1950-1970 Arası Türkiye'de Sinema Müzik İlişkisi

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Tarih
1998
Yazarlar
Şirin, Betül
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Yayınevi
Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Özet
Sinemanın ilk yıllan, Fransa’da Lumieres Kardeşlerin ve aynı tarihte Amerika’da Thomas Edison’un 1896 yılında “sinematograf’ aygıtım keşfetmeleriyle birlikte, Lumieres kardeşlerin dünyanın her yamna operatörler göndererek belge filmleri çekmeleriyle başlar. Başlangıçta kısa film ile başlayan sinema; zamanla insanların dikkatini çekmeye başlaması, büyük bir endüstri haline gelmesi ve sanat niteliklerinin yavaş yavaş anlaşılması sonucu kısa metrajlı olan filmlerin uzun metrajlı olarak yapılması düşüncesini oluşturmuştur. Lumieres Kardeşler tarafından gönderilen operatörler ilginç belge filmleri çekmekte, sonradan bunları çoğaltarak satışa hazırlamaktaydılar. Rusya’ya ve Orta Doğu’ya giden operatörler, Türkiye’den geçerken İstanbul’da, İzmir’de ve o sırada Osmanlı imparatorluğuna dahil bulunan bazı yerlerde de filmler çekmişlerdir. 1914’te Osmanlı imparatorluğunun itilaf devletlerine karşı ittifak devletleri safhmda savaşa katılması Yeşilköy (eski adıyla Aya Stefonos) de dikili bir anıtın bombalanmasına neden olmuş ve bu tarihsel olayı Türk sinemacılarından Fuat Uzkınay görüntülemiştir. Bu görüntüler ilk Türk filmini meydana getiren görüntülerdir. I.Dünya savaşında Türk Ordularının Başkomutanı Enver Paşa savaş içinde Almanya’yı ziyaret ettiği sırada Alman Ordusu’nun “Ordu Film Dairesi” kurarak faaliyete geçirmesi dolayısıyla sinemaya verilen değeri kavramıştır. Yurda dönünce ilk işlerinden biri Türkiye’de de hemen bir Ordu Film Dairesi’nin kurulmasını sağlamak olmuştur. 1923’lere (Tiyatrocular Dönemine) gelindiğinde Türkiye’de ki sinema çalışmaları tiyatrodan gelmiş kişiler ile yapılmaktadır. Bu çalışmalar Türkiye’nin en ünlü tiyatrocusu Muhsin Ertuğrul ve o zaman ki tek ödenekli tiyatro Darülbedayi (İstanbul Şehir Tiyatrosu) nin tekelinde bulunmaktadır. Tiyatrocular sinemayı, tiyatro sahnesi olarak görmüşler ve sinemayı kapalı mekanda düşünmüşlerdir. Bu nedenle sinemaya olumlu bir katkıları olamamıştır. Sinemamn ilk dönelerinden beri filmler gösterilirken piyano görüntüye fon olarak eşlik etmekteydi. Önceleri çalman müzikler ile görüntü arasında bağlantı gözetilmiyordu. Daha sonraları çalman müziğin görüntülere uyumlu olmasına özen gösterildi. Böylece belli durumlarda belli parçaların çalınması gibi bir geleneğin oluşmasına neden oldu. Özellikle müzik sanatımn belirli parçalan sahnelere göre sınıflandırıldı, perdede bu sahneler yeraldığı vakit bu parçalar çalınıyordu. Canlı, hareketli sahnelerde temposu hızlı ve neşeli parçalar yer almaktaydı. Film yapımcıları filmin genel temposunu belli sahnelerde çalınması gereken parçalan belirten açıklamalan da, film ile birlikte film gösterimcisine göndermekteydiler. Bunun yanısıra yavaş yavaş belli bir film için bestelenmiş, özgün müzik kullanılması da yaygınlaşmıştı. Zamanla sesli sinemamn ortaya çıkışıyla birlikte müziğin de diğer sesler gibi ses kuşağına alınması ve görüntü ile birlikte sunulması mümkün olmuştu. 