, a retired teacher, with whom he had lived for many years. I don’t know how and what he did after his mother. 

Everyone remembered him from the small roles he played in a couple of movies, but in fact he was one of our last ‘walking libraries’. In those days when Şinasi Tekin, Erol Şadi Erdinç, Cüneyt Kut and Murat Bardakçı would get into heated arguments and Sipahi Çataltepe would devour fried chicken, Naki Bey would watch them without making a sound. I knew that when Sipahi Bey disappeared, he would ‘stop by’ Gürhan Öztürk’s next door and take some fried chicken there. 

Many people describe Naki Bey as a librarian. However, I am sure they are wrong. He was much more ‘crazy’ than we were, because he was crazy about all kinds of paper, whether it was a book or not. He collected not only books and magazines, but everything made of paper. Unfortunately, what happened to the ones he donated to an institution before his death would be ‘novels’.

TANER AY Source: https://www.karar.com/kultur-sanat-haberleri/ucuncu-kusak-bir-sahhafin-carsida-gorup-isittikleri-1730796

[*] Turan M. Türkmenoğlu memory book ‘Sahaflar Çarşısı’nda Görüp İşittiklerim" 
Ötüken Neşriyat. 633 pages | ISBN:9786254084867

Turan M. Türkmenoğlu is the third generation representative of a family that has been in the profession of second-hand bookseller for over 120 years... He shares what he has heard and witnessed in his book What I Saw and Heard in the Second-Hand Book Market. The book makes a remarkable contribution to the hidden aspects of our cultural history from the beginning of the 20th century to the present day; it brings many memories and anecdotes that have not been recorded before to its readers.





In Memoriam | Sami Şekeroğlu (1937-2024)

In Memoriam Sami Şekeroğlu (1937-2024)







Born in Elazığ in 1937. Sami Şekeroğlu graduated from the Istanbul State Academy of Fine Arts, Department of Advanced Painting. In 1962, he founded "Kulüp Sinema 7", Turkey's first cinema-culture organization. In 1967, he changed the name of Kulüp Sinema 7 to "Türk Film Arşivi". In 1969, he transferred the "Türk Film Archive" he founded, along with all its assets, to the Academy without consideration and became the founder of the "State Academy of Fine Arts Film Archive". The institution became a member of the International Federation of Film Archives (FIAF) in 1967 and was accepted as an authorized and full member in 1973.

In 1970, he was officially appointed as the Director of the "State Academy of Fine Arts Film Archive". In 1974, he started the first cinema training. In order to establish a Science-Art-Culture Institution that would work in the field of Cinema-TV, he conducted research and examinations in the relevant centers of Europe, and in New York, Chicago, Minneapolis, and Hollywood in the USA, in film schools, film centers, studios, and archives. In 1975, he transformed the DGSA Film Archive into a world-class, modern technology, research-study Science-Art-Culture Institution and changed its name to the "Cinema-TV Institute". From that date on, he continued his work as the Director of the Cinema-TV Institute.

He initiated the first formal cinema-television education in our country at the academic level at the Cinema-TV Institute. He became an Associate Professor in 1985 and a Professor in 1987. He served as the Vice Rector of Mimar Sinan University between 1988 and 1996, and as the Dean of the Faculty of Fine Arts at MSÜ between 1996 and 1999. He established the first Cinema Museum within the MSÜ Cinema-TV Center.
In 1985, he received the Ministry of Culture Cinema Award with his experimental film "Soil Men". In addition to his documentary film work, Prof. Sami Şekeroğlu, who conducted the "Turkish Cinema History Research Project", served as a jury member at film festivals in Turkey and abroad, had articles published in various local and foreign publications, and gave lectures on Cinema History, Aesthetics and Technique at undergraduate and graduate levels, was currently serving as the Director of the MSÜ Cinema-TV Center and Head of the Cinema-TV Department at the MSÜ Faculty of Fine Arts.

