{"id":3993,"date":"2026-11-11T14:48:20","date_gmt":"2026-11-11T14:48:20","guid":{"rendered":"https:\/\/atolyer10.com\/?p=3993"},"modified":"2026-11-11T14:48:20","modified_gmt":"2026-11-11T14:48:20","slug":"12-kizgin-adam-adalet-onyargi-ve-insan-vicdani","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=3993","title":{"rendered":"12 K\u0131zg\u0131n Adam: Adalet, \u00d6nyarg\u0131 ve \u0130nsan Vicdan\u0131"},"content":{"rendered":"\n

1957 yap\u0131m\u0131 12 K\u0131zg\u0131n Adam<\/em> (12 Angry Men), y\u00f6netmen Sidney Lumet’in sinema tarihine kazand\u0131rd\u0131\u011f\u0131 en \u00f6nemli filmlerden biridir. Reginald Rose’un ayn\u0131 adl\u0131 televizyon oyunundan uyarlanan yap\u0131m\u0131n ba\u015frollerinde Henry Fonda, Lee J. Cobb ve Martin Balsam yer al\u0131r. Yakla\u015f\u0131k 96-97 dakika s\u00fcren film, neredeyse tamam\u0131 tek bir odada ge\u00e7en hik\u00e2yesiyle adalet, \u00f6nyarg\u0131, vicdan ve insan psikolojisi \u00fczerine g\u00fc\u00e7l\u00fc bir anlat\u0131m sunar.<\/p>\n\n\n\n

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\"12-1024x576<\/figure>\n\n\n\n

J\u00fcri \u00fcyelerinin san\u0131k hakk\u0131ndaki son oylama s\u0131ras\u0131nda oylar\u0131n\u0131 a\u00e7\u0131klad\u0131\u011f\u0131 an. \u00dc\u00e7\u00fcnc\u00fc J\u00fcri \u00dcyesi’nin karar\u0131n\u0131 de\u011fi\u015ftirmekte direndi\u011fi sahne. 12 K\u0131zg\u0131n Adam (1957).<\/p>\n<\/div>\n<\/div>\n\n\n\n

Film, babas\u0131n\u0131 \u00f6ld\u00fcrmekle su\u00e7lanan 18 ya\u015f\u0131ndaki bir gencin davas\u0131n\u0131n ard\u0131ndan ba\u015flar. Mahkeme s\u00fcreci tamamlanm\u0131\u015f, karar verme g\u00f6revi on iki j\u00fcri \u00fcyesine b\u0131rak\u0131lm\u0131\u015ft\u0131r. San\u0131\u011f\u0131n su\u00e7lu bulunmas\u0131 h\u00e2linde idam cezas\u0131yla kar\u015f\u0131 kar\u015f\u0131ya kalaca\u011f\u0131 bu davada oy birli\u011fi gerekmektedir. \u0130lk oylamada on bir ki\u015fi su\u00e7lu, yaln\u0131zca sekizinci j\u00fcri \u00fcyesi su\u00e7suz y\u00f6n\u00fcnde oy kullan\u0131r. Henry Fonda’n\u0131n canland\u0131rd\u0131\u011f\u0131 bu karakter, gencin kesinlikle masum oldu\u011funu savunmaz; ancak bir insan\u0131n hayat\u0131n\u0131 etkileyecek kadar \u00f6nemli bir karar\u0131n aceleyle verilmesini do\u011fru bulmaz. Di\u011fer \u00fcyelerden delilleri yeniden de\u011ferlendirmelerini ister. B\u00f6ylece s\u0131radan bir j\u00fcri toplant\u0131s\u0131, giderek derinle\u015fen bir fikir \u00e7at\u0131\u015fmas\u0131na d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n\n\n\n

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\"26<\/figure>\n\n\n\n

Sekizinci J\u00fcri \u00dcyesi’nin cinayet silah\u0131yla ayn\u0131 \u00f6zelliklere sahip b\u0131\u00e7a\u011f\u0131 j\u00fcri masas\u0131na saplayarak g\u00f6sterdi\u011fi sahne. 12 K\u0131zg\u0131n Adam (1957)<\/p>\n<\/div>\n\n\n\n

