{"id":35350,"date":"2024-03-10T12:27:20","date_gmt":"2024-03-10T09:27:20","guid":{"rendered":"https:\/\/e-komite.com\/?p=35350"},"modified":"2024-03-10T15:27:16","modified_gmt":"2024-03-10T12:27:16","slug":"politik-sinemanin-ilgi-alani","status":"publish","type":"post","link":"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/","title":{"rendered":"Politik sineman\u0131n \u201c\u0130lgi Alan\u0131\u201d"},"content":{"rendered":"\n

Bu senenin pop\u00fcler ve bol \u00f6d\u00fcll\u00fc filmlerinden \u0130lgi Alan\u0131 [The Zone of Interest],<\/em> Auschwitz toplama kamp\u0131na, komutan H\u00f6ss\u2019\u00fcn kamp\u0131n hemen yan\u0131nda yer alan evinden bak\u0131yor. Be\u015f \u00e7ocuklu H\u00f6ss \u00e7ifti pikni\u011fe gidiyor, bah\u00e7elerini dizayn ediyor, misafir a\u011f\u0131rl\u0131yor, gelece\u011fe dair planlar yap\u0131yor. Filmdeki kay\u0131ts\u0131zl\u0131k sekanslar\u0131n\u0131 izlerken, \u0130lgi Alan\u0131\u2019<\/em>n\u0131n ba\u015far\u0131l\u0131 zanaat\u0131 sayesinde mide bulant\u0131s\u0131 hissetmedi\u011fimiz tek bir an yok. Film tam bu y\u00fczden, yani soyk\u0131r\u0131m faillerinin eylemlerinin \u015fiddetten uzakm\u0131\u015f gibi g\u00f6z\u00fckebilen \u00f6rt\u00fcl\u00fc yap\u0131s\u0131n\u0131, k\u00f6t\u00fcl\u00fc\u011f\u00fcn s\u0131radanl\u0131\u011f\u0131n\u0131 <\/em>perdeye olduk\u00e7a <\/em>ba\u015far\u0131yla aktarabilmesi sebebiyle izleyiciler ve ele\u015ftirmenler taraf\u0131ndan co\u015fkuyla kar\u015f\u0131lan\u0131yor.<\/p>\n\n\n\n

Bu co\u015fku filmin teknik yetkinli\u011finin yan\u0131 s\u0131ra sinema yazar\u0131 Adrian Horton\u2019un \u015fu c\u00fcmlesiyle \u00f6zetlenebilecek \u201cpolitik\u201d \u00f6zelliklerine de y\u00f6neltiliyor: \u201c\u0130lgi Alan\u0131, <\/em>belki de, \u00e7ileli ve b\u0131kt\u0131r\u0131c\u0131 olsa da tekrar etmeye devam etmek gereken bir mesaj olan, insanlar\u0131n di\u011fer insanlara bunlar\u0131 nas\u0131l yapm\u0131\u015f oldu\u011funu g\u00f6stermek a\u00e7\u0131s\u0131ndan g\u00f6rd\u00fc\u011f\u00fcm en efektif ara\u00e7.\u201d1<\/a><\/sup> Bu c\u00fcmlenin ard\u0131na bakt\u0131\u011f\u0131m\u0131zda ise sanat ve siyaset ili\u015fkisine dair hi\u00e7 de yeni olmayan baz\u0131 sorular g\u00f6ze \u00e7arp\u0131yor: Filmlerin politik etkileri nelerdir? \u0130lgi Alan\u0131<\/em> ile b\u00f6ylesi bir mesaj\u0131n tekrar sinema seyircisine hat\u0131rlat\u0131lmas\u0131n\u0131n politik ve sanatsal olarak nas\u0131l bir i\u015flevi var?<\/p>\n\n\n\n

