{"id":202,"date":"2025-11-27T21:39:26","date_gmt":"2025-11-27T21:39:26","guid":{"rendered":"https:\/\/atolyer10.com\/?p=202"},"modified":"2025-11-28T18:01:47","modified_gmt":"2025-11-28T18:01:47","slug":"joris-ivensin-kamerasindan-direnis-ve-sanat","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=202","title":{"rendered":"Joris Ivens’in Kameras\u0131ndan Direni\u015f ve Sanat"},"content":{"rendered":"\n

Joris \u0130vens 1889 Hollanda do\u011fumlu, say\u0131sal bir tesad\u00fcfle 1989 y\u0131l\u0131nda Paris’te 91 ya\u015f\u0131nda aram\u0131zdan ayr\u0131l\u0131yor. Bunu s\u00f6ylememin sebebi; e\u011fer uluslararas\u0131 gezgin bir sanat\u00e7\u0131ysan\u0131z arkan\u0131zda b\u0131rakt\u0131\u011f\u0131n\u0131z eserleriniz de \u00e7ok dili olacakt\u0131r. Bu sebeple filmlerden al\u0131nt\u0131 yaparken filmin \u00e7ekildi\u011fi \u00fclkedeki orjinal ad\u0131 kabul ettim. 1978’den itibaren Cin\u00e9ma du R\u00e9el adl\u0131 Paris merkezli belgesel film festivalinde Joris Ivens ad\u0131na \u00f6d\u00fcl verildi\u011fi i\u00e7in filmleri daha \u00e7ok Frans\u0131zlar\u0131n himayesinde g\u00f6r\u00fcn\u00fcyor. Oysa Joris Ivens Sovyetler Birli\u011finden, Bel\u00e7ika’ya, \u0130spanya’ya, \u00c7in’e,Vietnam, Endonezya’ya uzanan nice \u00fclkede bulunmu\u015f, ya\u015fad\u0131\u011f\u0131 d\u00f6nem itibariyle neredeyse hi\u00e7 durulmayan sava\u015flar\u0131n, direni\u015flerin, yolsullu\u011fun belgesini g\u00fcn\u00fcm\u00fcze ula\u015ft\u0131rm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

1. D\u00fcnya sava\u015f\u0131 s\u0131ras\u0131nda ilk gen\u00e7li\u011fini ya\u015fayan \u0130vens’in babas\u0131n\u0131n bir foto\u011fraf st\u00fcdyosu var. Hen\u00fcz 13 ya\u015f\u0131nda babas\u0131n\u0131n verdi\u011fi bir kamerayla ilk k\u0131sa filmini aile \u00fcyelerinden olu\u015fan ekiple \u00e7ekiyor. 28 ya\u015flar\u0131nda \u00e7ekti\u011fi ve Klasikle\u015fen ilk \u00e7al\u0131\u015fmas\u0131 “Ragen(Ya\u011fmur)” ve “De Brug(k\u00f6pr\u00fc)” ilk k\u0131sa filmlerinden. Ragen filminde ya\u011fmurun \u00fcst\u00fcm\u00fcze ya\u011fan evrensel etkisini g\u00f6rmek m\u00fcmk\u00fcn bence hatta izleyenin ya\u011fmurun i\u00e7ine d\u00fc\u015fmesi kuvvetle muhtemel. Kendi ifadeleriyle \u015funlar\u0131 s\u00f6yl\u00fcyor: “A\u015fa\u011f\u0131 yukar\u0131 28 ya\u015flar\u0131ndayd\u0131m, o zamanlar bi\u00e7imciydim. Regen , De Brug gibi filmler yapt\u0131m. Sinema sanat\u0131n\u0131n alfabesini ar\u0131yordum. Ne sinema okulu, ne de do\u011fru d\u00fcr\u00fcst sinema ele\u015ftirisi vard\u0131. Ger\u00e7ekten hemen hemen hi\u00e7bir \u015fey yok gibiydi sinemayla ilgili. \u0130\u015fe ba\u015flad\u0131\u011f\u0131m k\u00fc\u00e7\u00fck \u00fclke Hollanda’da tamamen kendime d\u00f6n\u00fckt\u00fcm.” (Tehlikeli Ya\u015famak, Belgesel Sineman\u0131n Kurucusu Joris Ivens, Hans Scoots, kameraarkas\u0131.org\/makaleler\/belgefilmuzerinenotlar.html)<\/p>\n\n\n

