[vc_row el_id=”yillar-menu-row”][vc_column][vc_btn title=”2021″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:%2Fen%2Famity-honorary-award-2021|||”][vc_btn title=”2020″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2020%2F|||”][vc_btn title=”2019″ color=”juicy-pink” size=”lg” el_class=”yillar-menu secili” link=”url:%23|||”][vc_btn title=”2018″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2018%2F|||”][vc_text_separator title=”III. International Amity Short Film Festival” i_icon_fontawesome=”fa fa-podcast” i_color=”grey” i_size=”sm” add_icon=”true” el_class=”seperator-baslik-pembe”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n
[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_empty_space height=”20px”][vc_single_image image=”9518″ img_size=”400×400″ alignment=”center”][vc_column_text]G\u00dcLSEN TUNCER\u2019S GLEAM<\/strong><\/p>\n There are some actors, no matter how much you equip them with the richness of different characters, you cannot change their face, posture, look, attitude, and all the unexplainable gleam on their face despite variabilities. Because this undepictable gleam is unique to those specific actors. It is hers, cannot be altered, imitated, and re-lived by someone else\u2026 G\u00fclsen Tuncer is such an actress. Despite the 55 years she spent in theater and cinema disciplines, G\u00fclsen Tuncer is still a beaming light.<\/p>\n Her gleam was lit by Melih Cevdet Anday, Ahmet Kutsi Tecer, Sabahattin Kudret Aksal, Samih Nafiz Tansu, and Y\u0131ld\u0131z Kenter. Later that gleam passed onto LCC. She learned Brecht from Ayla Algan. He founded a troupe called Group 6 with her friends when she was still a student. When the time came, she joined G\u00fclriz Sururi and Engin Cezzar Theater and became a professional actor with Haltun Taner\u2019s \u201cZilli Zarife. The year was 1965\u2026 She fit many theaters and plays such as Kenter, Ulvi Uraz, \u0130stanbul Union Theater, \u00c7evre, Dostlar, Levent K\u0131rca, Ali Poyrazo\u011flu, Nisa Serezli- Tolga A\u015fk\u0131ner, Ankara Contemporary Stage, Erkan Y\u00fccel Theater, Hadi \u00c7aman Yeditepe Actors, Sadri Al\u0131\u015f\u0131k, Theater Olive Branch, Theater Studio, and Naz\u0131m Actors into 55 years that was full of successful performances…<\/p>\n When G\u00fclsen Tuncer made his first appearance in front of the camera in 1968 for the short film Giraffe Street directed by \u00d6zcan Arca, she was unaware of how the light of her acting would be reflected on the screen. The role in this short film heralded a new discipline of acting. Theaters she worked for did not pay salary during the summer holidays. Vedat T\u00fcrkali, father of Deniz T\u00fcrkali, a friend from the conservatory, came to the rescue. At that time, he was writing a screenplay for Duru Film and could not have found a better assistant director than G\u00fclsen Tuncer. G\u00fclsen Tuncer\u2019s interest in cinema was not new. She read cinema magazines and never missed Film Club, which she was a member. She was not arrogant in an emotional sense but she instinctively was distant toward Turkish cinema until she joined the pre-production stage of L\u00fctfi \u00d6mer Akad\u2019s film \u201cYaral\u0131 Kurt\u201d in 1971.<\/p>\n She assisted directors such as S\u00fcreyya Duru, Ertem G\u00f6re\u00e7, and Zeki \u00d6kten in several films until 1970. After marrying director Engin Ay\u00e7a, all her thoughts about Turkish cinema changed. She occasionally acted in small roles in some films, but she didn\u2019t forget that her main job was assisting directors. However, when Turkish cinema needed new character actors in time and when she started to have bigger roles, acting in camera became inevitable for G\u00fclsen Tuncer. Her light now shone on the screen. Under that gleam of light there was purity, honesty, sometimes motherhood, sometimes resistance, and trust that did not give up against helplessness and poverty. G\u00fclsen Tuncer acted in her films just as she lived. Acting in socially conscious films such as \u201cDerya G\u00fcl\u00fc\u201d, \u201cAt\u201d, \u201cFaize H\u00fccum\u201d, \u201c\u00d6lmez A\u011fac\u0131\u201d, \u201cAs\u0131lacak Kad\u0131n\u201d, and \u201cFatmag\u00fcl\u2019\u00fcn Su\u00e7u Ne?