1930’larda Mısır ve Yunanistan ile ortak olarak gerçekleştirilen, Muhsin Ertuğrul’un yönettiği “İstanbul Sokaklannda” nın ilk sesli Türk filmi olarak 1931 senesinde Beyoğlu’nda Melek ve Elhamra sinemalannda gösterime girmesiyle ülkemizde sesli film dönemi başlamıştır. 1938’de Muhammet Kerim’in çevirdiği “Aşkın Gözyaşlan” adlı filmin İstanbul’da gösterilmesi ile bol müzikli, aşklı, gözyaşlı Mısır filmleri akımı başlamıştır. 1939’da Mısır filmleri etkisi altında tanınmış şarkıcılardan yararlanılmaya başlanmış, Münir Nurettin Selçuk “Allah’ın Cenneti” adlı filmde başrol oynamıştır. Bu filmin tutması üzerine Muhsin Ertuğrul “Kahveci Güzeli” adlı filmini yine Münir Nurettin Selçuk ile çevirmiştir. Münir Nurettin Selçuk “Kahveci Güzeli” ve Allah’ın Cenneti” adlı filmlerinde genellikle Sadettin Kaynak ve kendi bestelerinden örnekler kullanmıştır.Tiyatrocular Dönemi (1923-1939) nin sonunda Türkiye’de sinema endüstrisi savaş nedeniyle istenilen atılımı gerçekleştirememiştir. Kapanan Avrupa pazarlarının yerini 1938 -1944 yıllan arasında Hollywood filmleri ile Mısır’dan gelen Arap filmleri yeralmıştır. Mısır filmlerinin hem sinemacılar hem de izleyiciler üzerinde büyük etki göstermiştir. Özellikle Mısır filmlerinin büyük ilgi görmesi, müziklerinin aynen alınıp güftelerinin türkçeye çevrilip plaklara okutulmasına neden olmuştur. Bu durum kendi kültürümüzün bozulabileceği düşüncesini yaratmıştır. Bu olumsuzluğu gidermek için 1948’de Basın Yayın Genel Müdürlüğü Mısır filmlerini yasaklamıştır. Mısır filmlerinin ilgi gördüğünü gören Türkler 1950’lerde (Sinemacılar Dönemi) bu filmler üzerinde küçük değişikliklerle Türk sinemasına uyarlamaya çalışmışlardır. Bu tür filmlere şarkı yapan bestekarlara başında Sadettin Kaynak sonra Münir Nurettin Selçuk gelmektedir. O yıllarda Sadettin Kaynak, Münir Nurettin Selçuk, Metin Bükey film için şarkı yapmış Nedim Otyam, Yalçın Tura ise film için film müziği yapmışlardır. Sinemacılar Döneminde, Tiyatrocular ile Geçiş dönemi sinemacılarının etkisinden, dolayısıyla tiyatrodan arınmış, doğrudan doğruya sinema dilini kullanan eserler verme çabalarına girişilmiştir. Bu dönem sinemacıların başında Ö. Lütfi Akad yer almaktadır. 1914’ten 1950’ye dek uzanan dönemlerde Türk sineması özgün bir sinema dilinden yoksun yaşamıştır. Kullanılan dil sinema dili değildir. Ancak 1950-1960 yıllan arasında, önceki dönemlerden farklı olarak sinemaya özgü bir dille anlatma çabalanna başlanmıştır. 1967’den sonra renkli film yapımının birdenbire artışı, film maliyetinin artmasına neden olmuştur. 1987 sonrası; televizyon kanallanmn çoğalması, film yapımcılarının ekonomik taleplerinin karşılanamaması ile Türk Sineması krize girmiş, daha çok film festivalleri için film üretilmiştir.