\n
\"Regen-1929-1024x805
Joris Ivens , Ragen (Ya\u011fmur) 1929, sessiz 12 dk.<\/strong> , ba\u011flant\u0131dan filmi izleyebilirsiniz https:\/\/www.youtube.com\/watch?v=6ADNWzg4ZmE,<\/a>
<\/figcaption><\/figure>\n<\/div>\n\n
\n
\"image-w1280-1024x576
De Brug(k\u00f6pr\u00fc) sessiz, 14” siyah beyaz, M\u00fczik: Mark Hamlyn<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n

Rottherdam k\u00f6pr\u00fcs\u00fcn\u00fc t\u00fcm metal ve geometrik \u015fekillerden olu\u015fan bile\u015fenlerine indirgeyen, bunlar\u0131 m\u00fczikle end\u00fcstri \u00fcr\u00fcnlerinin bir senfonisine d\u00f6n\u00fc\u015ft\u00fcren Joris Ivens’in bi\u00e7imsel al\u0131\u015ft\u0131rmalar\u0131ndan. \u0130zlemek i\u00e7in linki kullanabilirsiniz: https:\/\/www.youtube.com\/watch?v=BMsMOi_d7kY<\/a><\/p>\n\n\n\n

Sonraki sinema \u00e7izgisinin de\u011fi\u015fimini \u015f\u00f6yle anlat\u0131yor : “\u0130lk filmlerimle mesle\u011fimi iyice yak\u0131ndan tan\u0131d\u0131m, bir yandan da filmlerimi g\u00f6ren insanlarla kar\u015f\u0131 kar\u015f\u0131ya geldim, onlar\u0131n filmlerimde ho\u015flar\u0131na giden \u015feylerin neler oldu\u011funu \u00f6\u011frendim. \u0130ki \u015fey \u00e7\u0131kt\u0131 ortaya: Birincisi, burjuva ele\u015ftirisinden \u00e7ok \u00f6vg\u00fc almam, \u0130kincisi ise; Filmlerim 1930 y\u0131l\u0131nda birka\u00e7 ay kalm\u0131\u015f oldu\u011fum Sovyetler Birli\u011finde g\u00f6sterildi ve yaln\u0131zca filmciler de\u011fil, geni\u015f i\u015f\u00e7i kitleleri taraf\u0131ndan \u00e7ok ciddi bir bi\u00e7imde ele\u015ftirildi. Sorular\u0131 son derece basitti: Ne demek oluyor k\u00f6pr\u00fc? Nereye gidiyor? Bu k\u00f6pr\u00fcn\u00fcn \u00fcst\u00fcnde trenle ge\u00e7en kimdir? Bir i\u015f\u00e7i \u00f6yle rahat\u00e7a Amsterdam’dan Paris’e gidebilir mi? Ve buna benzer sorular. K\u00f6pr\u00fc filminin salt bi\u00e7imcilik a\u00e7\u0131s\u0131ndan bir \u00e7\u0131kmaz oldu\u011funu anlad\u0131m. Bu ger\u00e7e\u011fin kavray\u0131\u015f\u0131ndan sonra m\u00fccadeleci belge filmlerin nas\u0131l bir anlam ta\u015f\u0131d\u0131\u011f\u0131n\u0131 farkettim. ” (Hans Schoots, Tehlikeli Ya\u015famak: Joris Ivens, Hayalet Kitap,2008, metin al\u0131nt\u0131 kameraarkas\u0131.org\/makaleler\/belgefilmuzerinenotlar.html)<\/p>\n\n\n\n