Bu sorular hakk\u0131nda d\u00fc\u015f\u00fcnmek i\u00e7in Jacques Ranci\u00e8re\u2019in politik sanat hakk\u0131nda \u00fcretti\u011fi fikirlerden faydalanabiliriz. Fakat \u00f6ncelikle Ranci\u00e8re\u2019in de yapt\u0131\u011f\u0131 gibi, seyirci meselesini birlikte d\u00fc\u015f\u00fcnmek faydal\u0131 olaca\u011f\u0131 i\u00e7in, entelekt\u00fcel \u00f6zg\u00fcrle\u015fme hakk\u0131ndaki kitab\u0131 Cahil Hoca<\/em>\u2019n\u0131n kalbindeki fikirden k\u0131saca bahsetmek istiyorum. <\/p>\n\n\n\n

Cahil Hoca<\/em>\u2019da Ranci\u00e8re, \u00f6\u011fretmenin \u00f6\u011frenciden bir ad\u0131m ileride oldu\u011fu d\u00fc\u015f\u00fcncesiyle hareket eden pedagojinin, zekalar\u0131n e\u015fitsizli\u011fi \u00f6nkabul\u00fcne dayand\u0131\u011f\u0131 i\u00e7in \u00f6z\u00fcnde aptalla\u015ft\u0131r\u0131c\u0131 bir s\u00fcre\u00e7 oldu\u011funu savunur. \u00d6\u011frencinin bu s\u00fcre\u00e7ten, mevcut hiyerar\u015fi ve e\u015fitsizlik d\u00fczenini yeniden \u00fcretecek bilgiler d\u0131\u015f\u0131nda bir \u015fey \u00f6\u011frenmesi m\u00fcmk\u00fcn de\u011fildir. Ranci\u00e8re, 18. y\u00fczy\u0131lda ya\u015fam\u0131\u015f ayk\u0131r\u0131 bir \u00f6\u011fretmen Jacotot\u2019un tekni\u011finden ilham alarak, entelekt\u00fcel \u00f6zg\u00fcrle\u015fmenin ancak \u015fu \u015fekilde m\u00fcmk\u00fcn olaca\u011f\u0131n\u0131 s\u00f6yler: Hoca, \u00f6\u011frenci ile kendi zekas\u0131n\u0131n e\u015fit oldu\u011fu \u00f6nkabul\u00fcyle, ona kendi bildi\u011fi bir \u015feyleri \u00f6\u011fretme \u00e7abas\u0131nda olmadan, \u00f6\u011frencinin -istedi\u011fi \u015feyi- \u00f6\u011frenme s\u00fcrecinde onun yolda\u015f\u0131 olmal\u0131d\u0131r. \u201c\u00d6\u011frenci, hocan\u0131n kendisinin de bilmedi\u011fi bir \u015feyi \u00f6\u011frenir hocadan. \u00d6\u011frenci, bunun kendisini ara\u015ft\u0131rmaya zorlayan ve bu ara\u015ft\u0131rmay\u0131 teyit eden hocal\u0131k becerisinin etkisiyle \u00f6\u011frenir. Fakat \u00f6\u011frendi\u011fi \u015fey hocan\u0131n bilgisi de\u011fildir.\u201d2<\/a><\/sup><\/p>\n\n\n\n