Sami Şekeroğlu Article by Atilla Dorsay


Sami Şekeroğlu Article by Atilla Dorsay[1]

The death of a cinema enthusiast and what it evoked

November 29, 20245

Apart from obituaries, it was never mentioned in the written press or in the culture hours of TV. However, from a comprehensive perspective, today, a significant part of the films before Yeşilçam, during and after it, became ours thanks to Sami Şekeroğlu

Sami Şekeroğlu also died. Of course, those who know him know that; when it comes to the Seventh Art, it is not only those who think of the bright past of cinema art, its attractive stars, its genius creators... He was a person who devoted himself to it and as a result, made a great contribution to it becoming the Seventh Art.

Sami Şekeroğlu was one of those exceptional people. If we start with the classic biographical information... He was born in Elazığ in 1937 (two years older than me). He graduated from the State Fine Arts Academy (later Mimar Sinan University), which was also known as the one I studied at, in the Painting Department (I studied in the Architecture Department). There, he took lessons from names such as Bedri Rahmi Eyüboğlu, Ahmet Kutsi Tecer (who was also my teacher), and Ali Avni Çelebi. He met names such as Fazıl Hüsnü Dağlarca and Abdi İpekçi and wrote articles for Yön Magazine.

A period of discussion

As I wrote in my main biography titled Bir Ömürden Seçilmiş Tablolar: Şekeroğlu, who founded the first cinema club of our country, Kulüp Sinema 7, and the Turkish Film Archive affiliated with it, gathered all the films he could find with the support of the university and established a real Cinematheque. In those years when concepts such as National Cinema, socialist cinema, and Islamic cinema were intensely discussed, there was the Turkish Cinematheque Association, of which dear Onat Kutlar was among the founders.

We, the youth of the period (we are talking about the end of the 60s), of course stood by Onat and the Sinematek Association: Leftism required this due to the times!.. But we understood, albeit late, that the real universal Sinematek concept was what Şekeroğlu did. Why did we realize later that he had protected and preserved so many films and restored them whenever he had the chance? Many years later, when I started my book 100 Turkish Films of 100 Years for the 100th anniversary of Turkish cinema, I again referred to Şekeroğlu’s institution that has now settled in our collective memory. Here is the section from the long INTRODUCTION text at the beginning of that book where I once again mention Şekeroğlu:

From the preface of a book

“When I set out to write the book, I had said that I first took refuge in the memories of my past experiences watching Turkish films. But the most important thing was undoubtedly to find and watch the films of the past. This required a lot of effort. Because most of them were lost, there was very little chance of reaching the ones that were not lost. And from my perspective, since we decided to publish the book at the beginning of 2014, time was very short and precious. But I found and received the necessary help. I would like to gratefully remember those who provided this help. First of all, two institutions: as I have explained before, he founded a modest school archive in the 1960s, which later became the unofficial (actually somewhat official) Cinematheque of our cinema, which for years collected our old films, regardless of whether they were negative or positive, wherever he found them and put them in the archive; preserved them as a meticulous, passionate and mysterious archivist; repaired them when he found the financial means... Prof. Dr. Sami Şekeroğlu and the institution that eventually bore his name: Mimar Sinan University Prof. Sami Şekeroğlu Cinema-TV Center. Which is now in the safe hands of its new director Prof. Asiye Korkmaz and her friends.

 I received great help from this institution and its directors. And they provided a significant portion of the films I wanted. Thank them, may they live long.”

My endless gratitude to him

I was going to thank Sami Şekeroğlu again for the repair problems as follows:

“If we come to perhaps the most important aspect of the subject… I believe that all the events to be held this year for the 100th anniversary of our cinema will ultimately undertake an important task. Maybe I am being overly optimistic, but let it be. In my opinion, all these events (shows to be held by some institutions throughout the year, possible publications, panels and discussions, special sections at festivals, etc.) will ultimately create such public interest that the repair of at least some prominent important films (and even the search and finding of copies) will come to the agenda. And there will be a serious chance to save these films.

