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M. Carpouzas of Hotel d'Ephese

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Gertrude Bell Diaries | Thurs 13. [13 March 1902] 

Fine but cold. Mr VL [Van Lennep] and I went to Ephesus. M. v. Heemstra drove us to the station. We had an amusing journey travelling with an American Cath. bishop 2 Americans, priests perhaps, and a young Englishman. Arrived, we walked up to the Seljuk fort where there is not much to see, and down to the most lovely mosque, a beautiful example of elaborate Seljuk work. The big columns taken from Greek buildings are splendid; there are remains of tiles above the Mehrab. We then walked down to the theatre where we lunched, the Bp lunching below us. He was much excited about the Panagia Kapousi, the Virgin's tomb and house which they are supposed to have discovered on a hill to the S. The Austrians have excavated since I was here the long road leading down to the Port (it was lined with columns) and a great deal more of the Roman Baths. Here there was a lovely bit of frieze, garlands with rams heads. We returned by the S side of the Acropolis, St Luke's Tomb and the gymnasium. Sat at Karpouza's and had coffee and cakes. We had to wait for the goods train onto which a 3rd class carriage was tacked for us. At Tourbali [Torbali] M. Edmond de Hochepied got in - an amusing person and a bad lot I shd say. Arrived at Develi Keui at 6.15 and found M. van Heemstra's cart waiting for us. I drove Bob up. Dined with the van H.'s and played Bridge and early to bed.

Pictured M. (George) Carpouzas in front of Hotel d'Ephese.
Life of the Rev. Samuel Savage Lewis | Agnes Smith Lewis | Macmillan and Bowes, 1892 - 286 pages.



Mavi Boncuk |





"This new hotel was named “Grand Huck – Ephese”. One half of the shares of the hotel were owned by the Huck family and the other half by the Izmir-Aydin Railway Company.18 In terms of architecture, the Ayasuluk hotel was different than the original. In general, the building had a less elaborate masonry structure. It was two-storey tall and there was a defining line of dressing between the storeys. The entrance to the hotel was through a hipped roof porch. There was also a veranda on one side of the hotel. Today the building is still present in Selçuk. However, because the upper floor of the hotel was burnt during the Greco-Turkish War of 1922, it was restored and protected as a single storey building. It currently serves as a restaurant called Cafe Carpouza run by the municipality. The name Carpouza is said to be the name of the owner of another hotel in the area in late 19th early 20th century period."SOURCE

Greek Theater in the Ottoman Smyrna

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SOURCE:Greek Theater in Southeastern Europe and the Eastern Mediterranean from 1810 to 1961Stamatopoulou-Vasilakou, Chrysothemis. Journal of Modern Greek Studies, Volume 25, Number 2, October 2007, pp. 267-284 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/mgs.2008.0014
Mavi Boncuk |
Smyrna 

EXCERPT

"After Constantinople, the next major center for Greek theater in the Ottoman Empire was Smyrna (Izmir), the largest commercial seaport in Asia Minor. The geographical position of Smyrna combined a large port with a fertile hinterland, which attracted people of every nationality including Greeks, French, British, and Dutch, all of whom established communities that gave Smyrna its cosmopolitan character (Solomonidis 1954:16–21). It is for this reason that Smyrna’s theatrical scene was largely founded on the activities of European amateur drama clubs at the end of the seventeenth century (Solomonidis 1954:9–15, 33–46). A group of European actors, known as the Group of Amateurs, began staging performances in 1824 at the Madamas Theater in the French neighborhood of Smyrna. Greeks took part in these performances and, in 1829, they staged the "rst public performance in Greek of Metastasio’s Artaxerxes, (Solomonidis 1954:47–51). 

In Smyrna, as in Constantinople, the Greek lyric theater enjoyed great popularity. The performances of operatic works provide evidence that Smyrna had a large and sophisticated audience that enjoyed this kind of theater. During the first two decades of the twentieth century, the operas gave way to operettas which !ourished along with another extremely popular type of musical performance, the revue. 

The Efterpi, the fist large theater of Smyrna, opened in 1841, thus inaugurating the beginning of frequent visits by touring theater companies from France and Italy to perform, most often melodramas. The first Greek-language production by an amateur drama society was staged in the Efterpi Theater in 1845, and the first mention of a show staged in Smyrna by a Greek touring company dates from the spring of 1866 when the Markezini-Delli Players headed by Dionysios Tavoularis arrived and performed in the city. In later years, the Efterpi Theater hosted productions by the touring Greek companies of Pantelis Soutsas, Dimosthenis Alexiadis, Michael Arniotakis, Nikolaos Lekatsas, Ekaterini Veroni, Nikolaos Kardovillis, Evangelia Paraskevopoulou, Dimitrios Kotopoulis, the New Stage Players of Konstantinos Christomanos, and others. The vibrant theatrical life of Smyrna required additional spaces besides the Efterpi Theater to accommodate the growing number of performances by Greek and European theater companies. The Kamerano Theater opened in 1862 as did the Alhambra and Eldorado Theaters (both of which were open-air theaters). The Sporting Club Theater opened in 1894, the Havouza Theater in 1900, and the Gay Theater in 1909. Two of the last major theaters to open were the Splendid and Kremer. Besides these major venues, a host of smaller theaters operated in the various neighborhoods and suburbs of Smyrna. In addition to the touring companies that performed in Smyrna, local amateur theater groups provided entertainment year round. The Greek community of the city supported numerous literary societies and theater associations from 1860 to 1922 and organized theatrical performances either for charitable purposes or to explore theater as a means of expressing artistic and ideological goals, such as the cultural rebirth of the enslaved Greek nation. Among the most frequently mentioned literary societies are the Omonoia Reading Society of Smyrna (1865), the Smyrna Drama Society (1870), the Shakespeare Drama Society of Smyrna (1905), and the Arts Society of Smyrna (1919). 

The long-standing presence of Greek and foreign theater in Smyrna indicates the presence of a signi"cantly large educated public that supported this art form. Apart from the audiences, a much smaller portion of this public was also contributing to the art of theater in Smyrna as actors. Among the best-known actors were Mitsos Murat (1878–1964), Kyveli Adrianou (1887–1978), and Yiorgos Glinos (1895–1966) (Solomonidis 1954:55–297). All three of them relocated to Greece when Smyrna was destroyed in 1922. Playwrights and translators of plays also played signi"cant roles in the cultural and intellectual life of Smyrna. Writers like Ioannis Isidoridis Skylitsis, Fokion Voutsinas, Konstantinos Yakinthos, and Georgios Yperidis contributed substantially to increasing the repertoire of the theater companies, both with original plays and translations of European plays. Other playwrights specialized in writing revues. Among them were Evangelos Pantelidis, Christos Papaza"ropoulos, Sylvios Lailios Karakasis, Andreas Koutouvalis, and Nestoras Laskaris (Solomonidis 1954:297–327). 