Bunu izleyen y\u0131llarda Bel\u00e7ika’da Borinage sanayii b\u00f6lgesinde k\u00f6m\u00fcr madencilerinin iki ay s\u00fcren grevini ve sefaletini belgeleyen kurgusal belge niteli\u011fi ta\u015f\u0131yan Mis\u00e8re au Borinage<\/strong> filmi (1933 ) Henri Storck<\/a>\u00a0,\u00a0Joris Ivens<\/a> <\/strong>i\u015f birli\u011fiyle \u00e7ekiliyor. Joris o zaman\u0131 \u015f\u00f6yle anlat\u0131yor: “O zamanlar Bel\u00e7ika’daki kavga yasad\u0131\u015f\u0131yd\u0131. Biliyorsunuz belki, polis s\u00fcrekli pe\u015fimizde oldu\u011fundan her gece ba\u015fka bir evde kalmak zorundayd\u0131k. Ama \u00f6te yandan i\u015f\u00e7inin g\u00fcvenini kazand\u0131k. \u0130\u015f\u00e7ilerin kavgas\u0131 ve yoksullu\u011fu kar\u015f\u0131s\u0131nda \u00e7ok daha m\u00fctevaz\u0131la\u015ft\u0131\u011f\u0131n\u0131 siz de g\u00f6rd\u00fcn\u00fcz. E\u011fer Borinage’yi seyrettiyseniz, bu filmdeki \u00e7al\u0131\u015fman\u0131n 180 derecelik bir d\u00f6n\u00fc\u015f yapt\u0131\u011f\u0131n\u0131 fark etmi\u015f olmal\u0131s\u0131n\u0131z”…<\/p>\n\n\n

\n
\"08.30_Misere-au-Borinage_\u00a9Cinematek_43-1024x576
Mis\u00e8re au Borinage ,Joris Ivens, Henri Storch, Bel\u00e7ika 1934 36′ sessiz, siyah-beyaz <\/strong>, Filmi ba\u011flant\u0131dan izleyebilirsiniz: https:\/\/m.ok.ru\/video\/1609334065690<\/a><\/figcaption><\/figure>\n<\/div>\n\n
\n
\"miners-wives-carrying-sacks-of-coal-1882.jpgLarge
Vincent Van Gogh ,1882 Madencilerin E\u015fleri K\u00f6m\u00fcr Ta\u015f\u0131yor, Bel\u00e7ika, Br\u00fcksel <\/strong>, Van Gogh’un belgeselin \u00e7ekiminden yakla\u015f\u0131k yar\u0131m as\u0131r \u00f6nce Br\u00fcksel’deki ayn\u0131 b\u00f6lgenin k\u00f6m\u00fcr madencilerinin e\u015flerinin resmini yapt\u0131. Kr\u00f6ller-M\u00fcller M\u00fczesi, https:\/\/www.wikiart.org\/en\/vincent-van-gogh\/miners-wives-carrying-sacks-of-coal-1882<\/a><\/figcaption><\/figure>\n<\/div>\n\n
\n
\"nt_146-1
K\u00e4the Kollwitz, Retour des ouvriers \u00e0 la gare, 1897\u201399, pinceau et aquarelles, rehauss\u00e9 de blanc sur papier Ingres, NT 146 \u00a9 K\u00e4the Kollwitz Museum K\u00f6ln<\/em>, https:\/\/www.humanite.fr\/culture-et-savoir\/kathe-kollwitz\/kathe-kollwitz-lart-pour-temoigner-et-agir<\/a><\/figcaption><\/figure>\n<\/div>\n\n
\n
\"the-potato-eaters-1885-1.jpgLarge
Vincent Van Gogh, 1885 Patates Yiyenler, Van Gogh Museum, https:\/\/www.wikiart.org\/en\/vincent-van-gogh\/the-potato-eaters-1885-1<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n