Cahil Hoca<\/em>\u2019n\u0131n kalbindeki bu fikir \u00d6zg\u00fcrle\u015fen Seyirci<\/em>\u2019de seyirci-y\u00f6netmen ili\u015fkisine uyarlan\u0131r. Y\u00f6netmenin seyirciye ne anlad\u0131\u011f\u0131 ve hissetmesi gerekti\u011fini apa\u00e7\u0131k bir \u015fekilde s\u00f6yleyen sinema aptalla\u015ft\u0131r\u0131c\u0131 bir pedagojinin izlerini ta\u015f\u0131r. \u0130lgi Alan\u0131\u2019<\/em>na d\u00f6nersek, izleyici olarak kendi deneyimim ve filmi izleyen di\u011fer insanlar\u0131n d\u00fc\u015f\u00fcncelerinden yola \u00e7\u0131kt\u0131\u011f\u0131mda filmin benzer bir buyurganl\u0131k talep etti\u011fini d\u00fc\u015f\u00fcn\u00fcyorum. Y\u00f6netmen bizi elimizden s\u0131k\u0131 s\u0131k\u0131 tutup gezdiriyor, ne hissetmemiz (ve hissetmememiz) gerekti\u011fini olduk\u00e7a a\u00e7\u0131k \u015fekilde g\u00f6steriyor. Filmin eklektik estetik yap\u0131s\u0131n\u0131n (sabit bir\u00e7ok kamera a\u00e7\u0131s\u0131 ile yarat\u0131lan ger\u00e7ek\u00e7i dil, kamptakilere yard\u0131m etmeye \u00e7al\u0131\u015fan Polonyal\u0131 aile i\u015flenirken ge\u00e7ilen di\u011fer g\u00f6r\u00fcnt\u00fc rejimi ve ses band\u0131n\u0131n g\u00f6r\u00fcnt\u00fcye e\u015flik bi\u00e7iminin) daha \u00f6zg\u00fcr bir anlat\u0131ya yol a\u00e7abilece\u011fi konusundaki kabullere ters olarak, filmde y\u00f6netmenin\/filmi yapanlar\u0131n tahayy\u00fcl\u00fc d\u0131\u015f\u0131nda bir d\u00fcnyaya a\u00e7\u0131lan, izleyicinin sorular sorabilece\u011fi, kendi ba\u011flant\u0131lar\u0131n\u0131 kurabilece\u011fi yani \u00f6zg\u00fcrle\u015febilece\u011fi alanlar oldu\u011funu s\u00f6ylemek, filmin mesaj\u0131n\u0131n barizli\u011fi de g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda olduk\u00e7a zor. <\/p>\n\n\n\n

Filmde kurulan y\u00f6netmen-seyirci hiyerar\u015fisi, ba\u015fka hiyerar\u015fileri de s\u00fcrd\u00fcr\u00fcyor: \u0130lgi Alan\u0131<\/em>\u2019n\u0131 bug\u00fcn ya\u015fad\u0131klar\u0131m\u0131zla ili\u015fkilendirmeden izlemek pek m\u00fcmk\u00fcn de\u011fil. Film hakk\u0131nda yaz\u0131lan bir\u00e7ok yaz\u0131 ve yorum \u201cFilistin\u2019de \u0130srail\u2019in yapt\u0131\u011f\u0131 katliamdaki gibi\u201d ifadesini i\u00e7eriyor. Bu y\u00fczden yaz\u0131n\u0131n ba\u015f\u0131ndaki sinema yazar\u0131n\u0131n s\u00f6zleriyle, filmin \u201cinsanlar\u0131n di\u011fer insanlara neler yapabilece\u011fi\u201d konusunu sadece Holokost \u00fczerinden de\u011fil bug\u00fcn\u00fcn ba\u011flam\u0131 \u00fczerinden de d\u00fc\u015f\u00fcnmeyi te\u015fvik edece\u011fi kabul ediliyor. Fakat bir mesaj\u0131 \u201cdo\u011fru\u201d bi\u00e7imde da\u011f\u0131tma g\u00f6revi filmlere y\u00fcklendi\u011finde filmi izleyecek olan di\u011fer seyircilerin fark\u0131ndal\u0131klar\u0131n\u0131n noksan oldu\u011fu varsay\u0131lm\u0131\u015f oluyor. Ya da filmin verdi\u011fi mesaj\u0131n do\u011frulu\u011funu anlam\u0131\u015f seyirciler, kendilerini daha y\u00fcksek bilince sahip bir toplulu\u011fun \u00fcyesi olarak konumland\u0131r\u0131yor. B\u00f6ylece zekalar aras\u0131ndaki hiyerar\u015fi yeniden \u00fcretilmi\u015f oluyor. <\/p>\n\n\n\n