\u201d in her early years in cinema was not a coincidence. In fact, having her debut by acting socially conscious movies was because of her world view coincided with the current genre of her time and this coincidence was noticed by some directors. Rather than being the star of popular films, she preferred to be the unforgettable face of films with an argument such as \u201cAfife Jale\u201d, \u201cGramofon Avrat\u201d, \u201c\u0130pek\u00e7e\u201d, \u201cA Ay\u201d, \u201cD\u00fc\u011f\u00fcn\u201d, \u201cHasan Bo\u011fuldu\u201d, and \u201cSo\u011fuktu ve Ya\u011fmur \u00c7iseliyordu.\u201d The awards she received confirmed that choice. Perhaps this is why the gleam of her face reflected without losing its brightness. G\u00fclsen Tuncer knitted her acting cocoon with great patience for years.<\/p>\n Sometimes she put importance into the quality and entered a period of silence, sometimes had to act in some films to avoid being forgotten. He became the protagonist of many novels written by masters such as \u201c\u00dc\u00e7 \u0130stanbul\u201d, \u201cBug\u00fcn\u00fcn Sarayl\u0131s\u0131\u201d, \u201c\u00c7al\u0131ku\u015fu\u201d, \u201cAte\u015ften G\u00fcnler\u201d, and \u201cCan \u015eenli\u011fi\u201d. In time, she became one of the rare actors who translated her gleam into coaching, which she proudly carried for years. Today, many of the names who continue her courses show their skills in different disciplines of acting. Let your light to guide us forever G\u00fclsen Tuncer…<\/p>\n Ali Can Sekme\u00e7<\/p>\n 25 November 2019 Beyo\u011flu[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”20px”][vc_single_image image=”9522″ img_size=”400×400″ alignment=”center”][vc_column_text]THE MAN WHO EDITED TURKISH CINEMA (YE\u015e\u0130L\u00c7AM) <\/strong><\/p>\n His job was to organize the narrative, to select and place the images in the most appropriate way, to ensure the transition between plans, and to capture the rhythm. In other words, Mevlut Ko\u00e7ak was the last person who put the last touches on the entire image that narrated by the scriptwriter and captured by the director\u2026<\/p>\n He started his career as a negative editing assistant at \u00d6ren Film Studios in 1970 when he was just 15-year old. When he cut his education short, his cousin and one of the most earnest editors of Turkish cinema, Mehmet \u00d6zdemir, took him along. The first films he edited were melodramas such as \u201cYar\u0131m Kalan Saadet\u201d and \u201cYumurcak K\u00f6pr\u00fcalt\u0131 \u00c7ocu\u011fu.\u201d Mevlut Ko\u00e7ak was a self-taught man who excelled in editing in the context of master-apprentice relationship in the Turkish cinema tradition. He continued to work under the umbrella of Saner Film Studios until 1973.<\/p>\n Although the studio was taken over by sound engineer Necip Sar\u0131ca later on and reorganized under the name of Yeni Studio, Mevlut Ko\u00e7ak\u2019s position did not change. He started to work with the other founder of the studio, \u0130smail Kalkan. By keeping pace with the fast production in Turkish cinema, the duo guided the films that contained Turkish cinema\u2019s known genres, rush, and stereotypes. During this period, Mevl\u00fct Ko\u00e7ak edited and synchronized films such as \u201cA\u00e7l\u0131k\u201d, \u201cEl Kap\u0131s\u0131\u201d, \u201cHasret\u201d, \u201cOh Olsun\u201d, \u201cTopal\u201d, \u201cMavi Boncuk\u201d, \u201cSalako\u201d, \u201cY\u00fcre\u011fimde Yare Var\u201d, \u201cBizim Aile\u201d, \u201cDelisin\u201d, \u201cTosun Pa\u015fa\u201d, \u201cBatan G\u00fcne\u015f\u201d, \u201cKanal\u201d, \u201cSultan\u201d, \u201cKorkusuz Korkak\u201d, \u201c\u0130nsan Sevince\u201d, and \u201cYuvas\u0131z Ku\u015flar.\u201d Mevlut Ko\u00e7ak had his signature on a handful of regular films shot in Turkish cinema, during mid 1970s when the sector was stuck in the bogs of erotic films. In 1979, Mevlut Ko\u00e7ak transferred to Yeni Lale Film Studio that was founded again by Necip Sar\u0131ca. He continued to work as the permanent editor of the studio until 1988.