The blockade of the port of Smyrna by the allied forces of the Entente Cordiale during the First World War led to a thorough reorganization of the local Greek theater scene. Professional theater companies, like the Arts Players of Smyrna, the Patriotic Players, and the Smyrna Musical Players, became more engaged in the political side of their art because of the war (Solomonidis 1954:226–264). The destruction of Smyrna in 1922 ended the life of the Greek community there and its century-long theatrical tradition."

Game of Silence | American Re-make of Susukunlar

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Based on the Turkish series of the same name (original Turkish title Suskunlar), Game Of Silence centers on a rising attorney on the brink of spectacular success who could lose his perfect life when his long-lost childhood friends threaten to expose a dark secret from their violent past. Suskunlar, which draws parallels to Sleepers, aired in 2012 and was hailed as the first Turkish series to become a social media phenomenon. It also won several best Turkish dramas awards that year. 

Mavi Boncuk | 

Game Of Silence

Based on a Turkish drama "SUSKUNLAR" , Game of Silence is a tale of childhood abuse, reinvention the prison industrial complex, class and hierarchy, frayed friendships and loves and political corruption. “As Larenz Tate keeps saying, ‘this is a such a dark show and complicated show, it should be on cable,’” EP Carol Mendelsohn said of the new NBC series onstage at Deadline’s The Contenders Emmys all-day event on April 10. “But I think that’s the beauty of what you can do on network TV if you have a studio like Sony behind you.” It was designed so that there is resolution for the audience in the first 10-episodes, which was Season 1, but the finale of the season has some pretty major reveals, and cliffhangers and shocking twists,” added fellow EP David Hudgins of the thriller. Starring Rescue Me alum Tate, Revolution’s David Lyons, Once Upon A Time‘s Michael Raymond-James and Make It Or Break It’s Bre Blair, the 1-hour show debuted on April 12 after The Voice before moving to its regular Thursday slot on April 14.


34th Fajr International Film Festival Awards Emin Alper for “Frenzy”

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Directors Majid Majidi and Nasser Taqvai from Iran were among the members of the jury. The jury also included Chinese filmmaker and producer Tian Zhuangzhuang, Spanish director José Luis Guerín, producers Ivo Felt from Estonia and Zeynep Ozbatur Atakan from Turkey, and Canadian writer Emmanuel Prevost. Fifteen movies by filmmakers from around the globe competed in the official section of the festival, which were held at Tehran’s Charsu Cinema Complex from April 20 to 25.

'Frenzy' ('Abluka'): Venice Review 9/7/2015 by Boyd van Hoeij


Mavi Boncuk |

“Rams”, a humanist drama by Icelandic director Grimur Hakonarson, has won the Golden Simorgh for best film in the main competition – Cinema Salvation -- at the 34th Fajr International Film Festival.

Producer Grimar Jonsson was not in attendance at the closing ceremony held at Tehran’s Vahdat Hall on Monday and a member of the film’s art department crew received the award. 

The story of the film is set in a remote Icelandic farming valley, where two brothers who haven’t spoken in 40 years have to come together in order to save what’s dearest to them -- their sheep.

The movie enjoyed more success as stars Sigurour Sigurjonsson and Theodor Juliusson shared the award for best actor.

Jury special award remained at home as Iranian director Puria Azarbaijani received the honor for “Arvand”, which is about an Iranian war veteran who is suffering from a mental disorder.

The Silver Simorgh for best director was presented to Turkish filmmaker Emin Alper for “Frenzy” and Spanish director/writer Asier Altuna Iza won the award for best screenwriter for “When a Tree Falls”.

The Silver Simorgh for best actress went to Pantea Panahiha for her role in Iranian drama “Breath” by director Narges Abyar.

“Seeing” directed by Soheil Amirsharifi from Iran won the Silver Simorgh for best short film.

Kazakh director Yerlan Nurmukhambetov’s “The Walnut Tree” won the best film award in the Asian and Islamic countries section -- Eastern Vista -- at the 34th Fajr International Film Festival. 

Starring Rustem Zhanyamanov and Balnur Asyl, the social drama produced by JSC Kazakhfilm gently blends satire with an open-hearted attitude toward human imperfection and the simple pleasures of life. 

Set in a southern Kazakh village, the movie tells the story of lovers Gabit and Aisulu who are willing to stand against deeply-rooted-in-time traditions and culture. 

The award for best director went to Algerian filmmaker 
Merzak Allounache for “Madame Courage”, which is about a young Algerian thief who develops an obsession with a teenage girl. 

Iranian filmmaker Behruz Nuranipur received an honorable mention for his documentary “A157”, a tragedy about three Kurdish girls who became pregnant after being raped by members of ISIS.

A lineup of fifteen movies vied for awards in the Eastern Vista section, among them were “Solomon” directed by Zaza Khalvashi from Georgia, “My Sister, the Pig Lady” by Jang Moon-il from South Korea and “What a Wonderful Family!” by Yoji Yamada from Japan.
The best film award in the Interfaith Section of the festival went to director Mehdi Qorbanpur for his documentary “Zmnako”.  

Australia-based Iranian filmmaker Amin Palangi was presented with the Muhammad al-Ameen Award for “Love and Marriage in Kabul”. The award is dedicated to films promoting Islam. 


Dozens of cineastes, critics and moviegoers from Iran and around the globe attended closing ceremony of the 34th Fajr International Film Festival, which was held at Tehran’s Vahdat Hall on Monday.


Ivy | Tolga Karaçelik Interview and Karlovy Vary Review

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“Who remains at the top of the hierarchy when we don’t need it anymore?”
by Valerio Caruso

28/04/2016 - Cineuropa sat down with Turkish director Tolga Karaçelik to discuss his film Ivy[*], winner of the Cineuropa Prize at the Lecce European Film Festival.