The real home of the work, Mimar Sinan University Cinema-TV Center, is already preparing for a magnificent mass show. The head of the institution, Prof. Sami Şekeroğlu, told me that they now want to carry out the repairs on a larger scale. For this, they have purchased a state-of-the-art film repair device from outside. With the meticulous contribution of young expert students and the device in their hands, we all watched as a very old newsreel was cleaned of stains and scratches as much as possible. Thus, these repairs and digital transfers can now be carried out here in the best way possible. Moreover, it is within the institution where our films are archived and preserved in the most extensive way.

A period of debate

I wrote in my main biography titled Selected Paintings from a Lifetime: Şekeroğlu, who founded our country’s first cinema club, Kulüp Sinema 7, and the Turkish Film Archive affiliated with it, gathered all the films he could find, with the support of the university, and established a real Cinematheque. In those years when concepts such as National Cinema, socialist cinema, and Islamic cinema were intensely discussed, there was the Turkish Cinematheque Association, of which dear Onat Kutlar was one of the founders.

We, the youth of the period (we are talking about the end of the 60s), of course stood by Onat and the Cinematheque Association: The period required this, leftism required it!.. But we understood, albeit late, that the real universal Cinematheque concept was what Şekeroğlu did. We later realized why he had taken so many films under his protection, stored them, and restored them whenever he had the chance. Many years later, when I began my book 100 Turkish Films of 100 Years for the 100th anniversary of Turkish cinema, I had again referred to Şekeroğlu’s institution that has now settled in our collective memory. Here is the section from the long INTRODUCTION in the introduction of that book where I once again mention Şekeroğlu:

From the foreword of a book

“When I set out to write the book, I had said that I first took refuge in the memories of my past experiences watching Turkish films. But undoubtedly the most important thing was to find and watch the films of the past. This required a lot of effort. Because most of them were lost, and there was very little chance of reaching the ones that were not lost. And from my perspective, since we decided to publish the book at the very beginning of 2014, time was very short and precious.

 But I found and received the necessary help. I would like to gratefully commemorate those who provided this help. First of all, two institutions: As I have explained before, the modest school archive he founded in the 1960s, which later became the unofficial (actually somewhat official) Cinematheque of our cinema, which for years preserved our old films, regardless of whether they were negative or positive, wherever he found them and archived them; as a meticulous, passionate and mysterious archivist; repairing when financial means are available... Prof. Sami Şekeroğlu, who tried to do what French Henri Langlois, the pioneer and creator of the Cinematheque concept in the world, did within the modest conditions of our country, and the institution that finally bears his name: Mimar Sinan University Prof. Sami Şekeroğlu Cinema-TV Center. Which is now in the safe hands of its new director Prof. Asiye Korkmaz and her friends.

I received great help from this institution and its directors. And they provided a significant portion of the films I wanted. May they live long.”

My endless gratitude to him

I was going to thank Sami Şekeroğlu again for the repair problems as follows:

“If we come to perhaps the most important aspect of the subject... I believe that all the events to be held this year for the 100th anniversary of our cinema will ultimately undertake an important task. Maybe I am being overly optimistic, but never mind. In my opinion, all these activities (shows to be held by some institutions throughout the year, possible publications, panels and discussions, special sections at festivals, etc.) will eventually create such public interest that the restoration of at least some important films (or even the search for copies) will be on the agenda. And there will be a serious chance to save these films.

The real home of the business, Mimar Sinan University Cinema-TV Center, is already preparing for a magnificent mass show. The head of the institution, Prof. Sami Şekeroğlu, told me that they now want to carry out the repairs on a larger scale. For this, they have purchased a state-of-the-art film repair device from outside. With the meticulous contribution of the young expert students and the device in their hands, we all watched as a very old newsreel was cleaned of stains and scratches as much as possible. Thus, these repairs and digital transfers can now be carried out in the best way here. Moreover, it is within the institution itself where our films are most extensively archived and preserved.