The fırst years of cinema (birth of cinema) began in 1896 with the discovery of a device called “cinematography” by the Lumieres brothers in France and at the same time by the Thomas Edison in United States where Lumiere Brothers have been sending the operators ali över the world for the purpose of editing documentary films. Although the beginning of cinema has been with the documentaries, since the people were attracted in masses and it became a focus point of the common interest of the people while a giant industry has been developed in the course of time, and artistic aspects of cinema have been recognized by the art circles, such documentaries have been replaced by the thought of editing the regular films in later stage. The operators of Lumiere Brothers have been editing interesting documentaries and after having reproduced them they have been marketing them. When Lumiere brothers were traveling such purpose to Russia and Middle East Countries they have kept passing by Turkey at the same time, and having stop overs in many Turkish Cities Particularly İstanbul, and İzmir including some other majör cities that have been under the Imperial rule of Ottoman Empire vvhere they have shot many documentaries. In 1914 the Ottoman Empire positioned in favor of the allied povvers against the entente powers which caused a bombing of a monument in Yeşilköy (once named Aya Stefonos). Such historical event has been made a screenplay by one of the Turkish Film Producers Mr. Fuat Uzkmay that constituted the first Turkish production in the cinema history of Turkey. The Imperial General Enver Pasha has visited the Army Film Department when he had given an official visit to Germany during the First World War.Upon his retum from Germany he had formed a similar department in the Imperial Army. The Army film Department has been involved in shooting military documentaries typically relating to the war events and the commander in chief or the daily lives of Sultan.When it was 1923s (which is an era where particularly the theaters were extremely favored) the cinema works in Turkey have been conducted by the people who come from the theater circles. Such efforts have been dominate by some celebrities in theater such as Muhsin Ertuğrul and the Metropolitan Theaters (DAR -Ul-BEDAJE) School of Music vvhich had been subsidized by the Imperial Budget. The Theater artists have considered the cinema as a part time occupation rather than a new branch of visual art. Consequently their contribution to the cinema was almost null and void. At the beginning period of cinema film music had usually comprised a piano play accompanied the images. And no liason had been actively considered betvveen the images and the type of the music having been performed. Later on, the actual music and the images have been conducted and performed in concordance with the images. Such initiatives caused production of traditional animated musicals. In this course of application, some specified musical pieces have been classified according to the scenes of the films. Whenever such scenes were on the screen the pre classified pieces would start to play. The animated fiili of action films was immediately accompanied by musical pieces that vvould accord with the action of the film in play. The film producers used to send the related descriptions accompanied by the film itself to the film operators to direct them where to play which and which scenes must be accompanied with what music. Meamvhile some music has been composed for specified films and the use of originally composed musicals has been spread out in wide range. With the occurrence of the sound films, the music have been included in the sound track and perform it together with the images just like other sounds in the film. The first application of sound film in Turkey had been directed by Muhsin Ertuğrul in 1930, the name of film was” The Streets of tstanbul”which was a joint venture production being realized by Turkish, Egyptian and the Greek Producers. The film was put in vision in the cinemas in 1931 in İstanbul namely; Melek and Elhamra Theaters in Beyoğlu (Pera). In 1938 with the importation of an Egyptian production named “the tears oflove” produced by Mohammed Karim Egyptian producer, a current of Egyptian films with extreme musicals, romance and tears had taken place in İstanbul in 1938. In 1939 under the effects of the Egyptian fîlms, The Turkish producers had begun to use the famous Turkish Singers in their romance fılms and Münir Nurettin Selçuk the Top Turkish Classic Musical performer had been casted as the star in the film named “the God’s heaven”. Since such film made a great hit in Turkey, Muhsin Ertuğrul has directed and produced the famous film “the Hostess”(kahveci güzeli) and Münir Nurettin Selçuk was awarded vvith starring role of the film in the cast. Münir Nurettin Selçuk frequently conducted samples of the leading vvorks of Sadettin Kaynak and his own vvorks in both films “the God’s heaven” and “the Hostess” At the end of the theater Era that continued from 1923 to 1939 the expected development in the cinema industry had not been achieved due to the war. With the fading of the European markets the Hollywood productions vvith the Egyptian films had filled the gap of the European films in Turkey between 1938 and 1944. The Egyptian fîlms had a common effect on both the audience and the producers in Turkey.Particularly the Egyptian films had made great hit in the country which caused shovving extreme interest in Egyptian music and many of them have been adapted into Turkish music and their texts have been translated into Turkish for