\u0130lgi Alan\u0131<\/em>, festivallerden ve uluslararas\u0131 organizasyonlardan \u00f6d\u00fcllerle somutla\u015fan ciddi bir ilgi g\u00f6r\u00fcyor. (Cannes\u2019da B\u00fcy\u00fck \u00d6d\u00fcl, Alt\u0131n K\u00fcre, BAFTA ve son senelerde al\u0131\u015fk\u0131n olsak da yine de ba\u011f\u0131ms\u0131z filmlerin aday g\u00f6sterilmesinin daha zor say\u0131labilece\u011fi Oscar\u2019da En \u0130yi Film yar\u0131\u015f\u0131 vb.) Filmin buralarda kazand\u0131\u011f\u0131 ba\u015far\u0131 herhangi bir gi\u015fe filminden daha b\u00fcy\u00fck bir co\u015fkuyla kar\u015f\u0131lan\u0131yor. Bunun sebebi kimileri i\u00e7in basit\u00e7e filmin izlenme miktar\u0131n\u0131n artaca\u011f\u0131 ve b\u00f6ylece mesaj\u0131n\u0131n daha da fazla yay\u0131laca\u011f\u0131 \u00f6nkabul\u00fc, kimileri i\u00e7inse ticari kayg\u0131larla vasatla\u015fan ve s\u0131k\u0131c\u0131la\u015fan sinema \u00fcretimine, do\u011fru estetik tercihleriyle \u201cba\u015fka t\u00fcrl\u00fc bir sineman\u0131n\u201d s\u0131zabilmi\u015f olmas\u0131n\u0131n yaratabilece\u011fi yeni ihtimallerin heyecan\u0131 ve sineman\u0131n \u00fcst mercileri taraf\u0131ndan kendi sinema zevklerinin onaylanmaya ba\u015flanmas\u0131 olabilir. Fakat bu noktada da filmler aras\u0131nda bir yar\u0131\u015f\u0131 te\u015fvik eden \u00f6d\u00fcl ve festival sisteminin kendisinin sinemadaki tekd\u00fczele\u015fmenin esas nedenlerinden biri oldu\u011fu g\u00f6z ard\u0131 ediliyor.<\/p>\n\n\n\n

Bu gibi konular konu\u015fulurken s\u00fcrekli gelinen o noktaya geldik yine: \u201cO halde ne yapmal\u0131?\u201d Bu soruyu \u201cSanat\u0131n halihaz\u0131rda i\u015fleyen mekanizmalar\u0131 i\u00e7erisinde, bulundu\u011fumuz tarihsel ana \u00f6zg\u00fc ne tip manevralar yapabiliriz?\u201d \u015feklinde sormak daha uygun. \u00c7\u00fcnk\u00fc, Ranci\u00e8re\u2019in de dedi\u011fi gibi, herhangi bir sanat eserinin (yeniden \u00fcretece\u011fi estetik rejim, emek s\u00fcre\u00e7leri ve da\u011f\u0131t\u0131l\u0131\u015f bi\u00e7imleri dolay\u0131s\u0131yla) hiyerar\u015fi ve e\u015fitsizlik ili\u015fkilerinin yeniden \u00fcretim bi\u00e7imlerinin s\u0131zmad\u0131\u011f\u0131 \u015fekilde, izole bir \u00fcretiminden s\u00f6z etmek m\u00fcmk\u00fcn de\u011fil. Bu kadar kapana k\u0131s\u0131lm\u0131\u015f bir vaziyetteyken \u201cpolitik\u201d kelimesini bir s\u00fcreli\u011fine kenara al\u0131p sadece sanata odaklanmak iyi bir ilk hamle olabilir. Sonra da dikkati y\u00f6netmenlerin\/filmi yapanlar\u0131n seyirci \u00fczerindeki hiyerar\u015fisini \u00e7\u00f6zmeye y\u00f6nelik bir Cahil Hoca<\/em> yakla\u015f\u0131m\u0131na y\u00f6neltebiliriz: Seyircinin filmi yapanlar\u0131n bilgisi, kavray\u0131\u015f\u0131 ve anlatmak istediklerinin \u00f6tesine \u00e7\u0131kabilece\u011fi, kendi gezintisini yapabilece\u011fi katmanl\u0131 bir yap\u0131yla tasarlanmas\u0131, filmi yapanlar\u0131n rol\u00fcn\u00fc dikte edici bir pozisyondan e\u015flik\u00e7iye d\u00f6n\u00fc\u015ft\u00fcrebilir, seyircinin kendini \u00f6zg\u00fcrle\u015ftirme s\u00fcrecini te\u015fvik eden bir film haline gelebilir. Filmde kurulacak bu tarz bir yap\u0131n\u0131n, anlat\u0131lan konuya, kullan\u0131lan tekni\u011fe, yap\u0131m ve da\u011f\u0131t\u0131m bi\u00e7imine, filmin yap\u0131ld\u0131\u011f\u0131 tarihe ve belki de saymakla bitmeyecek bir\u00e7ok de\u011fi\u015fkene ba\u011fl\u0131 olarak kare kare d\u00fc\u015f\u00fcn\u00fclmesi gereklili\u011fi g\u00f6z \u00f6n\u00fcnde bulunduruldu\u011funda belli, \u00f6nden tasarlanm\u0131\u015f bir model veya form\u00fcl ile hareket edilemeyece\u011fi ise ortada. <\/p>\n\n\n\n

