{"id":9581,"date":"2021-11-02T10:22:27","date_gmt":"2021-11-02T07:22:27","guid":{"rendered":"https:\/\/dostlukfilmfestivali.com\/?page_id=9581"},"modified":"2021-11-02T10:27:44","modified_gmt":"2021-11-02T07:27:44","slug":"amity-honorary-award-2018","status":"publish","type":"page","link":"http:\/\/dostlukfilmfestivali.com\/en\/amity-honorary-award-2018\/","title":{"rendered":"Amity Honorary Award 2018"},"content":{"rendered":"

[vc_row el_id=”yillar-menu-row”][vc_column][vc_btn title=”2021″ color=”juicy-pink” size=”lg” link=”url:%2Fen%2Famity-honorary-award-2021|||” el_class=”yillar-menu”][vc_btn title=”2020″ color=”juicy-pink” size=”lg” link=”url:%2Fen%2Famity-honorary-award-2020|||” el_class=”yillar-menu”][vc_btn title=”2019″ color=”juicy-pink” size=”lg” link=”url:%2Fen%2Famity-honorary-award-2019|||” el_class=”yillar-menu”][vc_btn title=”2018″ color=”juicy-pink” size=”lg” link=”url:%2Fen%2Famity-honorary-award-2018|||” el_class=”yillar-menu secili”][vc_text_separator title=”I. Uluslararas\u0131 Dostluk K\u0131sa Film Festivali” el_class=”seperator-baslik-pembe”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_empty_space height=”20px”][vc_single_image image=”5636″ img_size=”400×400″ alignment=”center”][vc_column_text]A Story Aficionado: Reis \u00c7elik<\/strong><\/p>\n

I think no one can deny the fact that Reis \u00c7elik is the most original and one of the most important directors of the contemporary Turkish cinema who cares more about quality than quantity. Reis \u00c7elik said hello to cinema after 1990, within the historical flow of Turkish cinema that included different types and style, and starting from his first directorial debut, in all his films, he glanced to Turkey\u2019s recent era on his own way and functioned as a guide to never changing problems. It was not a coincidence that Reis \u00c7elik\u2019s cinema consisted of socially based films, which were mostly political.<\/p>\n

What he experienced at that time was dramatized with cinematic facts and exhibited on the screen. The fact that he made his first appearance with the politically concerned film \u201cThe Light Should Not Go Out\u201d was more than a coincidence, it was more like since his worldview did not overlap with the current type of that period, he was courageously going after this not being an overlapping issue as a story aficionado. However, cinema did not even cross young Reis \u00c7elik\u2019s mind, he left home from the most northern point of Anatolia with his saz in one hand and suitcase on another.<\/p>\n

He encountered cinema for the first time with a Y\u0131lmaz G\u00fcney film, \u201cKargac\u0131 Halil\u201d but he wanted to be a journalist. It was his only dream. In 1970s \u0130stanbul, road conditions caused Ardahan-\u0130stanbul journey to continue for exactly 36 hours. He did not like the big city and decided to go back. Later on, when he is looking for a newspaper-printing job, he registered at a night school and proceeded to continue his education. Immediately after that, he entered the \u0130stanbul Municipality Conservatory and received music education.<\/p>\n

In the same period, he brought his music education into a professional level by participating Ruhi Su\u2019s \u201cFriendship Chorus.\u201d Reis \u00c7elik, despite his dream of journalism and chorus work, had been a political person like every young person of his time. For this reason, he was in and out of prisons for short period of times, which he called \u201cstate guesthouses.\u201d Right before the September 12 loomed over like a nightmare, he passed by the \u201cstate guesthouse\u201d one more time. He would realize that when he started to think about the art of cinema all these experiences have fed and enriched him. After his release, he succeeded to land a job at G\u00fcnayd\u0131n newspaper, and after that D\u00fcnya newspaper. He worked as a newspaper distributor in both places. When an art piece he amateurishly wrote liked by well-known journalist Nezih Demirkent, Reis \u00c7elik reached his dream. He was not a newspaper distributor anymore but a journalist who was gathering the news for the most famous newspaper, G\u00fcnayd\u0131n. During his 10 years-long tenure, he became an unflinching journalist running after news stories.<\/p>\n

He learned to take good photographs. He undertook important tasks in Turkey\u2019s first private television and later on video-newspaper work. He prepared programs for Turkish expats in Germany called \u201cVideo Salam\u201d that gave news from Turkey. In 1991, he took part in the establishment of ATV broadcasting station. He shot commercials and he finally said; cinema. Throughout his life, everything Reis \u00c7elik accumulated formed his cinema. When he wrote the movie \u201cGoodbye Tomorrow\u201d that tells about Deniz Gezmi\u015f and his friends, he did not know if he could shoot it due to the recent political atmosphere in Turkey. However, before he can complete the film, he encountered another difficult situation. Without any experience, telling about the chaos southeastern Turkey is having, given all the hardship a director can experience.<\/p>\n