Ayn\u0131 y\u0131l 1933 ‘ de Yeni D\u00fcnya (Nieuwe gronden \/ New Earth (Joris Ivens, 1933, 30’) belgeseli g\u00f6sterime giriyor. Tarihin \u00f6nemli bir an\u0131 , Amsterdam’\u0131n Kuzey deniyle G\u00fcney denizini ay\u0131r\u0131p, denizden 90,650 hektarl\u0131k alan\u0131 \u0131slah etme hedefini i\u00e7eren, o g\u00fcne kadar g\u00f6r\u00fclm\u00fc\u015f en b\u00fcy\u00fck giri\u015fim bu. Do\u011fay\u0131 ehlile\u015ftirmek. 10.00 i\u015f\u00e7i 120 ay boyunca g\u00fcnde 12 saat 2 vardiya \u00e7al\u0131\u015f\u0131yor. Ancak deniz kapa\u011f\u0131n kapan\u0131\u015f\u0131na b\u00fcy\u00fck diren\u00e7 g\u00f6steriyor. Gelgitler oluyor, set derinden zedeleniyor. Sonunda denizden toprak kazan\u0131l\u0131yor. Ama bir sorun var! G\u00fcney denizi kapat\u0131ld\u0131\u011f\u0131 y\u0131l Hollanda’da resmi i\u015fsiz say\u0131s\u0131 80.000’e y\u00fckseliyor. Tarihteki bu tah\u0131l krizi ayn\u0131 zamanda do\u011fan\u0131n intikam\u0131 gibi yenilemez hale gelen tah\u0131llar yak\u0131l\u0131yor, yok ediliyor. Evet a\u00e7l\u0131\u011fa ra\u011fmen…\u00e7\u00f6z\u00fcm\u00fc milyonerler buluyor. <\/p>\n\n\n\n

Bu bana Kathe Kollwitz’in “Tohum \u00f6\u011f\u00fct\u00fcld\u00fc ama un olmad\u0131” slogan\u0131yla afi\u015fini hat\u0131rlat\u0131yor. \u0130\u015f\u00e7ilerin belgeseli, Kolwitz’in i\u015f\u00e7ileri, Van Gogh’un madenci ve ekicileri ve hatta Millet’in toplay\u0131c\u0131lar\u0131 birbirine benziyor, birbiriyle ba\u011flan\u0131yor duru\u015flar\u0131, y\u00fczleri, hareketleriyle, varolu\u015flar\u0131nlar\u0131ndaki direni\u015fle.. Bertolt Brecht’e kat\u0131l\u0131yor araya, Okuyan Bir \u0130\u015f\u00e7inin Sorular\u0131<\/strong>‘nda soruyor…<\/p>\n\n\n

\n
\"macc88rzfriedhof
Kathe Kollwitz, ,1913 (Litografi), https:\/\/kaethekollwitz.org\/ <\/a>“Bir sanat\u00e7\u0131 olarak, bu duygu havuzundan yararlanma, onlar\u0131 \u00f6z\u00fcmseme ve sonra ifade etme hakk\u0131m var. Dolay\u0131s\u0131yla, Liebknecht’in siyasi g\u00f6r\u00fc\u015fleriyle uyu\u015fmadan, i\u015f\u00e7ilerin Liebknecht’e vedas\u0131n\u0131 tasvir etme, hatta onlara ithaf etme hakk\u0131m var.”
(1920’de K\u00e4the Kollwitz’in g\u00fcnl\u00fc\u011f\u00fcnden al\u0131nt\u0131)<\/figcaption><\/figure>\n<\/div>\n\n
\n
\"kn_274-1024x802
Kathe Kollwitz, Tohumlar\u0131m\u0131z\u0131 Ezmeyelim Kas\u0131m 1918’de<\/strong> K\u00e4the Kollwitz, \u201c  
1941’de <\/strong>, \u2018Tohumlar \u00d6\u011f\u00fct\u00fclmemeli\u2019 litografisi, K\u00e4the Kollwitz’in sanatsal vasiyetini olu\u015fturuyordu (\u2026) Sanat\u00e7\u0131 <\/em>
, <\/strong>sava\u015fa kar\u015f\u0131 \u00e7\u0131k\u0131\u015f\u0131n\u0131 bir kez daha dile getirdi. (K\u00f6ln K\u00e4the Kollwitz M\u00fczesi).<\/em> 
Daha sonra o\u011flu Hans’a \u015f\u00f6yle diyecekti:
“Bunun \u00fczerine ayn\u0131 tema \u00fczerine bir \u00e7izim daha yapt\u0131m: \u00c7ocuklar, ger\u00e7ek k\u00fc\u00e7\u00fck Berlinliler, sab\u0131rs\u0131zl\u0131kla topra\u011f\u0131 e\u015feleyen gen\u00e7 atlar gibi, bir kad\u0131n taraf\u0131ndan tutuluyorlar. Kad\u0131n (ya\u015fl\u0131 bir kad\u0131n) onlar\u0131 pelerininin alt\u0131na koymu\u015f, g\u00fc\u00e7 ve otoriteyle kollar\u0131na, ellerine sar\u0131yor. ‘Tohumlar \u00f6\u011f\u00fct\u00fclmemeli’ – Bu ate\u015fli bir dilek de\u011fil, ‘Bir daha asla sava\u015f olmas\u0131n’ gibi bir emir, bir emir.<\/em>  ” 
K\u00e4the Kollwitz’in G\u00fcnl\u00fc\u011f\u00fc – Aral\u0131k 1941<\/strong><\/em> https:\/\/kaethekollwitz.org\/<\/a> <\/figcaption><\/figure>\n<\/div>\n\n\n