Bu form\u00fcls\u00fcz s\u00fcre\u00e7 tesad\u00fcflere, deneme yan\u0131lmalara daha a\u00e7\u0131k yanlar\u0131 ile ancak sanat\u0131n sahip olabilece\u011fi potansiyelleri besledi\u011fi gibi, \u201cpolitik sanat\u0131n\u201d illa a\u00e7\u0131ktan politik bir mesele hakk\u0131nda olmas\u0131 gereklili\u011fini de ortadan kald\u0131r\u0131yor. \u0130lgi Alan\u0131 <\/em>ve di\u011fer politik etkisi var oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen filmlere bak\u0131ld\u0131\u011f\u0131nda, bir mesaj\u0131 olabildi\u011fince etkili ve do\u011fru y\u00f6ntemlerle s\u00f6yleyerek izleyiciyi harekete ge\u00e7irme form\u00fcl\u00fcne dayand\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcyor. Bu form\u00fcl\u00fcn asl\u0131nda \u00f6z\u00fcnde izleyicinin \u00f6zg\u00fcrle\u015fmesi y\u00f6n\u00fcndeki yollar\u0131 t\u0131k\u0131yor olabilece\u011fini yaz\u0131 boyunca tart\u0131\u015ft\u0131k. Bu y\u00fczden politik sanat\u0131n, ancak bildi\u011fimiz anlamda politik olmaya \u00e7al\u0131\u015fmamak kayd\u0131yla \u00fcretilebilece\u011fini s\u00f6ylemek bile m\u00fcmk\u00fcn. Ranci\u00e8re\u2019in ifadesiyle \u201cBug\u00fcn ba\u015fka bir d\u00fcnyan\u0131n olanakl\u0131l\u0131k kap\u0131s\u0131n\u0131 a\u00e7\u0131k tutan s\u00f6z, me\u015frulu\u011fu ve etkilili\u011fi hakk\u0131nda yalan s\u00f6ylemeyi b\u0131rakan, s\u00f6zden ibaret olma stat\u00fcs\u00fcn\u00fc, ba\u015fka vahalar\u0131n yan\u0131 ba\u015f\u0131nda bir vaha ya da ba\u015fka adalardan ayr\u0131 bir ada olma stat\u00fcs\u00fcn\u00fc kabul eden s\u00f6zd\u00fcr.\u201d3<\/a><\/sup><\/p>\n\n\n\n

Bu perspektiften bakt\u0131\u011f\u0131m\u0131zda sadece i\u015f\u00e7i s\u0131n\u0131f\u0131 meselelerini veya T\u00fcrkiye sinemas\u0131 \u00f6zelinde bakarsak \u201c\u00fclkenin ger\u00e7ekliklerini\u201d konu alan filmlerin \u00f6zg\u00fcrle\u015ftirici seyirci pratiklerini tamam\u0131yla te\u011fet ge\u00e7ebilmesi de, cep telefonuyla \u00f6ylesine \u00e7ekilip sosyal bir platformda yay\u0131nlanm\u0131\u015f bir videonun, sineman\u0131n \u00fcretim ve da\u011f\u0131t\u0131m a\u00e7\u0131s\u0131ndan bamba\u015fka politik potansiyellere sahip olabilece\u011fini d\u00fc\u015f\u00fcnd\u00fcrmesi de daha anla\u015f\u0131l\u0131r geliyor. Filmlere gere\u011finden fazla \u00f6nem ve sorumluluk y\u00fcklemeden, \u00fcretilen her sanat eserinin ka\u00e7\u0131n\u0131lmaz bi\u00e7imde politik bir i\u00e7eri\u011fe sahip oldu\u011funu bildi\u011fimiz halde politik olma iddias\u0131n\u0131 \u00fczerinden kald\u0131rd\u0131\u011f\u0131m\u0131zda sinema, daha az kafa kar\u0131\u015f\u0131kl\u0131\u011f\u0131yla  yeni ihtimalleri i\u00e7erisinde daha fazla bar\u0131nd\u0131rabilecek bir u\u011fra\u015f haline geliyor. <\/p>\n\n\n\n