Groupama’s Contribution

And I continued:

“Şekeroğlu is particularly happy about the collaboration with the foreign institution Groupama. This large international insurance company has been one of the leading supporters of French Cinema since 1987 through its Gan Cinema Foundation. I think it does the same thing in Turkey, where it has a large business volume, and since 2008, it has been running a project called Turkish Classics Again at the International Istanbul Film Festival. Starting from that year, the films Bereketli Topraklar Ötesi, Vurun Kahpeye, Selvi Boylum Al Yazmalım, Üç Arkadaş, Gurbet Kuşları, Vesikalı Yarim were repaired. For the current year of 2014, the film Muhsin Bey was selected. As can be seen, almost all of them are important films that are included in this book.

The group is now carrying out this effort, which it started with Fono Film, at the Sami Şekeroğlu Cinema-TV Center. And the results are extremely successful. Sami Bey explains that they selected the films in cooperation with İKSV and that the repair took several months. In addition, the method of this repair is explained in detail before the credits of each film. I do not want to repeat it here. But I must say that it was a difficult, delicate and expensive job. The result is magnificent. An oldest film is reborn from its ashes, gaining the immortality of digital technology. And an important page from both our national culture and social history is revived.”

That is such a life



That is such a life...There are few things more important and honorable than this!.. That is why his death was a bitter surprise for us. We came together at the small but very cute Afet Yolal Foundation Mosque in Levent. It was relatively crowded; but in my opinion, it was insufficient... There were actually more cinema and art people there that I would have liked to see...

Similarly, the public reflection of his death was also insufficient. Apart from the obituaries, he was never mentioned in the written press or during the culture hours of TV. However, from a comprehensive perspective, today, a significant part of the films he made before Yeşilçam, during and after it, became ours thanks to him. I tried to see his family, especially his two daughters; but I couldn't. What can be said, after that classic saying: May God have mercy on his soul...

________________________________________

[1] Who is Atilla Dorsay?

Atilla Dorsay was born in Karşıyaka, İzmir in 1939. His childhood was spent during the difficult war years. He remembers that everything was bought with ration cards, the war news broadcast on the radio and the films about war that were his first cinema experiences.

When he was 10, his family migrated to Istanbul just to send him to Galatasaray High School. Thus, he was raised with French culture.

He studied architecture at the Academy of Fine Arts (now Mimar Sinan University). He says that he owes his aesthetic perspective, which he has preserved under all circumstances in life, to this foundation.

He worked as a guide, journalist and critic.

He continued his writings in Cumhuriyet newspaper, which he started in 1966, for 27 years.

He married Leman Dorsay during this period. He had two children and three grandchildren.

In the following years, he left Cumhuriyet of his own volition. For a short time, he continued as a magazine writer in Milliyet, which he still continues.

He experienced the joy of creating a brand new newspaper in Yeni Yüzyıl. Later, he continued in Sabah newspaper. He left here, in his own words, "with a principled attitude": In one of his articles, he said, "Emek Yok Yok Ben Yokum" to keep a promise he had made to his readers about Emek cinema.

Dorsay has been writing for T24 since 2013, which he points out with the words "Free, free, without any restrictions on subject, place or time... But now without a salary!.. And very soon it will be ten years..."

Dorsay has made efforts in many areas related to culture and arts. He worked at İKSV and was a member of the Istanbul Cinema Festival staff for years. He presented countless celebrities from all over the world at press conferences, gave interviews and took their photographs.

He both produced weekly music programs and presented films on TRT. Especially in 1995, when the 100th anniversary of cinema was celebrated, and afterwards, he introduced countless classics together with young colleagues such as Murat Özer, Alin Taşçıyan and Müjde Işıl.

He founded the Cinema Writers Association (SİYAD) and served as its president for many years. He presented award nights with carefully selected presenters and musicians. Again in his own words; "when the time came, he did not neglect to leave all these duties to his young friends."

Dorsay's greatest productions are his books. He has collected all the films he has criticized since the 1970s, classified as Turkish and foreign cinema, in many books. These books are an inventory of the last 50 years.