[*] Sarmaşık aims to sail to her loading port in Egypt to carry goods to Angola. When the ship arrives in Egypt, it becomes clear that the ship owner has not paid the port fee and that the ship has been foreclosed. Port authority officials pull the ship to the anchorage zone. A team of 6 people will need to stay on board in case the ship has to be moved while there: a machinist, an officer, two sailors, a cook, and a master sailor. As their passports are seized, the crew starts to wait on Egyptian shores for an indefinite period of time. Small conflicts grow into big fights as the food and beverage supplies run out and the ship turns into a battlefield where men hunt men.

Mavi Boncuk |

Tolga Karaçelik is part of a new generation of Turkish directors, known for his own unique style. After a number of shorts and music videos, the filmmaker made a splash with his feature debut, Toll Booth, which earned him the Antalya Film Festival’s prestigious Golden Orange Award for Best First Film, and also won the festival's Best Cinematography and Best Actor awards. Cineuropa caught up with the director to discuss his latest film, Ivy, the winner of the Cineuropa Prize at the Lecce European Film Festival.

Cineuropa: What was the main motivation behind this film and its theme?
Tolga Karaçelik: The real motivation for Ivy came when I came face to face with the Turkish authorities, to be honest with you. So the main question of the film became “who is at the top of the hierarchy when we don’t need it anymore, and how do they try to maintain status quo?” The ship isn’t moving, so what do we do with the captain? From there, I looked at what I have been facing in my own territory and that made me come up with this concept. What do leaders, like the captain usually do? I tried to look at the bigger picture and the power struggle between these six characters from that point of view. 

What were some of the difficult parts of shooting the film?
During shooting, while shooting in one location, there were always difficulties trying to continue a story visually without becoming boring, while still giving it that claustrophobic feeling. But there were also some easy bits to shooting in one location: you can always go back to the scene that you shot. It’s something you have in the back of your mind – you don’t lose any location while shooting. So it has its pros and cons. It’s also hard shooting on a ship, with all the equipment and stuff.

How did you go about trying to create the feeling of five months passing in just two hours?

For me the biggest issue in filmmaking is about rhythm. The rhythm of the characters starts with the dialogues, and also the rhythm of the film. After deciding each character’s rhythm and the film’s rhythm, there comes this issue of time. I believe that the concept of time, through its uniqueness and unity, is something that you can make sincere or insincere in a movie. At times, I tried to combine this concept of time and deal with it as a single unit. I wanted it to feel like an oppressive blanket over them. That’s why I chose to use kind of smooth camera movements. While I wanted the idea of time to always be present, I didn’t want the audience to be thinking about how many days have passed. I think in only one instance I say something like “50 days”. Other than that, we don’t talk about the time. So that was kind of a challenge for me: to give the impression of those five months passing through the acting and dialogues.

Is there a specific reason behind the six characters you chose?
Well, firstly, it had to do with the law. According to maritime law, six people have to stay in a ship like that: one from the engine room, one from the kitchen, two seamen, one able seaman and a member from the captains’ class. But all these characters represent something in this power struggle, and they are similar to the characters you'd find on a Turkish cargo ship, where there are three or four main groups you fall into: dopers, alcoholics, the religious guys, and so on. I tried to have one character from each group. I also tried to convey the Turkish society in that way. They don’t symbolise it directly, but because they are characters they do carry their social and economical backgrounds with them.

As a jury, we were impressed by the use of sounds and music; how did you work on making such a bold soundscape?

In a movie like this, which takes place in only one location and uses absence of sound as a threat, we had to put a lot of thought into it. With music, this was how I felt it had to be. There wasn’t a lot of music only a 1970s Turkish rock song and what we made on a synthesiser. I wanted this music to be part of the sound system, and we designed sounds and music together. That was our aim, and we looked at it as one soundtrack, which I think more and more people are doing in the film industry.

How was the film received in Turkey when it was released?

The film won four awards at the Antalya Film Festival: Best Film, Best Director, Best Screenplay and Best Actor. It also won Best Director and Best Actor in the International Ardana Film Festival, but we couldn’t compete at Istanbul because of the censorship issues. It was only released in 12 movie theatres across Turkey, and we weren’t able to get any television pre-sales, because the film is seen as kind of hard and tough, and wouldn’t have been able to be shown without censorship. It’s unfortunate because this is a huge source of income for movies like ours.

Why did you leave the film’s ending so open?

My main idea was about that certain period of time, how do people react to each other and this power struggle, and when do they break? After that, anything else would be a different movie. I also found using Cenk’s last question to Ismail to let the audience decide what happens kind of romantic. I enjoyed this romantic, open ending for the film. My focus of the movie was up to that point, after that it can be a thriller, it can be anything. I didn’t want to label my characters as a killer or as a loser.

What can you tell us about your next project?

My next project, which is called Butterflies right now, has been to the Sundance lab. I’m excited to be making this kind of dark comedy about three siblings coming together in their home village after 30 years. It’s the same time and place as in Toll Booth. I think I will be shooting it in 2017, but it all depends on whether we can receive backing from the Ministry of Culture or not. Things in Turkey are complicated right now: last year we were supposed to have four sessions, but didn’t have any, and this year we had one, so I don’t know how it will go. 

Ivy: Exploring the decay of conventions of all kinds by Mirona Nicola

07/07/2015 - KARLOVY VARY 2015: Tolga Karaçelik's second feature, Ivy, displays narrative and visual mastery as it tells the story of workers on a cargo ship who become ridden with despair

Ivy: Exploring the decay of conventions of all kinds
Tolga Karaçelik's second feature, Ivy [+], displays narrative and visual mastery in exploring the decay of conventions of all kinds, as 6 workers stuck on a cargo ship become ridden with despair and cabin fever. In its structure and tone, this original psychological thriller bares a clearly expressed literary influence, the strongest being Coleridge, whose poem The Rhyme of the Ancient Mariner is used as a way of demarcating its three parts.

Men of unequal ranks on the vessel, as well as in their faith and moral principles, the central characters all have different reasons for volunteering to stay on board- introduced through a series of fast cuts. Beybaba, the captain, does it out of a sense of duty. Ismail, who becomes the captain's right hand, and Nadir, now left as the main cook, need money to eventually improve the condition of their families, so they hang on the promise that they will be first in line to be paid all they are owed once the situation of the bankrupt shipowner is clarified. What got stoners Cenk and Alper on the ship in the first place was the need to stay away from trouble they've gotten themselves into. As for Kurd, his motivation remains a mystery, as do his personality and intentions. His massive frame, constant silence, and peculiar physiognomy will only provide more reason for the other 5 to doubt their sanity and fear for their lives along the way.