He encountered prohibitions; he did have difficultyfinding actors but did not lose his courage. He shot movies that he could tell the story without branding a bleeding wound, he was going to offer a story to an audience that could help to find a solution. After that, \u201cGoodbye Tomorrow\u201d in which addressed oppression of revolutionary youth and prison spirit; \u201cStubbornness Stories\u201d-a nod to the region he was born and raised, \u201cRefugee\u201d- the identity crisis of being Turkish and refugee in Europe, \u201cSilent Night\u201d, a mirror for child bride issue. These movies brought many awards to Reis \u00c7elik.<\/p>\n

However, most importantly these films offered significant contributions to the world of cinema in Turkey and left deep scars in our collective memory. That\u2019s why his films have not been foreign to us. It is because the people Reis \u00c7elik filmed were not borrowed from some source or left in the void. They were taken from real life, written without having \u201cnothing like\u201d people. Most of the time, we didn\u2019t want to be like his people but we couldn\u2019t help to share their fate and tag along. Because they were equivalent of everything that had been experienced or lived and Reis \u00c7elik\u2019s passion for narrative assumed the mission of notifying us and teaching us, more accurately they overtook the finger pressing mission, even in remote geographies. All applause goes to Reis \u00c7elik…<\/p>\n

Alican Sekme\u00e7<\/p>\n

1 December 2018 Beyo\u011flu[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”20px”][vc_single_image image=”7502″ img_size=”400×400″ alignment=”center”][vc_column_text]From Tradition To Originality: Biket \u0130lhan<\/strong><\/p>\n

Biket \u0130lhan, in the context master-apprentice relationship, is one of the few women directors who grew up in Ye\u015fil\u00e7am\u2019s tradition and managed to season gradually and to bring her own cinema to a different level despite using known types, actors, clich\u00e9s and patterns of Ye\u015fil\u00e7am\u2026 As much as it is hard to separate her cinema from the type of cinema we know and used to, it is undeniable that she always succeeded to affect her audience with original scripts that tell about people\u2026 Biket \u0130lhan, in her first years as director, continued the familiar tradition of Ye\u015filcam and was able to create very different and original films over time. In fact, she is the gift to Turkish cinema by her husband, the poet Atilla \u0130lhan\u2026 In eth 1960s, Atilla \u0130lhan, who was a scriptwriter himself, supported his wife tryst for cinema and wrote scripts for her.<\/p>\n

Biket \u0130lhan was an English teacher before being a filmmaker. The first school she worked was in her hometown \u0130zmir. In 1966, her path crossed with poet Atilla \u0130lhan, who was also from \u0130zmir, and the relationship was ended with marriage in 1968. Biket \u0130lhan first moved to Ankara in 1973 and later on to \u0130stanbul in 1981 due to her husband work. It did not take her long to encounter filmmaking since she was a frequenter of culture and art scene. While she did not have filmmaking in her mind, their old friend Selim \u0130leri introduced her to Feyzi Tuna, a filmmaker from Ye\u015fil\u00e7am tradition with a distinguished place in Turkish cinema.<\/p>\n

In 1982, she stepped in sets for the first time, as Feyzi Tuna\u2019s assistant for the movie \u201cI Buried You to My Heart\u201d with T\u00fcrkan \u015eoray and Cihan \u00dcnal in leading roles. After that, her assistant director position continued with \u201cPassion\u201d, \u201cA Woman A Life\u201d, and \u201cKuyucakl\u0131 Yusuf.\u201d Starting her filmmaking career at the age of 37, Biket Ilhan learned a lot about cinema thru master-apprentice relationship in the field. Biket \u0130lhan\u2019s assistant director position continued with TV serials made for TRT such as \u201cThree \u0130stanbul\u201d, \u201cEagles Fly High\u201d, \u201cExpensive to Live Without Money\u201d, \u201cOne Who Knows\u201d, and \u201cSoul Friends.\u201d She did not care when her name was not mentioned as the director in the credits of a TV series she shot. In between, she shots jazz video clips for TRT. However, she paid the most attention to short films made by Atilla \u0130lhan\u2019s poetry. In 1992, for the first time her name is written as director in TRT series \u201cTele Flash\u201d again written by Atilla \u0130lhan. \u201cLast Hope\u201d, \u201cA Woman\u2019s Face\u201d, and \u201cA Chalice For You\u201d that made within Ye\u015fil\u00e7am forms followed it.<\/p>\n