He also wrote about Istanbul, Beyoğlu, urban planning; biographies (especially Türkan Şoray and Yılmaz Güney), interviews, travel notes, stories, and even poems.

He published a work in which he presented his interest in music with a magnificent archive. This book, published under the title Ne Şurup Şeker Şarkılardi Onlar, tells the history of 20th century pop music.

His book, Arguments, Polemics, Fights, was published in September 2022.

The number of his books has now exceeded 60, but he has countless other projects. T24 Articles - Towards the Pandemic Days: Art and Politics met with the reader in October 2023, "Unutulmaz İnsanmızla Konuşlar" and "Benim '6 Silahşörler'im" met with the reader in 2024. Many more will follow. As he said, "God willing!"

 

 

Bir sinema tutkulusunun ölümü ve düşündürdükleri

Ölüm ilanlarının dışında ne yazılı basında ne de TV’lerin kültür saatlerinde hiç anılmadı. Oysa kapsayıcı bir bakışla, bugün Yeşilçam öncesi, kendisi ve sonrasındaki onca filmin önemli bir bölümü, bugün Sami Şekeroğlu sayesinde bizim olmuştu

Sami Şekeroğlu da öldü. Onu elbette bilenler bilir; sinema sanatının o parlak geçmişini, çekici yıldızlarını, dahi yaratıcılarını, Yedinci Sanat denince tek akla getirenler değil... Kendisini ona adamış ve sonuç olarak gerçekten Yedinci Sanat olmasına büyük katkısı olmuş bir insandı.    

Sami Şekeroğlu işte o müstesna kişilerden biriydi. Klasik biyografik bilgilerden başlarsak… 1937’de (benden iki yaş büyük) Elazığ’da doğmuş. Benim de okuduğum o dönemki adıyla Devlet Güzel Sanatlar Akademisi’ni (sonrasının Mimar Sinan Üniversitesi) Resim bölümünde olmak üzere bitirmiş (ben mimarlık bölümünde okumuştum.) Orada Bedri Rahmi Eyüboğlu, Ahmet Kutsi Tecer (benim de hocamdı), Ali Avni Çelebi gibi isimlerden ders almış. Fazıl Hüsnü Dağlarca, Abdi İpekçi gibi isimlerle tanışarak Yön Dergisi'nde yazılar yazmış.

 Sami Şekeroğlu

Bir tartışma dönemi

Bir Ömürden Seçilmiş Tablolar adlı esas biyografimde yazmışımdır: Ülkemizin ilk sinema kulübü olan Kulüp Sinema 7 ve ona bağlı olan Türk Film Arşivi’ni kuran Şekeroğlu, üniversiteyi arkasına alarak bulabildiği tüm filmleri toplamış ve gerçek bir Sinematek kurmuştu. Ulusal Sinema, toplumcu sinema, İslami sinema gibi kavramların yoğun biçimde tartışıldığı o yıllarda, sevgili Onat Kutlar’ın da kurucuları arasında olduğu Türk Sinematek Derneği vardı.

Biz dönem gençleri (60’ların sonundan söz ediyoruz) elbette Onat’ın ve Sinematek Derneği’nin yanında yer almıştık: Dönem gereği, solculuk bunu gerektiriyordu!.. Ama asıl evrensel Sinematek kavramının Şekeroğlu’nun yaptığı iş olduğunu geç de olsa anladık.  Onca filmi koruması altına alıp sakladığı ve fırsat buldukça onardığını neden sonra fark etmiştik. Uzun yıllar sonra, ben Türk sinemasının 100. yılı için 100 Yılın 100 Türk Filmi kitabıma giriştiğimde, yine Şekeroğlu’nun o artık ortak belleğe yerleşmiş kurumuna başvurmuştum. İşte o kitabın girişindeki uzun SUNUŞ yazısından yine Şekeroğlu’nu andığım bölüm:

Bir kitabın önsözünden

“Kitabı yazmaya koyulurken, öncelikle geçmiş Türk filmleri izleme deneylerimin anılarına sığındığımı söylemiştim. Ama kuşkusuz en önemlisi, geçmişin filmlerini bulup izlemekti. Bunun için de hayli çaba göstermek gerekiyordu. Çünkü bunların büyük bölümü kayıptı, kayıp olmayanlara ulaşma şansı çok azdı. Ve de benim açımdan, kitabı 2014’ün hemen başlarında çıkarmaya karar verdiğimiz için, zaman çok az ve değerliydi.