Yedi kap\u0131l\u0131 Teb \u015fehrini kuran kim?
Kitaplar yaln\u0131z krallar\u0131n ad\u0131n\u0131 yazar.
Yoksa kayalar\u0131 ta\u015f\u0131yan krallar m\u0131?
Bir de Babil varm\u0131\u015f boyuna y\u0131k\u0131lan,
kim yapm\u0131\u015f Babil\u2019i her seferinde?
Yap\u0131 i\u015f\u00e7ileri hangi evinde oturmu\u015flar
alt\u0131nlar i\u00e7inde y\u00fczen Lima\u2019n\u0131n?
Ne oldular dersin duvarc\u0131lar
\u00c7in Seddi bitince?<\/p>\n\n\n\n

…<\/p>\n\n\n\n

Kitaplar\u0131n her sayfas\u0131nda bir zafer yaz\u0131l\u0131.
Ama pi\u015firen kim zafer a\u015f\u0131n\u0131?
..Bir s\u00fcr\u00fc olay
Ve bir s\u00fcr\u00fc soru… <\/p>\n\n\n\n

Bertolt Brecht, \u00c7ev. A. Kadir <\/strong><\/p>\n\n\n

\n
\"not_detected_235968.jpgLarge
Kathe Kollwitz, Carmagnole (Giyotin Etraf\u0131nda Dans),1901<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n

Buradan sonra Ivens’in politik belgesel t\u00fcr\u00fcn\u00fcn kilometre ta\u015f\u0131 say\u0131lan 1937, “Spaniche Erde-\u0130spanya Topra\u011f\u0131” \u00e7ekiliyor. Ernest Hawingway, John Dos Passos senaryoda , Orson Welles filmin anlat\u0131c\u0131s\u0131. Frans\u0131z anlat\u0131c\u0131l\u0131\u011f\u0131n\u0131 ise izlenimcilikten tan\u0131d\u0131\u011f\u0131m\u0131z Renoir’ in (kendisi de film yap\u0131mc\u0131s\u0131 olan) o\u011flu Jean Renoir \u00fcstleniyor. Sava\u015f dolu y\u0131llarda sanat kendi ger\u00e7ekli\u011fini dayatarak ya\u015fayarak devam ediyor.<\/p>\n\n\n

\n
\"Roman-Karmen-Ernest-Hemingway-Joris-Ivens.-Spain-1936-1
Roman Carmen, Ernest Hawingway, Joris Ivens, 1937 \u0130spanya<\/strong><\/figcaption><\/figure>\n<\/div>\n\n
\n
\"Guernica-bombardimani2.jpg-1024x576
Bombalanan Bask Kasabas\u0131 Guernica, 26 Nisan 1937, https:\/\/pitt.libguides.com\/c.php?g=405564&p=2788792<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n

Bu s\u0131rada bombalanan Guernica \u015fehri i\u00e7in Picasso Guernica’y\u0131 yap\u0131yor. <\/p>\n\n\n

\n
\"pablo-picasso-guernica-1024x464
Pablo Picasso Guernica<\/strong>,1937, Museo Reina Sofia, Madrid<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n