Contemporary Turkish cinema has come to be associated with the slow-paced picturesque style of Nuri Bilge Ceylan. But while director of photography Gökhan Tiryaki (Once Upon a Time in Anatolia, Winter Sleep ) is also exerting his craft in Ivy, the result is very different. After the swift introduction of the characters, bursting with light and color, the visuals settle in a mellow palette of the ocean's blue and the dusty tones of the ship and the worker's orange overalls.

As the food supplies are decreasing, the pace of the film dwindles, time dragging by as slow as the snails that keep showing up on deck. The camera lingers with the characters as they go about their dull days and helps translate the crumbling of authority, in a scene such as that in which an angry Beybaba ventures out of his cabin and calls all men to deck trying to re-instate his command. As he is about to go back in, a hammer is thrown in his direction, but the director pertinently withholds from the viewers who actually threw it; the most likely suspect is short-tempered Cenk, but at this point it could have truly been anyone.

With no end to their situation in sight, the men start turning against each other, the mistrust and anger growing and spreading like the poison ivy the title references. The disappearance of one of them deepens the crisis and his apparent return as a ghost in the third act throws the characters further off the already precarious balance. A series of fights, all threatening to resume to fists, build up to the final spiraling out of control, when an infusion of magical realism brings a new and appropriately timed spin to the story.

What it ultimately resolves to is not an external solution for the 6 characters. As they have had to manage by themselves up until now, they will also be the ones seeking closure according to the new 'rules' they have co-developed in their chaos and despair. The ending will disappoint those who were hoping for either a happy resolution, or a Shakespeare-like body count. Karaçelik is faithful to his characters and thus more preoccupied by their solace, than by that of viewers that were hoping for a clear-cut denouement.

Centennial | Kut ül Amare

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In British Army battle honours, the siege of Kut is named as "Defence of Kut Al Amara".James Morris, a British historian, described the loss of Kut as "the most abject capitulation in Britain’s military history."

After this humiliating loss, General Lake and General Gorringe were removed from command. The new commander was General Maude, who trained and organized his army and then launched a successful campaign which captured Baghdad on 11 March 1917. With Baghdad captured, the British administration undertook vital reconstruction of the war-torn country and Kut was slowly rebuilt.

Some of the Indian prisoners of war from Kut later came to join the Ottoman Indian Volunteer Corps under the influence of Deobandis of Tehrek e Reshmi Rumal and with the encouragement of the German High Command. These soldiers, along with those recruited from the prisoners from the European Battlefields fought alongside Ottoman forces on a number of fronts.


The Indians were led by Amba Prasad Sufi, who during the war was joined by Kedar Nath Sondhi, Rishikesh Letha and Amin Chaudhry. These Indian troops were involved in the capture of the frontier city of Karman and the detention of the British consul there, and they also successfully harassed Sir Percy Sykes' Persian campaign against the Baluchi and Persian tribal chiefs who were aided by the Germans.

Mavi Boncuk |

The Siege of Kut Al Amara (7 December 1915 – 29 April 1916), also known as the First Battle of Kut, was the besieging of an 8,000 strong British-Indian garrison in the town of Kut, 100 miles south of Baghdad, by the Ottoman Army. In 1915, its population was around 6,500. Following the surrender of the garrison on 29 April 1916, the survivors of the siege were marched to imprisonment at Aleppo.

The pursuing Ottoman forces arrived on 7 December 1915. Once it became clear the Ottomans had enough forces to lay siege to Kut, Townshend ordered his cavalry to escape south, which it did, led by Lieut. Colonel Gerard Leachman DSO. The Ottoman forces numbered around 11,000 men and increasing steadily with additional reinforcements arriving constantly, were commanded by the respected but elderly German general and military historian Baron von der Goltz. Goltz knew the Ottoman army well, as he had spent 12 years working on modernizing the Ottoman army from 1883 to 1895. After three attacks in December, Goltz directed the building of siege fortifications facing Kut. He prepared for an attack from Basra, using the Tigris River, by building defensive positions further down the river designed to cut off a river-borne relief.

After a month of siege, Townshend wanted to break out and withdraw southwards but his commander, General Sir John Nixon saw value in tying down the Ottoman forces in a siege. Nixon ordered transports from London, but none had arrived. The War Office was in the process of reorganizing military command; previously the orders had come from the Viceroy and India Office.

However, when Townshend—inaccurately—reported that only one month of food remained, a rescue force was hastily raised. It is not clear why Townshend reported he only had enough food for one month when he actually had food for more than four months (although at a reduced level), but Townshend would not attempt an infantry retreat unprotected through hostile tribal lands without river transport. Nixon had ordered this with reinforcements, commanded by his son, but by December they were still only in the Suez Canal. The confusing communications would prove a critical delay.

British leaders attempted to buy their troops out. Aubrey Herbert and T. E. Lawrence were part of a team of officers sent to negotiate a secret deal with the Ottomans. The British offered £2 million (UK£ 122,300,000 in 2016) and promised they would not fight the Ottomans again, in exchange for Townshend's troops. Enver Pasha ordered that this offer be rejected.

The British also asked for help from the Russians. General Baratov, with his largely Cossack force of 20,000 was in Persia at the time. Following the request he advanced towards Baghdad in April 1916, but he turned back when news reached him of the surrender.
General Townshend arranged a ceasefire on the 26th and, after failed negotiations, he simply surrendered on 29 April 1916 after a siege of 147 days. Around 13,000 Allied soldiers survived to be made prisoners. Historian İlber Ortaylı states that ″Halil Pasha acted like a gentleman to the surrendering British officers″ and offered ″to take the PoWs up towards the north in river boats in case fuel could be provided from British bases nearby.″ The offer was rejected by the British. 


Townshend himself was taken to the island of Heybeliada on the Sea of Marmara, to sit out the war in relative luxury. The author Norman Dixon, in his book On the Psychology of Military Incompetence, described Townshend as being 'amused' by the plight of the men he had deserted, as if he had pulled off some clever trick. Dixon says Townshend was unable to understand why his friends and comrades were ultimately censorious over his behaviour.