Tart\u0131\u015fmalar ilerledik\u00e7e cinayet silah\u0131, tan\u0131k ifadeleri ve olay\u0131n ger\u00e7ekle\u015fme ko\u015fullar\u0131 yeniden sorgulan\u0131r. \u00d6zellikle cinayet silah\u0131n\u0131n nadir oldu\u011fu iddias\u0131n\u0131n \u00e7\u00fcr\u00fct\u00fclmesi, ya\u015fl\u0131 tan\u0131\u011f\u0131n olay s\u0131ras\u0131nda hareket edebilece\u011fi s\u00fcrenin hesaplanmas\u0131 ve di\u011fer tan\u0131\u011f\u0131n g\u00f6rme ko\u015fullar\u0131n\u0131n tart\u0131\u015f\u0131lmas\u0131 filmin \u00f6nemli k\u0131r\u0131lma anlar\u0131n\u0131 olu\u015fturur. Ba\u015flang\u0131\u00e7ta kesin kabul edilen delillerin farkl\u0131 bi\u00e7imlerde yorumlanabilece\u011fi anla\u015f\u0131l\u0131r.<\/p>\n\n\n\n

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\"MV5BMTU2MTM1MjY1MV5BMl5BanBnXkFtZTcwNjg4NDc3Mw@@._V1_<\/figure>\n\n\n\n

\u00dc\u00e7\u00fcnc\u00fc J\u00fcri \u00dcyesi’nin cinayet silah\u0131n\u0131n kullan\u0131m bi\u00e7imini canland\u0131rd\u0131\u011f\u0131 sahne. 12 K\u0131zg\u0131n Adam (1957).<\/p>\n<\/div>\n\n\n\n

Filmin en \u00e7arp\u0131c\u0131 noktalar\u0131ndan biri ise \u00fc\u00e7\u00fcnc\u00fc j\u00fcri \u00fcyesinin san\u0131\u011fa kar\u015f\u0131 duydu\u011fu \u00f6fkenin kendi o\u011fluyla ya\u015fad\u0131\u011f\u0131 sorunlardan kaynakland\u0131\u011f\u0131n\u0131n ortaya \u00e7\u0131kmas\u0131d\u0131r. B\u00f6ylece ki\u015fisel duygular\u0131n ve ge\u00e7mi\u015f deneyimlerin adalet duygusunu nas\u0131l etkileyebilece\u011fi g\u00f6zler \u00f6n\u00fcne serilir.<\/p>\n\n\n\n

J\u00fcri \u00fcyeleri ve karakter \u00f6zellikleri<\/strong><\/p>\n\n\n\n

Filmdeki on iki j\u00fcri \u00fcyesi, birbirinden farkl\u0131 ki\u015filikleri ve d\u00fc\u015f\u00fcnce bi\u00e7imleriyle toplumsal yap\u0131n\u0131n k\u00fc\u00e7\u00fck bir \u00f6rne\u011fini olu\u015fturur.<\/p>\n\n\n\n