Ama gereken yardımı buldum ve de aldım. Bu yardımı yapanları minnetle anmak istiyorum. Başta iki kurum: daha önce anlattığım gibi 1960’larda alçakgönüllü bir okul arşivi olarak kurduğu, sonra sinemamızın gayriresmi (aslında biraz da resmi) Sinematek’ine dönüşen, yıllar boyu eski filmlerimizi negatif-pozitif demeden nerede bulursa alıp arşive koyan; titiz, tutkulu ve gizemli bir arşivci olarak koruyan; maddi imkânlar bulduğunda onartan... Dünya üzerinde Sinematek kavramının öncüsü ve yaratıcısı Fransız Henri Langlois’nın yaptığını ülkemizin mütevazı koşulları içinde yerine getirmeye çalışan Prof. Sami Şekeroğlu ve onun sonunda kendi adını taşıyan kurumu: Mimar Sinan Üniversitesi Prof. Sami Şekeroğlu Sinema-TV Merkezi. Ki şimdilerde yeni yöneticisi Prof. Asiye Korkmaz ve arkadaşlarının emin ellerindedir.

Bu kurumdan ve yöneticilerinden büyük yardım gördüm. Ve istediğim filmlerin önemli bölümünü sağladılar. Sağ olsunlar, var olsunlar.”

Ona olan bitmeyen teşekkürüm

Onarım sorunları için yine Sami Şekeroğlu’na şöyle teşekkür edecektim:

“Konunun belki en önemli yanına gelirsek… Ben bu yıl sinemamızın 100. yılı dolayısıyla yapılacak olan tüm etkinliklerin, sonuç olarak önemli bir işi yükleneceğine inanıyorum. Belki aşırı iyimserim, ama olsun. Bana göre, tüm bu etkinlikler (kimi kurumların yıl boyu yapacakları gösteriler, olası yayınlar, panel ve tartışmalar, festivallerde özel bölümler, vs.) sonuç olarak öyle bir kamuoyu ilgisi yaratacak ki, en azından önde gelen kimi önemli filmlerin onarımı (hatta kopyaların aranıp bulunması) gündeme gelecek. Ve bu filmleri kurtarmak için ciddi bir şans doğacak.

İşin asıl yuvalarından Mimar Sinan Üniversitesi Sinema-TV Merkezi, zaten görkemli bir toplu gösteriye hazırlanıyor. Kurumun başındaki Prof. Sami Şekeroğlu, bana artık onarımları da daha büyük ölçekte gerçekleştirme arzusunda olduklarını söyledi. Bunun için, dışardan en gelişmiş bir film onarım cihazı almışlar. Genç uzman öğrenciler ve ellerindeki cihazın özenli katkısıyla, hep birlikte çok eski bir haber filminin lekelerden ve çiziklerden olabildiğince temizlenmesini izledik. Böylece artık bu onarım ve dijitale aktarma işlemleri, burada en iyi biçimde yapılabiliyor. Üstelik zaten filmlerimizin en geniş biçimde arşivlenip korunduğu kurumun kendi bünyesinde.