Cemre Narin | World’s 50 Best Restaurants Academy Member

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Mavi Boncuk |

Cemre Narin – Turkey, Greece & the Balkans[1] Turkish Interview

Cemre Narin is a freelance food writer and cook based in Istanbul, and has been the culinary and restaurant editor of Vogue Turkey since 2010. A former clinical psychologist, Cemre has also lived and worked in the US and Jordan. She recently published her first cookbook, Icindekiler (Ingredients).[2]
Instagram: @ceminers

The Diners Club® World’s 50 Best Restaurants Academy is the mechanism used to create The World’s 50 Best Restaurants list.[3]

Continuing its association with fine dining, Diners Club International® is the proud sponsor of The World’s 50 Best Restaurants Academy.

See Also: Alancha, Istanbul + Fine Dining Article




[1] Each region has a chairperson appointed for their knowledge of their part of the restaurant world. These chairs each select a voting panel of 36 (including themselves) – ensuring a balanced selection of chefs, restaurateurs, food/restaurant journalists and gourmets.

The World's 50 Best Restaurants list is compiled from the votes of The Diners Club® World's 50 Best Restaurants Academy. We divide the world into regions, with a chairperson in each region appointed for their knowledge of their part of the restaurant world. These chairs each selected a voting panel, who cast a total of 6,552 votes. 

[2] 
Icindekiler by Cemre Narin |  (Turkish) Hardcover – 2014  Publisher: Yapi Kredi Yayinlari (2014) Language: Turkish ISBN-10: 9750829344 | ISBN-13: 978-9750829345 Vogue Turkey Food Editor, Cookbook Author and local foodie

[3]None of the employees of any of the sponsors associated with the awards, including the main sponsor and the Academy sponsor, votes or has any influence over the results.

The Academy is comprised of almost 1000 members, each selected for their expert opinion of the international restaurant scene. To create the Academy, and give it a fair representation of the global restaurant scene, we divide the world up into 27 geographical regions.

Emek Finally by Dorsay (Turkish Posting)

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Mavi Boncuk |

Yeni Emek: Nasıl bir şey olacak?

Emek Sineması için verdiğimiz mücadele, artık İstanbul’u koruma savaşımı denebilecek olan şeyin bir parçası olarak şehircilik ve toplum tarihine geçti. Hemen ardından gelen Gezi Olayı’nın bir tür provası ve hazırlığı olarak...Gerçi Gezi gibi başarıya ulaşamadı ve protestolara katılan, o döneme kadar bu konularda pek görülmemiş önemli kalabalıklara karşın, tarihi salon yıkılıp gitti. Unutmayacağımız ve matemini hep tutacağımız bir kültürel kayıp olarak...
Ama hayat devam ediyor. Ve tüm idealizmimize karşın, bir ölçüde de gerçekçi olmak gerekiyor. En azından benim tavrım böyle. En doğru tavır  diye herkese öğütleyemesem de...


Evet, ben her şeye karşın Yeni Emek’i merak ediyorum. Bu nedenle, Cercle d’Orient binası dahil tüm o blokun artık yeni işletmecisi olan işadamı Ahmet Alabalık adına beni arayan ve yapıyı görmemi isteyen eski dostum Sibel Asna’nın çağrısına kulak verdim. Ve gidip gezdim.

Sibel Asna ve Atilla DorsayÖnce birkaç somut bilgi. Birçok şirketi olan Alabalık’ın, artık genel adı GrandPera olan bu işletme için kurduğu şirket CİNEMO adını taşıyor. Aynı zamanda ESKV- Emek Sanat ve Kültür Vakfı adlı bir  de vakıf kurulmuş. Şirketin aslında Sosyal Güvenlik Kurumu (eski Emekli Sandığı) mülkü olan yapıyı 25 yıllığına işletme hakkı var. 
Vakfın başında, bir zamanların operasında trombon sanatçısı ve sonradan Devlet Opera ve Balesi genel müdürü olan Remzi Buharalı bulunuyor. Geçen yıl vefat eden, Türkiye’nin ilk gerçek tanıtım uzmanlarından Alaaadin Asna’nın eşi Sibel Asna ise, eşinden devralıp yürüttüğü A&B şirketiyle projenin medya ilişkilerini yüklenmiş.
Tüm yapıya Cercle d’Orient’ın artık İstiklal Caddesi’nde tümüyle meydana çıkmış, altında dükkanların da açılmaya hazır beklediği geniş ve etkileyici cephesinin tam ortasındaki pasajdan giriliyor. Ama yandaki Yeşilçam sokağından da giriş olacak.   

Balkona bir bakış.... (Fotoğraflar: Atilla Dorsay)Önce Cercle d’Orient. Mimar Vallauri’nin yaptığı bu beş katlı bina, 1882 yılında Türkçe’de dendiği gibi Serkldoryan adıyla bir özel kulüp olarak açılmış ve uzun yıllar İstanbul sosyetesinin gözbebeği olmuştu. Etkinliğini 1960’ların sonlarına dek sürdürmüş, Beyoğlu’nun o periyodik yozlaşma dönemlerinden birinde, 1971 yılında Kadıköy yakasına taşınıp Büyük Kulüp olarak açılmış (hala orada), eski bina ise Emekli Sandığı’na geçerek boş ve işlevsiz kalmıştı.
Dönemin barok etkili mimari zevkini yansıtan 45x21 metre boyutlarında olan bu yapı, aslında Emek’ten çok daha eski. Ve başlı başına korunmayı hakkediyor. Hele tuğla yığma sisteminde inşa edildiği düşünüldüğünde.... Bu açıdan, henüz çalışmayan asansörler yerine görkemli merdivenlerden çıkarak gezdiğimiz iki kat bana büyük heyecan verdi. Tüm o tavan ve korniş süslemeleri yenilenmiş, tüm o yüksek ahşap kapılar yeniden yapılmış ve ortaya görkemli, hacimli mekanlar çıkmıştı.

Cercle d’Orient'in içinden...Bu arada binanın uzun yıllardır görülemeyen arka cephesi de meydana çıkmıştı. Yer yer konan ve yapının eski halini gösteren dev resimler de iyi fikirdi: Kıyaslamak için... Bunlar hep kalacak. Ama bu yapının geleceği için henüz kesin kararlar yok. Çok şey yapılabilir ve Beyoğlu’na yakışan sanatsal ve turistik etkinlikler düzenlenebilir sanıyorum.
Sonra yeni yapılan AVM’ye geçtik. Burasının ilk iki katı ticari kullanıma açılıyordu: Aralarında adları şimdiden panolarda yazılı evrensel markalar da bulunacak dükkanlar, lokantalar...Ve geniş bir Madame Tussaud balmumu heykeller müzesi. Ben Tussaud diyorum.  Ama her yerde Tussauds yazılı!...Aslında ben haklıyım: çünkü 19. yüzyılda Londra’da ilk kez müze açan kadın bir Fransız ve adı da Marie Tussaud!..Her neyse, burada ünlü Türk sanatçılarının heykelleri yer alacak. Şimdiden yapımına başlanan... 