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  1. Birinci j\u00fcri \u00fcyesi \u2013 (Martin Balsam):<\/strong> J\u00fcri ba\u015fkan\u0131d\u0131r. D\u00fczenli, sakin ve sorumluluk sahibidir. Tart\u0131\u015fmalar\u0131 y\u00f6netmeye \u00e7al\u0131\u015f\u0131r.<\/li>\n\n\n\n
  2. \u0130kinci j\u00fcri \u00fcyesi \u2013 (John Fiedler):<\/strong> \u00c7ekingen, karars\u0131z ve kolay etkilenen bir karakterdir. Zamanla kendi d\u00fc\u015f\u00fcncelerini savunmaya ba\u015flar.<\/li>\n\n\n\n
  3. \u00dc\u00e7\u00fcnc\u00fc j\u00fcri \u00fcyesi \u2013 (Lee J. Cobb):<\/strong> \u00d6fkeli, inat\u00e7\u0131 ve otoriterdir. O\u011fluyla ya\u015fad\u0131\u011f\u0131 sorunlar\u0131 davaya yans\u0131t\u0131r.<\/li>\n\n\n\n
  4. D\u00f6rd\u00fcnc\u00fc j\u00fcri \u00fcyesi \u2013 (E. G. Marshall):<\/strong> Mant\u0131kl\u0131, so\u011fukkanl\u0131 ve analitiktir. Kararlar\u0131n\u0131 somut verilere dayand\u0131rmaya \u00e7al\u0131\u015f\u0131r.<\/li>\n\n\n\n
  5. Be\u015finci j\u00fcri \u00fcyesi \u2013 (Jack Klugman:)<\/strong> M\u00fctevaz\u0131 ve duyarl\u0131d\u0131r. Yoksul bir \u00e7evrede b\u00fcy\u00fcd\u00fc\u011f\u00fc i\u00e7in san\u0131\u011f\u0131n toplumsal ko\u015fullar\u0131na y\u00f6nelik \u00f6nyarg\u0131lara kar\u015f\u0131 \u00e7\u0131kar.<\/li>\n\n\n\n
  6. Alt\u0131nc\u0131 j\u00fcri \u00fcyesi \u2013 (Edward Binns):<\/strong> D\u00fcr\u00fcst, a\u011f\u0131rba\u015fl\u0131 ve sayg\u0131l\u0131d\u0131r. Tart\u0131\u015fmalarda adalet duygusunu \u00f6n planda tutar.<\/li>\n\n\n\n
  7. Yedinci j\u00fcri \u00fcyesi \u2013 )Jack Warden):<\/strong> Sab\u0131rs\u0131z, ilgisiz ve bencildir. Bir an \u00f6nce karar vererek beyzbol ma\u00e7\u0131na yeti\u015fmek ister.<\/li>\n\n\n\n
  8. Sekizinci j\u00fcri \u00fcyesi \u2013 (Henry Fonda):<\/strong> Sakin, sab\u0131rl\u0131, sorgulay\u0131c\u0131 ve vicdanl\u0131d\u0131r. \u00c7o\u011funlu\u011fa kar\u015f\u0131 \u00e7\u0131kmaktan \u00e7ekinmez.<\/li>\n\n\n\n
  9. Dokuzuncu j\u00fcri \u00fcyesi \u2013 (Joseph Sweeney):<\/strong> Deneyimli, dikkatli ve g\u00f6zlemcidir. Sekizinci j\u00fcri \u00fcyesinin d\u00fc\u015f\u00fcncesine destek veren ilk ki\u015fidir.<\/li>\n\n\n\n
  10. Onuncu j\u00fcri \u00fcyesi \u2013 (Ed Begley):<\/strong> Irk\u00e7\u0131, ayr\u0131mc\u0131 ve \u00f6nyarg\u0131l\u0131d\u0131r. San\u0131\u011f\u0131n yeti\u015fti\u011fi \u00e7evre \u00fczerinden genellemeler yapar.<\/li>\n\n\n\n
  11. On birinci j\u00fcri \u00fcyesi \u2013 (George Voskovec):<\/strong> G\u00f6\u00e7men bir saat ustas\u0131d\u0131r. Hukuka, demokrasiye ve vatanda\u015fl\u0131k sorumlulu\u011funa \u00f6nem verir.<\/li>\n\n\n\n
  12. On ikinci j\u00fcri \u00fcyesi \u2013 (Robert Webber):<\/strong> Reklamc\u0131l\u0131k sekt\u00f6r\u00fcnde \u00e7al\u0131\u015f\u0131r. Karars\u0131z, y\u00fczeysel ve kolay etkilenen bir karakterdir.<\/li>\n<\/ol>\n\n\n\n
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    \"unnamed-file-1024x768<\/figure>\n\n\n\n

    J\u00fcri \u00fcyelerinin karar s\u00fcrecindeki tart\u0131\u015fmalar\u0131ndan bir g\u00f6r\u00fcn\u00fcm. 12 K\u0131zg\u0131n Adam (1957).<\/p>\n<\/div>\n\n\n\n