Groupama’nın Katkısı

Ve şöyle devam ediyordum:

“Şekeroğlu özellikle Groupama adlı yabancı kurumla iş birliğinden son derece mutlu. Bu büyük uluslararası sigorta şirketi, bünyesindeki Gan Sinema Vakfı aracılığıyla 1987 yılından bu yana Fransız Sineması’nın önde gelen destekçilerinden biri olmuş. Aynı şeyi, sanırım büyük bir iş hacmine sahip olduğu Türkiye’de yapıyor ve 2008 yılından beri, Uluslararası İstanbul Film Festivali’nde Türk Klasikleri Yeniden adlı bir proje yürütüyor. O yıldan başlayarak Bereketli Topraklar Üzerinde, Vurun Kahpeye, Selvi Boylum Al Yazmalım, Üç Arkadaş, Gurbet Kuşları, Vesikalı Yarim filmleri onarıldı. İçinde bulunduğumuz 2014 yılı içinse Muhsin Bey filmi seçildi. Görüldüğü gibi, hemen hepsi bu kitaba da giren önemli filmler.

Grup Fono Film’le başladığı bu çabayı, artık Sami Şekeroğlu Sinema-TV Merkezi’nde yürütüyor. Ve sonuçlar son derece başarılı. Sami bey filmleri İKSV’nin de iş birliğiyle birlikte seçtiklerini ve onarımın birkaç ay sürdüğünü açıklıyor. Ayrıca her filmin jenerik öncesinde, bu onarımın yöntemi uzun uzun anlatılıyor. Burada yinelemek istemiyorum. Ama zor, incelikli ve pahalı bir iş olduğunu söylemeliyim. Sonuç muhteşem. En eski bir film yeniden küllerinden doğuyor, dijital teknolojinin ölümsüzlüğüne kavuşuyor. Ve hem ulusal kültürümüzden hem de toplumsal tarihimizden önemli bir sayfa yeniden canlanıyor.”

İşte böyle bir yaşam

İşte böyle bir yaşam...Bundan önemlisi ve onur vericisi az olur!.. Onun için ölümü bizim için acı bir sürpriz oldu. Levent’teki küçük, ama çok şeker Afet Yolal Vakfı Camiinde biraya geldik. Görece kalabalık; ama bence çok yetersiz... Orada görmeyi isteyeceğim daha çok sinema ve sanat insanı vardı doğrusu...

 Şekeroğlu'nun cenaze töreninden

Aynı biçimde, onun ölümünün kamuoyundaki yansıması da çok yetersizdi. Ölüm ilanlarının dışında ne yazılı basında ne de TV’lerin kültür saatlerinde hiç anılmadı. Oysa kapsayıcı bir bakışla, bugün Yeşilçam öncesi, kendisi ve sonrasındaki onca filmin önemli bir bölümü, bugün onun sayesinde bizim olmuştu. Ailesini, en çok da iki kızını görmeye çalıştım; ama beceremedim. Ne denir, o klasik sözden sonra: Allah rahmet eylesin...

________________________________________

Atilla Dorsay kimdir?

Atilla Dorsay. 1939 İzmir, Karşıyaka'da doğdu. Çocukluğu zor savaş yıllarında geçti. O yıllardan her şeyin karneyle alındığını, radyolardan yayılan savaş haberlerini ve ilk sinema deneyimlerini oluşturan savaş üzerine filmleri hatırlıyor.

10 yaşındayken ailesi sırf onu Galatasaray Lisesinde okutabilmek için İstanbul'la göç etti. Böylece Fransız kültürüyle yetişti.

Güzel Sanatlar Akademisi'nde (şimdiki Mimar Sinan Üniversitesi) mimarlık okudu. Hayatta her koşulda koruduğu estetik bakışını bu temele borçlu olduğunu söyler.

Rehberlik, gazetecilik ve eleştirmenlik yaptı.

1966'da başladığı Cumhuriyet gazetesindeki yazılarını 27 yıl boyunca sürdürdü.

Bu aralıkta Leman Dorsay'la evlendi. İki çocuk ve üç torunu oldu.

Sonraki yıllarda Cumhuriyet'ten kendi isteğiyle ayrıldı. Kısa bir süre için Milliyet'te devam eden ve hâlâ süren dergi yazarlığı yaptı.