record productions. Such developments created a negative opinion in connection vvith the spoiling of our national culture and have bad effects on the Turkish Music which constitutes a majör portion of our culture. In order to avoid such cultural risks the General Directorate of Press and Publishing Affairs had restricted the importation of the Egyptian Films into the country in 1948. Since the great interest shown in the Egyptian films have been traced by the Turkish Producers. They had attempted to compromise the demand by adapting the Egyptian Films into Turkish vvith slight changes in 1950s, vvhich is considered to be the era of the motion picture producers. The music edited for such films vvere primarily composed by either Münir Nurettin Selçuk or Saadettin Kaynak. Amongst the film music composers apart from those stated above we could name Nedim Otyam, Yalçın Tuna who are very qualified composers in this industry. During the era of the motion picture producers, the cinema was protected from the interference of the theater artists who created a transition period between theater and cinema media. Soon aüter the end of the transition era the real works created exclusively for cinema have been produced using the actual cinema language. The leading character in this period is Ö.Lütfi Akad. Turkish Cinema has spent a long time from 1914 to 1950 with the lack of an exclusive cinema language. During this period, the applicabie language had never been a true cinema language at ali. However the year 1950 has constituted the mile stone of the Turkish Cinema with respect to its artistic character. The Firs part of the movie makers era has continued until 1960 revolution in Turkey. In comparison to the preceding period, in this first period, the cinema has been attempted t be expressed with a specific cinema language. Akad and other directors who followed him had formed the pole of the opposition group with respect to the Theater supporters, particularly Mr. Ertuörul in connection with Sentiment of cinema, understanding, use of the cinema language, techniques of cinema, casting skills and selecting of stories. The movie makers had made the theatrical cinema vvhich has built on the incorrect foundations gain so much cinema characteristics as Ertuörul caused the cinema gain theatrical aspect. The first samples of this language had been displayed when the Turkish cinema has deemed not to be able to reach the typical cinema language and fail to leam speaking with such language. When it is looked back from 1960s where the first section of this era has ended, it will be readily found that these ten years had been a significant era for the Turkish Cinema. This significance first of ali had been generated from the true beginning of Turkish Cinema has hit this era. And once again, during this era serious efforts have been shown with respect to the cinema criticism, cinema publications have been displayed in wide scale, and time to time productive liaisons betvveen the movie make critics and the spectators have been established. The second section of this era (1960-1965) has been initiated with the 1960 revolution. The efforts in the field of cinema pertaining to this 2nd era had been promising from the point of cinema industry. The revolution and the consequent constitution, had made ali the previous matters which were prevented by force and pressure before to appear. These are considered unique treasure for the movie makers. The movie makers who had leamed the cinema language between 1950-1960, but had to spent them for the superficial topics, now could have focused on these problems. The question of how to relate is settled, but now the question of what to relate had occurred. Although the control had never changed, it rather had the new air of adaptation in the applications. The directors of before 1960 period and the majority of the ones who had undertaken their missions on 1960, the movie makers who wished to do something with full of good will, had started vvorking with optimum enthusiasm and began to focus on social problems in the society. Between 1960-1965 a serial film that reflected the social problems on the white screen had been made first time in the Turkish cinema. But the contemplation of the movie makers who had created such films with the context of social problems to have created the current of “social realism” is beyond the reality. A film inflation that has proved its existence with very seldom show ups at the end of 1965 had caused the most dramatic impact in its own constitution. Motion picture production had increased up to very remarkable levels, in 1966 Turkey has been ranked on the fourth place with 229 film production in the world. Such increase has tumed out to be a heavy bundle to carry for the cinema industry and caused an overall complexity of suffocation. With the remarkable increase in the production of color films after 1967, the production costs have been dramatically increased as well. After 1987, when the TV channels had spread and shown very fast growth in every aspect, the Turkish Cinema had found itself in a very critical recession and film making frequency has dropped very severely, and the producers had started making films for the occasion of the regular festivals only.
Açıklama
Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1998
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1998
Anahtar kelimeler
Müzik, Sahne ve Görüntü Sanatları, Bükey, Metin, Müzik, Otyam, Nedim, Sinema, Tura, Yalçın, Türk sineması, Music, Performing and Visual Arts, Bükey, Metin, Otyam, Nedim, Cinema, Tura, Yalçın, Turkish cinema
Alıntı