    Bu karakterlerin bir araya gelmesi, filmin yaln\u0131zca bir cinayet davas\u0131n\u0131 de\u011fil, insan do\u011fas\u0131n\u0131n farkl\u0131 y\u00f6nlerini de anlatmas\u0131n\u0131 sa\u011flar.<\/p>\n\n\n\n

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    \"images-2<\/figure>\n\n\n\n

    Sidney Lumet [Y\u00f6netmen (1924 \/ 2011)]<\/p>\n<\/div>\n\n\n\n

    Filmin g\u00f6r\u00fcnt\u00fc y\u00f6netmenli\u011fini Boris Kaufman \u00fcstlenmi\u015ftir. Siyah-beyaz \u00e7ekilen yap\u0131mda geni\u015f mek\u00e2nlar veya hareketli sahneler yerine kamera a\u00e7\u0131lar\u0131, yak\u0131n \u00e7ekimler ve oyunculuk \u00f6n plana \u00e7\u0131kar. Ba\u015flang\u0131\u00e7ta daha geni\u015f a\u00e7\u0131lar kullan\u0131l\u0131rken film ilerledik\u00e7e kamera karakterlere yakla\u015f\u0131r. Y\u00fcz ifadeleri ve beden dilleri, tart\u0131\u015fmalar\u0131n duygusal yo\u011funlu\u011funu yans\u0131t\u0131r. S\u0131cak hava ve kapal\u0131 oda atmosferi, karakterlerin giderek artan gerilimini destekler. \u00d6zellikle mek\u00e2n\u0131n zamanla daha dar ve bo\u011fucu hissettirilmesi dikkat \u00e7ekicidir. Lumet, s\u0131n\u0131rl\u0131 bir alanda ge\u00e7en hik\u00e2yeyi kamera diliyle zenginle\u015ftirerek psikolojik gerilimi s\u00fcrekli canl\u0131 tutmay\u0131 ba\u015far\u0131r.<\/p>\n\n\n\n

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    \"images-1<\/figure>\n\n\n\n

    boris kaufman [G\u00f6r\u00fcnt\u00fc Y\u00f6netmeni (1906 \/ 1980)]<\/p>\n<\/div>\n\n\n\n

      \n
    • Kamera a\u00e7\u0131lar\u0131<\/strong>: Filmin ba\u015flang\u0131c\u0131nda daha geni\u015f a\u00e7\u0131lar ve yukar\u0131dan bak\u0131\u015flar kullan\u0131l\u0131r. B\u00f6ylece j\u00fcri \u00fcyelerinin ayn\u0131 mek\u00e2nda bir arada bulundu\u011fu ve hen\u00fcz tart\u0131\u015fman\u0131n kontrol alt\u0131nda oldu\u011fu hissi verilir. Film ilerledik\u00e7e kamera a\u00e7\u0131s\u0131 giderek al\u00e7al\u0131r ve karakterlere daha yak\u0131n bir konuma gelir.<\/li>\n\n\n\n
    • Yak\u0131n \u00e7ekimler:<\/strong> J\u00fcri \u00fcyelerinin y\u00fcz ifadeleri, bak\u0131\u015flar\u0131 ve sessizlikleri \u00f6nemli bir anlat\u0131m arac\u0131na d\u00f6n\u00fc\u015f\u00fcr. Bir karakterin fikrini de\u011fi\u015ftirmesi veya \u00f6fkesini kontrol edememesi bazen uzun bir konu\u015fmadan \u00e7ok y\u00fcz\u00fcndeki ifadeyle aktar\u0131l\u0131r.<\/li>\n\n\n\n
    • Mek\u00e2n kullan\u0131m\u0131<\/strong>: J\u00fcri odas\u0131, film ilerledik\u00e7e daha dar ve bo\u011fucu hissettirilir. S\u0131cak hava, kapal\u0131 mek\u00e2n ve karakterlerin birbirlerine yak\u0131nl\u0131\u011f\u0131 gerilimi art\u0131r\u0131r.<\/li>\n\n\n\n
    • I\u015f\u0131k ve g\u00f6lge<\/strong>: G\u00fcn\u00fcn ilerlemesiyle de\u011fi\u015fen \u0131\u015f\u0131k, yakla\u015fan f\u0131rt\u0131na ve odadaki atmosfer karakterlerin psikolojik durumlar\u0131yla b\u00fct\u00fcnle\u015fir.<\/li>\n\n\n\n
    • Kurgu ve ritim<\/strong>: Film, hareketli sahneler yerine diyaloglar\u0131n, sessizliklerin ve tart\u0131\u015fmalar\u0131n ritminden yararlan\u0131r. Bir delilin yeniden ele al\u0131nmas\u0131, yeni bir gerilim noktas\u0131 olu\u015fturur.<\/li>\n<\/ul>\n\n\n\n