Joris \u0130vens \u0130spanya’dan \u00c7in’e, Vietnam’a ,Endonezya’ya nerede direni\u015f varsa oraya gider. 50’den fazla uluslararas\u0131 belgesel film b\u0131rak\u0131r. 1957’de a\u015fkla birlikte \u015fiir ba\u015flar, \u015fiirsel \u015fehir filmi “La Seine a rencontre Paris<\/strong>“‘i (Paris Seine’e kavu\u015fuyor) filmini \u00e7ekmeyi ihmal etmez. Ard\u0131ndan \u00e7ok kimsenin bilmedi\u011fi \u015eili’nin k\u00fc\u00e7\u00fck liman \u015fehri “Valparaiso”<\/strong>‘nun \u015fiirini \u00e7eker, 1963 y\u0131l\u0131nda.. \u0130vens’in bu y\u0131llar\u0131 Germaine Krull ile birlikte a\u015fkla ge\u00e7er. Krull avangart d\u00f6nem foto\u011fraf sanat\u00e7\u0131lar\u0131ndan, aktivist , gezgin, ayr\u0131ca bir otel sahibi han\u0131mefendi. <\/a><\/p>\n\n\n

\n
\"front_slider
La Seine a rencontre Paris (Paris Seine’e kavu\u015ftu) , 1957, 30<\/strong>‘ Linkten izleyebilirsiniz https:\/\/www.youtube.com\/watch?v=sMcjlkhhEdY&t=6s<\/a> <\/figcaption><\/figure>\n<\/div>\n\n\n

1971-1976 y\u0131llar\u0131 aras\u0131nda bir kez daha \u00c7in’e giderek , \u00c7in k\u00fclt\u00fcr\u00fc ve ya\u015fam\u0131na ilk i\u00e7eriden bak\u0131\u015f olan “Yukong Da\u011flar\u0131 Nas\u0131l Hareket Ettirdi?<\/strong>” belgesel serisini \u00e7eken Ivens \u00c7in’in bir par\u00e7as\u0131 haline geldi. Bu belgesel serisi \u00c7in k\u00fclt\u00fcr\u00fcn\u00fcn oldu\u011fu bi\u00e7imle Bat\u0131’ya tan\u0131t\u0131lmas\u0131 hedefiyle bizzat \u00a0\u00c7in ba\u015fbakan\u0131 Zhou En-Lai’nin daveti \u00fczerine yap\u0131ld\u0131. 1988 y\u0131l\u0131nda son filmi ve otobiyografisini “A tale of the Wind ( R\u00fczgar\u0131n Hikayesi )”<\/strong> ‘ni \u00e7ekti, bo\u015frold\u00fc, r\u00fczgar\u0131 yakalamaya \u00e7al\u0131\u015ft\u0131; y\u0131llarca birlikte ya\u015fad\u0131\u011f\u0131 ast\u0131m ve solunum bozuklu\u011funu, \u015fiirsel, avangart, s\u00fcrreal bi\u00e7imlerle harmanlad\u0131 ve 91 ya\u015f\u0131nda r\u00fczgar onu filminde oldu\u011fu gibi al\u0131p g\u00f6t\u00fcrd\u00fc.<\/p>\n\n\n

\n
\"21T8rDm<\/figure>\n<\/div>\n\n\n

<\/p>\n\n\n\n

Ustaya Sayg\u0131lar\u0131mla.. <\/p>\n\n\n\n

https:\/\/www.cineaste.com\/winter2024\/the-films-of-joris-ivens-humanitarian-principles-and-debatable-political-allegiances<\/a><\/p>\n\n\n\n

https:\/\/bampfa.org\/event\/avant-garde-films-joris-ivens<\/a><\/p>\n\n\n\n

https:\/\/www.kameraarkasi.org\/makaleler\/makaleler\/silaholarakkamera.html<\/a><\/p>\n\n\n\n

https:\/\/vdoc.pub\/documents\/living-dangerously-a-biography-of-joris-ivens-film-culture-in-transition-199enhfeg8mg<\/a>, https:\/\/sekans.org\/tr\/arsiv\/sinema-kitapligi\/204-joris-ivens-tehlikeli-yasamak<\/a><\/p>\n\n\n\n

\n
Regen (Rain) | Joris Ivens (1929)<\/a><\/blockquote>