T\u00fcrk sinemas\u0131nda farkl\u0131 bir dili olan, gelenekten beslenip \u00f6zg\u00fcnl\u00fc\u011f\u00fc arayan, sinema tarihine b\u00fcy\u00fck katk\u0131 sa\u011flayan,\u00a0 yarat\u0131c\u0131l\u0131k konusunda kararl\u0131\u00a0 y\u00f6netmenlerden biridir Dervi\u015f Zaim. Filmlerinde,\u00a0 gelenekselle\u015ftirdi\u011fi objeler ve mesajlar\u0131 olan, \u00e7ekti\u011fi her filimde ayn\u0131 karakterleri farkl\u0131 olaylar i\u00e7inde i\u015fleyen y\u00f6netmenin ba\u015far\u0131s\u0131 yads\u0131namaz.<\/p>\n
Dervi\u015f Zaim, 1964 K\u0131br\u0131s do\u011fumlu bir T\u00fcrk\u00a0 y\u00f6netmendir. Lise e\u011fitimini Magosa’da yapan Zaim, y\u00fcksek okulu\u00a0 Bo\u011fazi\u00e7i \u00fcniversitesinde, k\u00fclt\u00fcr mast\u0131r\u0131n\u0131 da\u00a0 \u0130ngiltere’de tamamlad\u0131. 1992 y\u0131l\u0131nda Yunus Nadi Roman \u00d6d\u00fcl\u00fcn\u00fc “Ares Harikalar Diyar\u0131” roman\u0131yla\u00a0 ald\u0131 ve b\u00fcy\u00fck bir ba\u015far\u0131ya imza att\u0131. 1996 y\u0131l\u0131nda \u00e7ekti\u011fi “Tabutta R\u00f6ve\u015fata” filmi ile hem \u00fclkemizde hem de d\u00fcnyada b\u00fcy\u00fck bir ba\u015far\u0131 sa\u011flad\u0131. 2000 y\u0131l\u0131nda “Filler ve \u00c7imen”, 2003’te “\u00c7amur”,\u00a0 2006’da “Cenneti Beklerken”, 2007’de “Nokta”, 2010’da “G\u00f6lgeler ve Suretler”, 2012’de “Devir”, 2013’te “Bal\u0131k” ve ge\u00e7ti\u011fimiz g\u00fcn vizyona giren “R\u00fcya” filmi sinema kariyerini \u00f6n\u00fcm\u00fcze seriyor. T\u00fcrkiye’de ne yaz\u0131k ki her sanat filminin kar\u015f\u0131la\u015ft\u0131\u011f\u0131 ortak kaderle Zaim de kar\u015f\u0131la\u015f\u0131yor; seyircisiyle\u00a0 bulu\u015fmakta,\u00a0 salon problemi ya da vizyonda say\u0131l\u0131 g\u00fcnlerde kalma gibi sineman\u0131n en \u00f6nemli sorunlar\u0131 ile.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Son Filmi R\u00fcya i\u00e7in “R\u00fcya, benim do\u011fayla ilgili yapt\u0131\u011f\u0131m “Devir” ve “Bal\u0131k” adl\u0131 filmlerin devam\u0131 niteli\u011findedir \u00e7\u00fcnk\u00fc g\u00fcn\u00fcm\u00fczde \u015fehirde ya\u015fayan insanlar \u00e7evre ve do\u011fa ile bar\u0131\u015f\u0131k olmak istiyorlar. K\u0131br\u0131s’ta 40 y\u0131l \u00f6nce trafik t\u0131kan\u0131kl\u0131\u011f\u0131 olacak deseler inanamazd\u0131m. \u0130lerde torunlar\u0131m\u0131za ya\u015fad\u0131\u011f\u0131 hayat\u0131 mutlu ve zengin k\u0131labilmemiz i\u00e7in bize bah\u015fedilenlerden yararlan\u0131p onlara miras b\u0131rakmam\u0131z laz\u0131m. Sonu\u00e7ta vicdan, hakikat\u00a0 ve \u00f6zg\u00fcrl\u00fck \u00fcst\u00fcne filmler yapmaya gayret ediyorum.”<\/em><\/p>\n Zaim sinemas\u0131ndaki yap\u0131 ta\u015flar\u0131n\u0131 inceledim 1) Tabutta Rova\u015fata (Mahsun), 2) Filler ve \u00c7imen (Havva), 3) \u00c7amur (Ali, Ay\u015fe), 4) Cenneti Beklerken (Eflatun, Leyla), 5) Nokta (Ahmet), 6) G\u00f6lgeler ve Suretler (Veli, Ruhsar), 7) Devir (Ali), 8) Bal\u0131k (Kaya, Filiz) filmlerindeki karakterlerindeki pi\u015fmanl\u0131k, af dileme, m\u00fccadeleci, inat\u00e7\u0131 \u00f6zellikler, birebir ayn\u0131 ve olaylar\u0131n ak\u0131\u015f\u0131n\u0131 etkiliyor ve bir dil olmas\u0131n\u0131 peki\u015ftiriyor. Zaim sinemas\u0131n\u0131n bir dil olmas\u0131n\u0131 sa\u011flayan di\u011fer bir \u00f6zellik ise g\u00f6rsel zenginlikleri \u00f6n planda tutmas\u0131. “G\u00f6lgeler ve Suretler” filminde K\u0131br\u0131s, “Devir” Burdur\/Hasanpa\u015fa, “Bal\u0131k” Bursa\/G\u00f6lyaz\u0131, “R\u00fcya” filminde \u0130stanbul ve Tarihi miraslar\u0131n g\u00f6r\u00fcnt\u00fclerini kullanarak filmlerini zenginle\u015ftirdi. Ba\u015fka bir saptamam ise meslekler “Nokta”da hat sanat\u0131n\u0131, “R\u00fcya” filminde mimariyi i\u015flemesi. Zaim’in bize bak\u0131\u015f a\u00e7\u0131s\u0131 hakk\u0131nda bilgiler verir.