Her first original work, which determined Biket \u0130lhan\u2019s place in Turkish cinema, appeared in 1995. \u201cThe Man on the Street\u201d, written by Atilla \u0130lhan, attracted great attention for successfully presenting the atmosphere of 1950s and \u0130stanbul. Behind the story it hosted, it succeeded to be a period film, in which an existential and alien character came to the fore, political events felt unobtrusive, reflected suffocating dark atmosphere of her time. In 1997, Biket \u0130lhan turned another Atilla \u0130lhan book, \u201cThe Table of Wolves\u201d into a TV series, and in 1998, her second original work \u201cBoatman\u201d met the audience. In this film, she tried to tell the similarities of Turks and Greeks. However, an Aegean story \u201cBoatman\u201d did not attract enough attention despite all its originality. For Biket \u0130lhan \u0130zmir and its surroundings where she spent her childhood and her early youth was like a story store. These stories she read and listen to were priceless for a filmmaker. In 2004, the movie she directed, \u201cThe Dark Side of the Moon\u201d is another original story that filmed by \u0130lhan.<\/p>\n

That was also an Aegean story. In 2007, \u201cThe Blue Eyed Giant\u201d was a new test for Biket \u0130lhan. This time she turned her camera to one of the biggest poets of Turkish poetry, Naz\u0131m Hikmet, who was arrested many times due to his political thoughts and spend most of his life either in prison or in exile. Naz\u0131m Hikmet\u2019s story prompted Biket \u0130lhan for the fact that no filmmaker has thought to focus on him, despite thousands of articles, hundreds of books written about him, even constant discussions revolving around moving his gravesite.<\/p>\n

Given the fact that such an esteemed figure cannot fit into a single film, she concentrated only a certain period of his life. \u201cThe Blue Eyed Giant\u201d aroused interest as the first film on Naz\u0131m Hikmet. \u201cUnfinished Miracle\u201d that tells the story of the most important reality of Turkey, the village institutes, was her second film about our recent history. Even though \u201cThe Blue Eyed Giant\u201d and \u201cUnfinished Miracle\u201d are the stories that can be assessed politically, Biket \u0130lhan never fell into those traps. Acting on \u201cwhoever has an issue must do cinema\u201d motto, her problem was not being political, it was to tell stories about people. Her concern and approach were always in that direction. All applause goes to Biket Ilhan…<\/p>\n

Alican Sekme\u00e7<\/p>\n

1 December 2018 Beyo\u011flu[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space height=”20px”][vc_single_image image=”7499″ img_size=”400×400″ alignment=”center”][vc_column_text]One of Us: S\u00fcleyman Turan<\/strong><\/p>\n

Being a star in cinema is one thing, being able to act in masterpieces is another. While here or in the world, many stars not able to find an opportunity to act even in a single masterpiece, there are actors who act in masterpieces without needing to be a star and become unforgettable. S\u00fcleyman Turan is one of them. S\u00fcleyman Turan\u2019s introduction to the cinema corresponds to the first quarter of the 1960s, also known as \u201cGolden Period\u201d when the formations and productions in Turkish cinema accelerated and the besides quality, the films\u2019 qualitative aspects also increased.<\/p>\n

In these years, the number of existing popular actors not being able to meet the rising numbers of the films made, caused Turkish cinema to need new faces. Under the direction of \u015eevket Rado, the most popular cinema periodical of the 1960s Ses Magazine collaborated with the film producers and started to organize a contest called \u201cCover Star\u201d as a solution to the shortage of new faces in the cinema. In 1963, in the second year of the competition, Ediz Hun became the winner in the category of men and Ajda Pekkan in the category of women. Immediately after that, they both signed contracts with 10 film producers to act in 10 different films. S\u00fcleyman Turan and H\u00fclya Ko\u00e7yi\u011fit step into the Ye\u015fil\u00e7am as the runner-ups of that edition of the competition. S\u00fcleyman Turan signed a contract with Kemal Film, which was the popular brand name of 1963. He appeared in front of the cameras for the first time in the movie \u201cDear Misses\u201d with Tamer Yi\u011fit and T\u00fcrkan \u015eoray. Immediately after that in \u201cWhite Pigeon\u201d with G\u00f6ksel Arsoy and Filiz Ak\u0131n\u2026<\/p>\n