<\/p>\n The increase of the films shot only for video and not finding movie theaters to screen the films slowed down the production of quality films. During this period, Mevlut Ko\u00e7ak preferred to work as freelance editor. In 1980s the only advantage Mevlut Ko\u00e7ak had over other editors was that he worked with sophisticated directors like At\u0131f Y\u0131lmaz, \u015eerif G\u00f6ren, and \u00d6mer Kavur, who understood theory of editing. He developed his editing skills because of what he learned from them. While he worked in all kinds of films without the luxury to choose in his first ten years in the sector, he worked on the films he chose as the most sought editor during 1980s. He worked as editing director in many films such as \u201cBoynu B\u00fck\u00fck\u201d, \u201cDevlet Ku\u015fu\u201d, \u201cGerzek \u015eaban\u201d, \u201cKanl\u0131 Nigar\u201d, \u201cK\u0131r\u0131k Bir A\u015fk Hikayesi\u201d, \u201cNas\u0131l \u0130syan Etmem\u201d, \u201cAile Kad\u0131n\u0131\u201d, \u201cNamuslu\u201d, \u201cAmans\u0131z Yol\u201d, \u201cKurba\u011falar\u201d, \u201cK\u00f6rebe\u201d, \u201cAh Belinda\u201d, \u201cAsiye Nas\u0131l Kurtulur\u201d, \u201cAs\u0131lacak Kad\u0131n\u201d, \u201cBir Avu\u00e7 G\u00f6ky\u00fcz\u00fc\u201d, \u201cGece Yolculu\u011fu\u201d, \u201cKad\u0131n\u0131n Ad\u0131 Yok\u201d, \u201cAnayurt Oteli\u201d, \u201cEskici ve O\u011fullar\u0131\u201d, \u201cD\u00fc\u015f Gezginleri\u201d, \u201cSeni Seviyorum Rosa\u201d, \u201c\u015eahmaran\u201d, \u201cYumu\u015fak Ten\u201d, \u201cMasumiyet\u201d, \u201cMelekler Evi\u201d, \u201cSalk\u0131m Han\u0131m\u0131n Taneleri\u201d, \u201cKar\u015f\u0131la\u015fma\u201d, \u201cAte\u015fin D\u00fc\u015ft\u00fc\u011f\u00fc Yer\u201d, and \u201cKervan 1915. He received numerous awards for his editing.<\/p>\n With 11 awards he received, he became the only editor with highest number of awards. Mevlut Ko\u00e7ak, who edited hundreds of films during his 50 years in the profession, is one of the rare studio workers, who is coming from Turkish cinema tradition. We are not able to know if he was able to imagine what he would experience when he picked the editing scissors but Turkish cinema owes him a lot, this is certain\u2026 Our applaud goes to the man who edited Turkish cinema\u2026 Thank you so much Mevlut Ko\u00e7ak\u2026<\/p>\n Ali Can Sekme\u00e7<\/p>\n 25 November 2019 Beyo\u011flu[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row el_id=”yillar-menu-row”][vc_column][vc_btn title=”2021″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:%2Fen%2Famity-honorary-award-2021|||”][vc_btn title=”2020″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2020%2F|||”][vc_btn title=”2019″ color=”juicy-pink” size=”lg” el_class=”yillar-menu secili” link=”url:%23|||”][vc_btn title=”2018″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2018%2F|||”][vc_text_separator title=”III. International Amity Short Film Festival” i_icon_fontawesome=”fa fa-podcast” i_color=”grey” i_size=”sm” add_icon=”true” el_class=”seperator-baslik-pembe”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_empty_space height=”20px”][vc_single_image image=”9518″ img_size=”400×400″ alignment=”center”][vc_column_text]G\u00dcLSEN TUNCER\u2019S GLEAM There are some actors, no matter how much you equip them with…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullcontent.php","meta":{"footnotes":""},"class_list":["post-7455","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/7455"}],"collection":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/comments?post=7455"}],"version-history":[{"count":5,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/7455\/revisions"}],"predecessor-version":[{"id":9580,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/7455\/revisions\/9580"}],"wp:attachment":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/media?parent=7455"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}