<\/p>\n Y\u00f6netmenin kadrajda g\u00f6sterdi\u011fi hi\u00e7bir \u015fey rastgele de\u011fildir. “R\u00fcya” filminde ilk dakikalarda Hans Holbein’in “El\u00e7iler” tablosu g\u00f6r\u00fcn\u00fcyor. Bu tablo Vanitas ak\u0131m\u0131n\u0131 temsil eder. Vanitas ak\u0131m\u0131n\u0131 a\u00e7\u0131klarsak resimde g\u00f6r\u00fcnen objelerin olabildi\u011fini birbirine ters g\u00f6r\u00fc\u015fleri g\u00f6sterir, hayat\u0131n zevklerinin, ba\u015far\u0131n\u0131n, \u015fan ve \u015f\u00f6hretin ge\u00e7ici oldu\u011funu, hi\u00e7lik, beyhudelik ve kibiri temsil eder. Bu el\u00e7ileri incelersek tablodaki masan\u0131n \u00fcst\u00fc g\u00f6ky\u00fcz\u00fc ve ilahi kavramlar, alt raf\u0131 yery\u00fcz\u00fc ve canl\u0131lara dair nesneler, alttaki kafatas\u0131 ise \u00f6l\u00fcm\u00fc temsil eder. Yani hayat\u0131n karma\u015fas\u0131 ve \u00f6l\u00fcml\u00fc oldu\u011fumuza gem vurur.<\/p>\n Kentsel d\u00f6n\u00fc\u015f\u00fcm ve yeni binalar, k\u00f6yden kente g\u00f6\u00e7\u00fcn h\u0131zlanmas\u0131, \u00fclkemizde konut alan\u0131nda b\u00fcy\u00fck bir de\u011fi\u015fim ya\u015fanmas\u0131na sebep oldu. Zaim, soyut\u00a0 konular\u0131n yan\u0131 s\u0131ra toplumsal sorunlar\u0131 i\u015faret eder. 23. Uluslararas\u0131 Adana Film Festivalinin Ulusal Uzun Metraj Film Yar\u0131\u015fmas\u0131 a\u00e7\u0131l\u0131\u015f\u0131nda g\u00f6sterime girdi. Senaryosunu ve y\u00f6netmenli\u011fini Dervi\u015f Zaim’in yapt\u0131\u011f\u0131 filmin konusundan bahsedeyim. Mimari; g\u00fcn\u00fcm\u00fczde her \u015fey konut ev, USA’n\u0131n ba\u015fkan\u0131 bile M\u00fcteahhit. Filmde gelenekten ald\u0131\u011f\u0131 miras\u0131 gelece\u011fe ta\u015f\u0131maya \u00e7al\u0131\u015fan ve s\u00fcreklilik i\u00e7in topluma ayak uydurmaya \u00e7al\u0131\u015fan mimar k\u0131z\u0131n hikayesi. Mimarinin g\u00fcn\u00fcm\u00fczde ald\u0131\u011f\u0131 boyutu be\u011fenmeyen bir mimar, Yedi Uyuyanlar menk\u0131besinden hareket ederek ma\u011fara bi\u00e7iminde bir cami modeli tasarlam\u0131\u015ft\u0131r. Problemler \u00e7\u0131k\u0131nca in\u015faat yar\u0131m kal\u0131r. Stres nedeni \u00a0ile uyku problemi olan Sine tedavi olmak i\u00e7in klini\u011fe yatar.\u00a0 Klinikte tedavi s\u00fcre\u00e7lerinde bir \u00e7ok olay ya\u015fan\u0131r ve de\u011fi\u015fime ba\u015flar. Filmi seyretmenizi tavsiye ederim.<\/p>\n \u0130yi Seyirler..<\/p>\n","protected":false},"excerpt":{"rendered":" T\u00fcrk sinemas\u0131nda farkl\u0131 bir dili olan, gelenekten beslenip \u00f6zg\u00fcnl\u00fc\u011f\u00fc arayan, sinema tarihine b\u00fcy\u00fck katk\u0131 sa\u011flayan,\u00a0 yarat\u0131c\u0131l\u0131k konusunda kararl\u0131\u00a0 y\u00f6netmenlerden biridir Dervi\u015f Zaim. Filmlerinde,\u00a0 gelenekselle\u015ftirdi\u011fi objeler Devam\u0131n\u0131 Oku<\/a><\/p>\n<\/div>","protected":false},"author":1,"featured_media":61,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[],"class_list":["post-60","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-yazilarim"],"aioseo_notices":[],"views":247,"_links":{"self":[{"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/60","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=60"}],"version-history":[{"count":1,"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/60\/revisions"}],"predecessor-version":[{"id":62,"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/60\/revisions\/62"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/media\/61"}],"wp:attachment":[{"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=60"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=60"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mhalukyalcinkaya.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=60"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}