Yeni Emek'in içindenSonraki iki katta, 150 kişilikle 54 kişilik arasında hacimleri olan tam 8 küçük salon, sinemaya hizmet edecek. Şirket ve vakıf, genel dağıtıma teslim olmayıp bunları özgür biçimde işletmek istiyorlar. Genç sinemaya destek başlıca amaçları arasında. Ben de naçizane fikir vererek, en küçük bir salonun bir tür Sinematek gibi işletilmesini, yerli-yabancı klasiklerin gösterilmesini önerdim.
Ama asıl beklentimiz elbette Emek’ti. Beşinci katta yer alan...Tam 1500 metre2’lik fuayenin bir yanında 150 kişilik bir tiyatro var. Gereğinde koltukların itilmesiyle fuayeye katılabilecek...Sonra Yeni Emek’e geçtik. Hemen söyleyeyim: düş kırıklığına uğramadım.  
     
Yeni Emek seyircisini bekliyorEmek’in boyutlarını hemen hemen korumuş bu yeni salon gerçekten görkemli. Eski salondan tam 1500 mimari ve dekoratif parçanın 1400’ü aynen korunup yerlerine yerleştirilmiş. 100 kadarı yeniden üretilmiş. Balkon 1924’deki ilk hali olarak yapılmış. Daha dar, ama hemen tüm çevreyi dolanan bir balkon. Böylece hem aslına dönülmüş, hem de eski Emek’te arka sıralarda duyulan basıklık duygusu önlenmiş. Bu gerçi biraz koltuk kaybı getirmiş. Ve salon 850 yerine 600 kişilik olmuş.

Remzi Buharalı ve Atilla DorsaySahne bir harika. Öne doğru çekilerek derinliği arttırılıyor: 6.5 metreye kadar. Genişliğiyse 22.5 metre.  Hertürlü performansa imkan veren bir sahne bu... Salonda ise eski sinemanın yanlarında bulunan ve sonradan içleri lambriyle kaplanan nişler eski haliyle canlandırılmış. Gerçekten de eski Emek’in estetiğini ve huzurunu yeniden buluyorsunuz.
Yüzde 40’ı kültür ve sanata ayrılan bir kendine özgü AVM bu. Ve yanı başındaki Serkldoryan’a birlikte Beyoğlu’na bir canlılık, bir yeni heyecan katabilir.
Ben, tüm o hülyaların içinden geçen bir hayattan sonra (sinema bir düşler alanı değil midir?), sanırım artık belli bir gerçekçiliğe ulaştım. Ve bu yanımla, artık eski Emek için bitmeyen ağıtlar yakmaktansa, yenisine sempatiyle baktım. Ama böyle düşünmeyenlere ve o ilkeli tavrı inatla koruyup “ben oraya adım atmam” diyenlere de büyük saygım ve sevgim olduğunu mutlaka söylemeliyim.

EMEK Finally | Emek Melek... Whatever parts 1 - 8

CHP | Republican People's Party Cizre Report (Turkish Posting)

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The 8 page report is full of grammatical mistakes and rhetorical problems. A few examples:

"... Bu yasaklar süresince ilçelerin çoğunda terör örgütü mensupları ile kent merkezlerinde, sivillerin yaşam alanlarında ağır silahlarla çatışmalar sürdürülmektedir..."

Unnamed terror organization.

Recommendations |  3. CİZRE ÖZELİNDE YAPILMASI GEREKENLER/ÇÖZÜM ÖNERİLERİ

"...Bölgede terörle mücadele gerekçesiyle insan hakları ihlallerinde bulunan, hukuk dışına çıkan güvenlik görevlileri varsa bu konuda gerekli idari ve hukuki soruşturmalar derhal açılmalı, gerekli işlemler yapılmalıdır..."

Investigate security forces.


Mavi Boncuk | 

ŞIRNAK CİZRE İLÇESİ
ÇALIŞMA RAPORU
(4 MART 2016)
Zeynep ALTIOK
İlhan CİHANER
Fatma HÜRRİYET KAPLAN
Fikri SAĞLAR
Ali ŞEKER
M.Sezgin TANRIKULU

Download and Read at Mavi  Boncuk CHP Cizre Raporu + at  CHP Site


Pelikan Dosyasi (Turkish Posting)

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For the record. This is most probably a misinformation posting from a blog created for this one article.

Mavi Boncuk |

Selam Olsun!