      Filmin ana fikri, \u00e7o\u011funlu\u011fun her zaman hakl\u0131 olmayabilece\u011fi ve adaletin ki\u015fisel \u00f6nyarg\u0131lardan ba\u011f\u0131ms\u0131z de\u011ferlendirilmesi gerekti\u011fidir. Bir insan\u0131n yeti\u015fti\u011fi \u00e7evre, ekonomik ko\u015fullar\u0131 veya ge\u00e7mi\u015fi su\u00e7lu oldu\u011funun kan\u0131t\u0131 olamaz. Sekizinci j\u00fcri \u00fcyesinin tavr\u0131, farkl\u0131 d\u00fc\u015f\u00fcnmenin ve gerekti\u011finde yaln\u0131z kalmay\u0131 g\u00f6ze alman\u0131n \u00f6nemini g\u00f6sterir. Film ayn\u0131 zamanda ki\u015fisel sorunlar\u0131m\u0131z\u0131 ba\u015fkalar\u0131na yans\u0131tabilece\u011fimizi ve bazen bir insan\u0131 tan\u0131madan onun hakk\u0131nda kesin yarg\u0131lara varabildi\u011fimizi hat\u0131rlat\u0131r.<\/p>\n\n\n\n

      \n
      \"7SJAUUvocYtAcTsQ0vVgItKVV2p_4By8a2tYkstEUw7F84lkXpF_OwweMHX0kJX8pJjtmJiw3YnOHKse3nvjyE4RuCoPOoJ75n2AcZP1KVjf1fLFaiZbmCo379frywFG8ETfYZIhIwSu1nuBlnm-ZrupJ1-UQbb08-7ePOvhAOfiWnY3lbygh8-XWfEPtJUy<\/figure>\n\n\n\n

      Sekizinci J\u00fcri \u00dcyesi’nin di\u011fer j\u00fcri \u00fcyeleriyle y\u00fcr\u00fctt\u00fc\u011f\u00fc tart\u0131\u015fmalardan bir sahne. 12 K\u0131zg\u0131n Adam (1957).<\/p>\n<\/div>\n\n\n\n

      Bana g\u00f6re filmin en \u00f6nemli mesaj\u0131, bir insan\u0131 yarg\u0131laman\u0131n kolay, adil davranman\u0131n ise sorumluluk gerektiren bir eylem oldu\u011fudur. G\u00fcnl\u00fck hayat\u0131m\u0131zda da \u00e7o\u011fu zaman \u00e7evremizdeki insanlar\u0131n d\u00fc\u015f\u00fcncelerine sorgulamadan kat\u0131labiliyor, duyduklar\u0131m\u0131z \u00fczerinden ba\u015fkalar\u0131 hakk\u0131nda karar verebiliyoruz. Film, bu al\u0131\u015fkanl\u0131klar\u0131m\u0131z\u0131 yeniden de\u011ferlendirmemiz i\u00e7in \u00f6nemli bir f\u0131rsat sunuyor.<\/p>\n\n\n\n

      Filmin tamam\u0131n\u0131 \u00f6zetleyen d\u00fc\u015f\u00fcnceyi \u015fu \u015fekilde ifade edebiliriz:<\/p>\n\n\n\n