Fa\u015fizm failli\u011finin s\u0131radan bir eylem oldu\u011funu \u0130lgi Alan\u0131 <\/em>arac\u0131l\u0131\u011f\u0131yla tekrar hat\u0131rlay\u0131p y\u00fcksek bir puan vererek bu filmi koleksiyonumuza eklemek ve verdi\u011fi mesaj\u0131n nas\u0131l al\u0131naca\u011f\u0131 hakk\u0131nda sorular sormadan mesaj\u0131n verilmesini kutlamak, fakat ard\u0131ndan yan\u0131 ba\u015f\u0131m\u0131zda dahil olman\u0131n bir yolunu bulmam\u0131z gereken meselelerin aciliyetine g\u00f6z yumarak hayat\u0131m\u0131za devam etmek \u0130lgi Alan\u0131\u2019<\/em>nda anlat\u0131lana benzer kuma\u015fta bir kay\u0131ts\u0131zl\u0131\u011fa benziyor ve filmin sahip oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen politik tav\u0131rla ba\u011fda\u015fm\u0131yor. Mevcut politik sanat pratikleri \u015fikayet etti\u011fi d\u00fcnyay\u0131 yeniden \u00fcretmeye mahkumken ihtiyac\u0131m\u0131z olan \u015fey, filmlerin politik potansiyellerini bamba\u015fka y\u00f6ntemlerle aramak, sanat ve \u00f6zg\u00fcrle\u015fme ili\u015fkisine dair daha ele\u015ftirel bir yakla\u015f\u0131m i\u00e7inde olmak gibi duruyor.<\/p>\n\n\n\n

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  1. Adrian Horton, Best movies of 2023 in the US: No 3 \u2013 The Zone of Interest<\/a> \u21a9\ufe0e<\/a><\/li>
  2. Jacques Ranci\u00e8re, \u00d6zg\u00fcrle\u015fen Seyirci, Metis Yay\u0131nlar\u0131, s.19 \u21a9\ufe0e<\/a><\/li>
  3. Jacques Ranci\u00e8re, Nas\u0131l Bir Zamanda Ya\u015f\u0131yoruz?, Metis Yay\u0131nlar\u0131, s.58 \u21a9\ufe0e<\/a><\/li><\/ol>","protected":false},"excerpt":{"rendered":"