Hocanın ekibi yeterince konuştu.
Hocalarıyla beraber yeterince ortalığı karıştırdı.
Biraz da biz konuşalım mı?
Biraz da, REİS için canını feda edecekler konuşsun mu?
Çok az kişi aslında neler olduğunu biliyor.
Kabus gibi.
Hani çığlık atarsınız da kimse duymaz ya..
İşte öyle bir şey.
Hani herkesin ortasında cinayet işlenir de kimse aldırmaz ya..
İşte öyle.
Yani benim hissettiklerim öyle.
Her şey ortada, ama gören yok.
İnsanlar uyumak yerine, sırf ortada olanı görmeyi başarabilselerdi, benim bu yazıyı yazmama gerek kalmazdı…
Buradan çığlık atıyorum. Duyun artık:
Hanımlar! Beyler! Burası dehşet bir ülke.
Hiçbir şeyin yüzeysel bir bakışla görülemeyeceği bir ülke.
Üzerinde tüm süper güçlerin satranç oynadığı bir ülke.
Öyle Ergenokun’u pasifleştirmekle, paraleli tırstırmakla falan, bir günde güllük gülistanlık olacak bir ülke değil.
Bir haini def etseniz, yerine hemen yenisini getirirler.
Öyle kolay kolay, bizi bize bırakmazlar.
İcabında bizden olanları bile bize karşı hale getirirler.
Onun için gözlerinizi dört açın!
Etrafınızda ne oluyor, şöyle bir bakın.
Ama iyi bakın. Yüzeysel bakmayın.
Ve görün benim gördüklerimi.
Şimdi biraz da siz çatlayın:
*************************************************************************
Temayül yoklamalarında 1. Gül, 2. Yıldırım, 3. Davutoğlu çıktı.
Buna rağmen REİS hocayı parti başkanı yaptı.
Gül’ün çok yakışıklı İngiliz arkadaşları, bir de REİS’ten ve ailesinden nefret eden, ancak Hürriyet’e de pek aşık, ‘intifada’cı bir hanımı vardı.
REİS Gül’ü başkan yapmadı.
Yıldırım REİSçiydi.
Falsosu yoktu. Başarılıydı.
Parti tarafından seviliyordu.
Ama yeterince karizmatik değildi.
Kukla muamelesi yapacaklardı.
REİS Yıldırım’ı da başkan yapmadı.
Davutoğlu güzel konuşuyordu.
Hocaydı.
Ayrıca, görece tazeydi.
Uzun yıllar REİS’le de çalışmıştı.
Evet kibirliydi. Hem de çok.
Her şeyi o bilirdi. Ama teorik olarak.
Pratikte genelde çuvallardı. Örnek; Suriye.
“6 ayda Esed devrilir” dedi. Demekle de yetinmedi, bütün planlarını buna göre yaptı.
B planı yoktu. Çünkü çok emindi. Kendinden. Zekasından. Bilgisinden. Okumasından.
Esed kaldı. Hoca çuvalladı. Sonra bir sürü sıkıntı.
REİS yine de hocayı başkan yaptı.
Neden mi?
a) REİS hocanın, Suriye ve Filistin politikalarından hareketle, kendini devirmek isteyen Batı’yla uzlaşmayacak bir politikacı çıkacağını umuyordu.
“Bu hoca, Batı’yla da, onun ülkemizdeki truva atları olan paralellerle ve Doğan medyasıyla uzlaşmaz” diye düşünüyordu.
b) Başkanlık sistemine geçerken argüman üretir, akademik karizmasını, taze politikacı kimliğini bu yolda işlevsel hale getirir diye düşünüyordu.
Kendisinden bu iki konuda söz aldı.
“Temayül yoklamalarını biliyorsun, seni BEN başkan yapıyorum! Ama bu iki konuda söz vermen şartıyla” dedi.
Hoca kabul etti. Ya da etti gibi göründü. Bilmiyorum.
Fakat etrafındaki muhteris danışmanlar kabul etmediler. Bunu biliyorum.
Ali Sarıkaya, Osman Sert, Taha Özhan, Hatem Ete ve Ertan Aydın başlıcaları.
Bunların hepsi “okumuş” çocuklar.
Çok okumuşlar.
Bildiğiniz gibi değil.
Hepsi Allah’ın lüftu.
Hoca da “okumuş” adam.
REİS ise Kasımpaşalı.
Olur mu? Olmaz? Yakışır mı? Yakışmaz!
Dolayısıyla onların yönetmesi lazım.
Bir de REİS var, huzur yok. Batı durmuyor. Gezi, paralel falan.
Bir de yolsuzluk iddiaları.
İddiaların yalan olduğunu hepsi bok gibi biliyor ama olsun, iddiaların ortaya çıkması bile çok sinir bozucu bu ekip için.
İddiların değil REİS’in çürütülmesi lazım.
REİS giderse, bu “okumuş” ekip gelirse, ülkemin tadından yenmez.
Herkesle barışacaklar, REİS’i kurban edecekler.
Sonra kadayıf gibi bir ülkemiz olacak.
Bu kadar basit.
Hasılı kelam bu ekiple birlikte hoca, REİS’ten bağımsız, Batı’ya bağımlı politikalarını belirledi.
*********************************************************************
1
Reis’in ekonomi yönetimini ekarte etmek için ilk iş “Şeffaflık Yasası”nı çıkartalım dedi hoca.
REİS’in haberi olmadan hazırladı yasa paketini.
Ve kamuoyuna bizzat kendisi açıkladı.
Sonra REİS kendisiyle istişare edilmeden bu paketin hazırlandığını söyledi.
Hoca ve muhteris danışmanları tırstılar.
Paketi geri çektiler.
2
Ama hoca kararlıydı.
Gelir gelmez REİS’i yiyecekti.
17-25 Aralık üzerinden 4 bakanı Yüce Divan’a gönderme oylaması sırasında bir konuşma bahanesiyle İngiltere’ye gitti, meclis grubunun başında durup liderlik etmedi. Ardından Davos’a gitti. Ordan da New York’a sermaye gruplarıyla buluşmak için geçti. Davutoğlu’nun ABD ziyareti hakkında soru sorulan Beyaz Saray yetkilisi bile “Türk Başbakanı’nın burda olduğuna dair bilgimiz yok” dediği bir geziydi bu. 
Biliyorsunuz mesele 4 bakan meselesi değildi. REİS’ti.
Önce bunlar Yüce Divan’a gönderilecekler, sonra da REİS.
Lakin hoca bu kadar kritik bir meselede ortada yoktu.
Bunu herkes biliyor.
Kimsenin bilmediğiyse;
Yüce Divan oylamasından bir gün önce 4 bakanın partiye çağrıldığı.
Bağış, Güler, Bayraktar, Çağlayan gecenin yarısında partiye gider.
Hocanın kurmayları kendilerine mecliste aklanmaları gerektiğini söyler.
Bakanlar “siz bizim ak olduğumuzu düşünmüyor musunuz?” diye sorar.
“Düşünüyoruz tabi, ama milletin önünde de aklanmanız lazım” diye cevap verirler.
Bakanlar,
“Biz kendimizden eminiz.
Zerre yolsuzluğumuz yok.
Aklanırız da.
Ancak bu süreç yıllarca sürer, partinin de çok başı ağrır.