      “Bir insan\u0131n hayat\u0131 s\u00f6z konusuyken, emin olmad\u0131\u011f\u0131m\u0131z bir karar\u0131 vermeye hakk\u0131m\u0131z yoktur.”<\/p>\n\n\n\n

      \n
      \"nhZuYoRX2hxyKHc6KjklfVOApF_f4HArw6LJ3EYJTGaZzyJTKWn0slFKp1hD9Dy98zkWk-nnsfpee9NJS7ZmXqh2u7Y8FHNtkbhBPd8tFXgiiDbWIaG4bWOpJFI6wx-V3AM-0vF6SuoD7NjF0zmovvENAmf77IFLbV8-1BqSU_9Hn1n9HXH2HeYHwdp1VNGc-1024x576<\/figure>\n\n\n\n

      12 K\u0131zg\u0131n Adam (1957), Sekizinci J\u00fcri \u00dcyesi, <\/p>\n<\/div>\n\n\n\n

      Sekizinci j\u00fcri \u00fcyesinin b\u00fct\u00fcn tart\u0131\u015fma boyunca savundu\u011fu yakla\u015f\u0131m da budur. Onun amac\u0131 kendi d\u00fc\u015f\u00fcncesini di\u011ferlerine kabul ettirmek de\u011fil, herkesin verdi\u011fi karar\u0131n arkas\u0131nda ger\u00e7ekten sa\u011flam gerek\u00e7eler bulunmas\u0131n\u0131 sa\u011flamakt\u0131r. Hatta bu d\u00fc\u015f\u00fcncenin olu\u015fmas\u0131n\u0131 sa\u011flayan 8. j\u00fcri \u00fcyesinin \u015fu s\u00f6z\u00fc filmin ba\u015flang\u0131c\u0131nda bu enfes tart\u0131\u015fmay\u0131 izlememize olanak sa\u011flamaktad\u0131r.<\/p>\n\n\n\n

      \n

      \u201cThis is somebody’s life. We can’t decide in five minutes.\u201d<\/p>\n<\/blockquote>\n\n\n\n

      T\u00fcrk\u00e7esi:<\/strong><\/p>\n\n\n\n

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      \u201cBu bir insan\u0131n hayat\u0131. Be\u015f dakika i\u00e7inde karar veremeyiz.\u201d<\/p>\n<\/blockquote>\n\n\n\n

      12 K\u0131zg\u0131n Adam (1957), Sekizinci J\u00fcri \u00dcyesi, yakla\u015f\u0131k 00:11:00.<\/p>\n\n\n\n

      Sinema tarihindeki yerine bak\u0131ld\u0131\u011f\u0131nda 12 K\u0131zg\u0131n Adam<\/em>, 1958 y\u0131l\u0131nda Berlin Uluslararas\u0131 Film Festivali’nde Alt\u0131n Ay\u0131 \u00f6d\u00fcl\u00fcn\u00fc kazanm\u0131\u015f, ayn\u0131 y\u0131l Akademi \u00d6d\u00fclleri’nde \u00fc\u00e7 dalda aday g\u00f6sterilmi\u015ftir. 2007 y\u0131l\u0131nda ABD Kongre K\u00fct\u00fcphanesi taraf\u0131ndan Ulusal Film Ar\u015fivi’nde korunmak \u00fczere se\u00e7ilmi\u015ftir. Tek mek\u00e2n anlat\u0131m\u0131, g\u00fc\u00e7l\u00fc karakter \u00e7at\u0131\u015fmalar\u0131 ve psikolojik gerilim unsurlar\u0131yla sonraki y\u0131llarda \u00e7ekilen hukuk ve mahkeme temal\u0131 yap\u0131mlar i\u00e7in \u00f6nemli bir referans h\u00e2line gelmi\u015ftir. Film, sinemada etkileyici bir anlat\u0131m olu\u015fturmak i\u00e7in b\u00fcy\u00fck prod\u00fcksiyonlara ihtiya\u00e7 olmad\u0131\u011f\u0131n\u0131 g\u00f6steren zamans\u0131z \u00f6rneklerden biridir.<\/p>\n\n\n\n