    Bu senenin pop\u00fcler ve bol \u00f6d\u00fcll\u00fc filmlerinden \u0130lgi Alan\u0131 [The Zone of Interest], Auschwitz toplama kamp\u0131na, komutan H\u00f6ss\u2019\u00fcn kamp\u0131n hemen yan\u0131nda yer alan evinden bak\u0131yor. Be\u015f \u00e7ocuklu H\u00f6ss \u00e7ifti pikni\u011fe gidiyor, bah\u00e7elerini dizayn ediyor, misafir a\u011f\u0131rl\u0131yor, gelece\u011fe dair planlar yap\u0131yor. Filmdeki kay\u0131ts\u0131zl\u0131k sekanslar\u0131n\u0131 izlerken, \u0130lgi Alan\u0131\u2019n\u0131n ba\u015far\u0131l\u0131 zanaat\u0131 sayesinde mide bulant\u0131s\u0131 hissetmedi\u011fimiz tek bir an […]<\/p>\n","protected":false},"author":74,"featured_media":35351,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"[{\"content\":\"Adrian Horton, Best movies of 2023 in the US: No 3 \u2013 The Zone of Interest<\/a>\",\"id\":\"649c0e1a-b600-4bec-8cf4-70dc1ccf1892\"},{\"content\":\"Jacques Ranci\u00e8re, \u00d6zg\u00fcrle\u015fen Seyirci, Metis Yay\u0131nlar\u0131, s.19\",\"id\":\"4c5fed76-4af6-4cf3-a264-422ec3ee86a0\"},{\"content\":\"Jacques Ranci\u00e8re, Nas\u0131l Bir Zamanda Ya\u015f\u0131yoruz?, Metis Yay\u0131nlar\u0131, s.58\",\"id\":\"d46ea272-fa34-4ce5-a93d-44c7ae37a991\"}]"},"categories":[19,20,16],"tags":[1491,1603,1599,1570,419,1499,1424,1602,1596,1383,1594,333,671,335,1423,1595,1601,1598],"yoast_head":"\nPolitik sineman\u0131n \u201c\u0130lgi Alan\u0131\u201d - e-komite<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Politik sineman\u0131n \u201c\u0130lgi Alan\u0131\u201d - e-komite\" \/>\n<meta property=\"og:description\" content=\"Bu senenin pop\u00fcler ve bol \u00f6d\u00fcll\u00fc filmlerinden \u0130lgi Alan\u0131 [The Zone of Interest], Auschwitz toplama kamp\u0131na, komutan H\u00f6ss\u2019\u00fcn kamp\u0131n hemen yan\u0131nda yer alan evinden bak\u0131yor. Be\u015f \u00e7ocuklu H\u00f6ss \u00e7ifti pikni\u011fe gidiyor, bah\u00e7elerini dizayn ediyor, misafir a\u011f\u0131rl\u0131yor, gelece\u011fe dair planlar yap\u0131yor. Filmdeki kay\u0131ts\u0131zl\u0131k sekanslar\u0131n\u0131 izlerken, \u0130lgi Alan\u0131\u2019n\u0131n ba\u015far\u0131l\u0131 zanaat\u0131 sayesinde mide bulant\u0131s\u0131 hissetmedi\u011fimiz tek bir an […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/\" \/>\n<meta property=\"og:site_name\" content=\"e-komite\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/ekomite2020\" \/>\n<meta property=\"article:published_time\" content=\"2024-03-10T09:27:20+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-03-10T12:27:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/e-komite.com\/wp-content\/uploads\/2024\/03\/ilgi_alani.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"640\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Ay\u015fe Irmak \u015een\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@e_komite\" \/>\n<meta name=\"twitter:site\" content=\"@e_komite\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"Ay\u015fe Irmak \u015een\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/\"},\"author\":{\"name\":\"Ay\u015fe Irmak \u015een\",\"@id\":\"https:\/\/e-komite.com\/#\/schema\/person\/f3903abe0da0d287bec18c1eb0127611\"},\"headline\":\"Politik sineman\u0131n \u201c\u0130lgi Alan\u0131\u201d\",\"datePublished\":\"2024-03-10T09:27:20+00:00\",\"dateModified\":\"2024-03-10T12:27:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/\"},\"wordCount\":1795,\"publisher\":{\"@id\":\"https:\/\/e-komite.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/e-komite.com\/wp-content\/uploads\/2024\/03\/ilgi_alani.jpg\",\"keywords\":[\"Almanya\",\"Auschwitz\",\"Cannes\",\"film\",\"film ele\u015ftirisi\",\"film festivali\",\"gazze soyk\u0131r\u0131m\u0131\",\"holokost\",\"\u0130lgi Alan\u0131\",\"k\u00fclt\u00fcr\",\"nazi\",\"oscar\",\"sanat\",\"sinema\",\"soyk\u0131r\u0131m\",\"toplama kamp\u0131\",\"yahudi soyk\u0131r\u0131m\u0131\",\"Zone of Interest\"],\"articleSection\":[\"K\u00fclt\u00fcr Sanat\",\"Man\u015fet\",\"Yaz\u0131\"],\"inLanguage\":\"tr\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/\",\"url\":\"https:\/\/e-komite.com\/2024\/politik-sinemanin-ilgi-alani\/\",\"name\":\"Politik sineman\u0131n \u201c\u0130lgi Alan\u0131\u201d - 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