Yeni Yüzyıl'da yepyeni bir gazeteyi yaratmanın keyfini yaşadı. Daha sonra Sabah gazetesinde devam etti. Buradan kendi deyimiyle, "ilkesel bir tavırla" ayrıldı: Bir yazısında, (Emek Yoksa Ben De Yokum) okuruna Emek sineması üzerine verdiği bir sözü tutmak için.

Dorsay, 2013'ten beri, "Özgür, serbest, hiçbir konu, yer ve zaman kısıtlamasına tabi olmadan... Ama artık maaşsız!.. Ve çok yakında tam on yılını dolduracak olan..." sözleriyle işaret ettiği T24'te yazıyor.

Dorsay'ın kültür-sanata dair birçok alanda çabaları oldu. İKSV'de çalışıp yıllar boyu İstanbul Sinema Festivali'nin kadrosunda yer aldı. Dünya çapında sayısız ünlüyü basın toplantılarında sundu, söyleşiler yaptı, fotoğraflarını çekti.

TRT'de, hem haftalık müzik programları yaptı, hem de filmler sundu. Özellikle sinemanın 100. yılının kutlandığı 1995 yılı ve sonrasında sayısız klasiği Murat Özer, Alin Taşçıyan, Müjde Işıl gibi genç meslektaşlarıyla birlikte tanıttı.

Sinema Yazarları Derneği'ni (SİYAD) kurdu ve uzun yıllar başkanlığını yürüttü. Ödül gecelerini özenle seçilmiş sunucular ve müzisyenlerle sundu. Yine kendi sözleriyle; "zamanı geldiğinde tüm bu görevleri genç arkadaşlarına bırakmayı da ihmal etmedi".

Dorsay'ın en büyük üretimleri kitapları. 1970'lerden itibaren eleştirisini yazdığı tüm filmleri Türk ve yabancı sinema olarak tasnif ederek pek çok kitapta topladı. Bu kitaplar, son 50 yılın bir dökümü niteliği taşıyor.

Aynı zamanda İstanbul, Beyoğlu, şehircilik; biyografiler (özellikle Türkan Şoray ve Yılmaz Güney), söyleşiler, seyahat notları, hikâye, hatta şiirler de yazdı.

Müzik merakını görkemli bir arşivle birlikte sunduğu bir eser yayımladı. Ne Şurup Şeker Şarkılardı Onlar adıyla yayımlanan bu kitap, 20. yüzyıl pop-müzik tarihini anlatıyor.

Tartışmalar, Polemikler, Kavgalar adı kitabı Eylül 2022'de yayımlandı.

Kitaplarının sayısı şimdilerde 60'ı aştı, ama daha sayısız projesi var. T24 Yazıları -Pandemi Günlerine Doğru: Sanat ve Siyaset Ekim 2023'te, "Unutulmaz İnsanlarımızla Konuşmalar" ve "Benim Sevgili ‘6 Silahşörler’im" 2024'te okurla buluştu. Ardından daha birçoğu da gelecek. Kendisinin dediği gibi "Allah kısmet ederse!.."

 

Book | Benim Sevgili ‘6 Silahşörler’im

 My Beloved ‘6 Musketeers’ | Benim Sevgili ‘6 Silahşörler’im 

Atillâ Dorsay

"6 famous directors and their films that op
ened up the world of cinema..."

I have continued my articles on Turkish cinema, which I started with Yılmaz Güney’s film Umut in 1970, with complete dedication since then. Especially a new generation that came in the 90s enchanted me. Five men, one woman, one after another... Reha Erdem, Nuri Bilge Ceylan, Yeşim Ustaoğlu, Zeki Demirkubuz, Derviş Zaim and Semih Kaplanoğlu, in order of their filmmaking adventure. Almost all of them have continued their efforts until today. Now I remember them all together. By describing them as My Beloved 6 Musketeers... And not only my criticisms, but also all the discussions their films have sparked... There is even an international English article in between... I hope my musketeers continue on this path.

ATİLLÂ DORSAY


SBN: 978-975-14-2193-7 | 176 pages

Published: April .09.2024