      Sonu\u00e7 olarak 12 K\u0131zg\u0131n Adam<\/em>, izleyicisine yaln\u0131zca bir mahkeme karar\u0131n\u0131n hik\u00e2yesini anlatm\u0131yor; ayn\u0131 zamanda kendi d\u00fc\u015f\u00fcncelerini sorgulama f\u0131rsat\u0131 veriyor. Filmin sonunda j\u00fcri \u00fcyelerinin ortak bir karara ula\u015fmas\u0131, san\u0131\u011f\u0131n kesin masumiyetini de\u011fil, su\u00e7lulu\u011funun makul \u015f\u00fcphenin \u00f6tesinde kan\u0131tlanamad\u0131\u011f\u0131n\u0131 g\u00f6steriyor. Bu ayr\u0131m, filmin adalet anlay\u0131\u015f\u0131n\u0131 ortaya koyan en \u00f6nemli noktalardan biri. Bana g\u00f6re filmden \u00e7\u0131kar\u0131labilecek en de\u011ferli d\u00fc\u015f\u00fcnce \u015fu: Bir insan hakk\u0131nda karar vermeden \u00f6nce onu anlamaya \u00e7al\u0131\u015fmak, adil olman\u0131n ilk ko\u015fuludur.<\/p>\n\n\n\n

      Y\u00f6netmen<\/strong>: Sidney Lumet
      Yap\u0131m y\u0131l\u0131<\/strong>: 1957
      T\u00fcr<\/strong>: Dram, hukuk, psikolojik gerilim
      Senaryo<\/strong>: Reginald Rose
      Ba\u015frol<\/strong>: Henry Fonda
      Orijinal ad\u0131<\/strong>: 12 Angry Men
      \u00dclke<\/strong>: ABD<\/p>\n\n\n\n

      \n
      \"images-3<\/figure>\n\n\n\n

      Henry Fonda [Ba\u015frol (1905 \/ 1982)]<\/p>\n<\/div>\n\n\n\n

      Kaynak\u00e7a<\/strong><\/p>\n\n\n\n

      \n
      \n
      \n

      Kolcu, M. R. (2019). 12 \u00d6fkeli Adam. De\u011fer Dergisi. Adalet Bakanl\u0131\u011f\u0131.<\/p>\n\n\n\n

      American Film Institute. (t.y.). 12 Angry Men. AFI Catalog<\/p>\n<\/div>\n\n\n\n

      Kaufman, B. (2024, 19 Mart). Filming 12 Angry Men on a single set. American Cinematographer.<\/p>\n<\/div>\n\n\n\n

      Library of Congress. (2007). 12 Angry Men (1957). National Film Registry.<\/p>\n<\/div>\n\n\n\n

      <\/p>\n","protected":false},"excerpt":{"rendered":"

      1957 yap\u0131m\u0131 12 K\u0131zg\u0131n Adam (12 Angry Men), y\u00f6netmen Sidney Lumet’in sinema tarihine kazand\u0131rd\u0131\u011f\u0131 en \u00f6nemli filmlerden biridir. Reginald Rose’un ayn\u0131 adl\u0131 televizyon oyunundan uyarlanan yap\u0131m\u0131n ba\u015frollerinde Henry Fonda, Lee J. Cobb ve Martin Balsam yer al\u0131r. Yakla\u015f\u0131k 96-97 dakika s\u00fcren film, neredeyse tamam\u0131 tek bir odada ge\u00e7en hik\u00e2yesiyle adalet, \u00f6nyarg\u0131, vicdan ve insan psikolojisi […]<\/p>\n","protected":false},"author":20,"featured_media":3995,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[41,47],"class_list":["post-3993","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sinema","tag-film","tag-sinema"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/3993","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3993"}],"version-history":[{"count":5,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/3993\/revisions"}],"predecessor-version":[{"id":4009,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/3993\/revisions\/4009"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/3995"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3993"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3993"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3993"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}