It did not take him long to get rid of his novitiate. With his flamboyant physique, he succeeded to become one of the most wanted actors of the comedies. Films such as \u201cFive Candy Girls\u201d, \u201cYouth Wind\u201d, \u201cH\u0131z\u0131r Dede\u201d, \u201cKo\u00e7um Benim\u201d, \u201cKral Arkada\u015f\u0131m\u201d, \u201cMagnificent Drifter\u201d, \u201cMy Dear Professor\u201d, \u201cOne Groom for Three Bride\u201d followed one after the other. In his first years in Turkish cinema, in the eyes of his audience, S\u00fcleyman Turan was always a young man who was sober, able to overlap his gentlemanliness with emotion, able to force the limits of seriousness, other times quiet but not in need of hiding his confidence. For him being a leading or character actor did not make a difference. It did not sadden him to be the second man next to the main male character. Sometimes he was the evil rival of the main male character.<\/p>\n

Punches, pistols were flying all over the air. S\u00fcleyman Turan has always preferred to be the unforgettable character actor face of the films with thesis rather than being the star actor of popular films. Maybe that\u2019s why the light on his face reflected on his audience without losing its brightness. Films such as \u201cGolden Earrings\u201d, \u201cSailors are Coming\u201d, \u201cBodyguard of Fatih\u201d, \u201cThe Revenge of the Angels\u201d, \u201cVatan Kurtaran Aslan\u201d, \u201cCoconut\u201d, \u201cCompassion\u201d, \u201cSinekli Bakkal, \u201cAttention Searching for Blood\u201d, \u201cHeart Tavern\u201d has made him a character actor. The audience immediately accepted that change and associated him with them. The audience did not look for another reason other than what it is seen on screen. His path crossed with Y\u0131lmaz G\u00fcney in 1969. The working partnership that started with \u201cAn Ugly Man\u201d and continued with films such as \u201cBlood Will Flow Like Flood\u201d, and \u201cTomorrow is the Last Day\u201d became as unforgettable films of his career.<\/p>\n

\u0130n 1971, he won his first acting award with the movie \u201cTomorrow is the Last Day\u201d at 3rd Adana Golden Boll Film Festival. During the same years, S\u00fcleyman Turan became part of fantastic films such as \u201cMasked Five\u201d, \u201cThe Return of Masked Five\u201d, \u201cGiants with Iron Fist are Coming\u201d, \u201cAy\u015fecik and Magical Midgets are in Dreamland\u201d, and \u201cCaptain Swing.\u201d He has seen on screen rarely in 1974. In 1975, while the erotic films that spread thru the Turkish cinema like a virus forced many actors of 1960s to work on casinos, to stay at home or to work at other kinds of jobs, S\u00fcleyman Turan continued to work without involving with any of that. Besides acting, he started to write screenplays. In 1977, he appeared in front of the television cameras for the first time with the \u201cCreating a Man\u201d by Y\u00fccel \u00c7akmakl\u0131.<\/p>\n

Over time, especially in the 1980s, he completely turned to the television. In Turkish cinema, some of the actors determine their place on the acting board by copying from the actors of the previous period and improving on their style. More precisely, they have become a follower. S\u00fcleyman Turan, with his God-given talent, determined his own place, did not become a follower, and reached the maturity he can pass on the next generations, always was the best friends with the camera, generously gave back his acting to the cinema as a gift, loved being lost between the sound of motor and cut, and always has been one of the most respected film workers. All the applauds goto S\u00fcleyman Turan\u2026<\/p>\n

Alican Sekme\u00e7<\/p>\n

1 December 2018 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” link=”url:%2Fen%2Famity-honorary-award-2021|||” el_class=”yillar-menu”][vc_btn title=”2020″ color=”juicy-pink” size=”lg” link=”url:%2Fen%2Famity-honorary-award-2020|||” el_class=”yillar-menu”][vc_btn title=”2019″ color=”juicy-pink” size=”lg” link=”url:%2Fen%2Famity-honorary-award-2019|||” el_class=”yillar-menu”][vc_btn title=”2018″ color=”juicy-pink” size=”lg” link=”url:%2Fen%2Famity-honorary-award-2018|||” el_class=”yillar-menu secili”][vc_text_separator title=”I. Uluslararas\u0131 Dostluk K\u0131sa Film Festivali” el_class=”seperator-baslik-pembe”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_empty_space height=”20px”][vc_single_image image=”5636″ img_size=”400×400″ alignment=”center”][vc_column_text]A Story Aficionado: Reis \u00c7elik I think no one can deny the fact that Reis \u00c7elik is the most original and…<\/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-9581","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/9581"}],"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=9581"}],"version-history":[{"count":3,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/9581\/revisions"}],"predecessor-version":[{"id":9584,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/9581\/revisions\/9584"}],"wp:attachment":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/media?parent=9581"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}