Ama en önemlisi, paraleller REİS’i Yüce Divan’a çıkartma imkanı bulabilirler, emin misiniz?” diye sorarlar.
Hoca da gelmiştir.
“Bu bizzat Cumhurbaşkanımızın talimatıdır” der muhterem hocamız.
Çıktıklarında bakanlar çok şaşkındır.
Bağış REİS’i arar. Durumu sorar.
REİS “olur mu öyle şey?!” der.
“Gelin İstanbul’a hemen!” diye ekler.
1 saat sonra, bu sefer REİS Bağış’ı arar:
“Siz Ankara’da bekleyin, ben geliyorum”
Sabahın köründe buluşurlar. Bakanları dinler.
REİS kendisine yönelik kumpasın farkına varır.
Sonra hocaya zılgıtı çeker.
Yüce Divan oylaması ertelenir. Hoca da fırsattan istifade İngiltere’deki toplantısına gider.
Düşünebiliyor musunuz?
Şayet gecenin köründe Bağış o telefonu açmamış olsaydı, bugün belki de darbe yaşamış bir ülke olacaktık!
3
Hoca REİS’i devirmekte başarısız olunca, onu zayıftatmaya karar verir.
Yine onunla istişare etmeden Fidan’ı milletvekili yapmaya kalkar.
İşin kötüsü Fidan da REİS’le istişare etmeden hemen hocasının kucağına atlar.
Bu sefer REİS, medya mensuplarının karşısında hocayı ve Fidan’ı azarlar.
Fidan Umre’de REİS’i bulur.
Nedamet getirir.
Sonra tekrar görevi kendisine iade edilir.
4
Hoca yılar mı hiç! Bu sefer de sazı eline almaya karar verir.
REİS’in 10 seneden fazladır ince ince işlediği çözüm sürecinin kaymağını yemek ister.
Dolmabahçe’de HDP’lilerle Yalçın Akdoğan, Efgan Ala ve Mahir Ünal bir araya gelir.
Dolmabahçe Açıklamasına dışarıdan bakınca çok pozitiftir.
PKK baharda silah bırakmaya davet edilecektir falan.
Fakat asıl konuşan taraf HDP’dir.
Başta Sırrı Süreyya olmak üzere, HDP ekibi sazı eline almıştır artık.
Çözüm sürecinin gidişatını onlar belirler hale gelmiştir.
Şartları onlar tayin eder olmuştur.
O kadar ki Apo’yla sivil akillerin buluşturulmasına bile karar vermişlerdir.
Bizimkiler de “tamam” demiştir.
Devletin bu kadar aciz hale düşürüldüğü başka bir örnek gelmiyor aklıma.
Bugün yaşadığımız terör belasının ardındaki en büyük sebeplerden biri bu sergilenen acziyettir.
HDP’lilerin bu denli şımartılmasıdır…
Sonra REİS, bir ay boyunca PKK tarafının azgınlıklarına rağmen İzleme Komitesi kurulacağı manşetlerde yer alınca, kendisiyle istişare edilmeden Dolmabahçe açıklamasının yapıldığını söyler.
Apo’yla akillerin görüştürülmesinin de, Apo’nun elini güçlendireceğini ilave eder.
Mesele kapanır.
Ama dediğim gibi etkileri bugün bile devam etmektedir.
5
Bu sefer Bülent Arınç meydandadır.
REİS’in yalan söylediğini, kendisinin süreçten haberdar olduğunu ve ülkeyi hükümetin yönettiğini söyler.
Asıl kimin yalancı olduğunu söylemeye gerek yoktur diye düşünüyorum.
Hocamız hemen Arınç’a telefon açar, televizyondaki REİS-karşıtı açıklamalarından ötürü Arınç’ı tebrik eder.
6
Yarattığı hengameler sonunda seçimde hüsrana uğrayan hoca;
Aydın Doğan’ın damadının, Koç’ların ve diğer TÜSİADçıların ayağına (Ali Kibar’ın evinde) gitmiş olsa da,
Erdoğan’ı yeniçeriler tarafından katledilen III. Selim’e benzeten Economist Dergisi’ne koşa koşa röportaj vermiş olsa da,
Doktoruna kadar bütün akraba ve ahbaplarını vekil listesine koymuş olsa da,
başarılı olamaz.
Başkanlık meselesini neredeyse ağzına hiç almamıştır seçim kampanyalarında.
FETÖcusundan PKK’lısına, tüm hainlerin REİS’e “hırsız” “hırsız” diyerek ortalığı inlettikleri bir dönemde cevap mahiyetinde tek kelam etmemiştir.
Partide de bu konularda herhangi bir hareketlilik yaşanmamıştır.
REİS meydanlara inmeden önce yüzde 38’e kadar düşer oylar.
REİS, son bir ayda meydanlara inmeye karar verir ama yanlış politikaların faturasını halk kesmiştir artık.
Sonuç yüzde 41’dir.
REİS’siz siyasetin bedeli ağır olmuştur.
Ama hoca hâlâ asıl sorunun REİS olduğunu düşünmekte ısrar eder.
7
Seçimden hemen sonra “başkanlığı getirmek istedik, halk yetki vermedi” açıklaması yapar.
8
REİS’e yönelik hırsızlık iftirası kampanyasının asenası olarak arzı endam eden Bahçeli “Bilal’i ver koalisyonu al” diye nara atmaya başlar.
REİS çok öfkelenir.
Kendisinden açık açık çocuğunu kurban vermesini istemektedirler.
Hoca ise Bilal Erdoğan’ı kurban olarak isteyen Bahçeli’nin meclis yeminini sonuna kadar bekler.
Ve sonra da tüm kabinesiyle birlikte alkışı basar.
9
Hoca artık REİS’i devirmenin tek yolunun başkanlık yolunu kapatmak olduğuna kanaat getirir.
Bunun içinde mutlaka koalisyon yapması lazımdır.
Koalisyon hükümetinden başkanlık sistemine “olur” vermesini beklemek imkansız olduğu için hoca “koalisyon da koalisyon” diye tutturur.
Fakat muhalafet son derece nazlıdır.
Buna rağmen Kılıçdaroğlu “koalisyonu Erdoğan istemiyor” türünden açıklamalar yapmaya başlar.
Hoca bu açıklamalara hiç itiraz etmez.
Halbuki REİS hocaya “koalisyon kurabilirsen kur ama ısrarcı olma, partiyi aciz gösterme, en kötü ihtimal erken seçime gideriz” diye defaatle söylemiştir.
10
Bu arada Hoca yavaş kendi medyasını kurmaya başlar.
Mustafa Karaalioğlu (ES Medya’da iken ayda 100binden fazla maaş alan, kendisine 400 metrekarelik ofis kuran bu zat Ethem Sancak’ın bütün telkinlerine rağmen Feto’nun beddua haberini bile manşetten görmemiştir, Ekrem Dumanlı’nın Akit muhabirine attığı tokatı arka sayfalara gömmüştür, 17 Aralık’tan sonra bile Ekrem Dumanlı’yla dirsek teması bir süre devam etmiştir, Gezi sürecinde kısık sesle konuşmuştur, sonra görevden alınınca “objektif” gazetecilik yapmaya karar vermiştir),
Mahçupyan (REİS hakkında eşcinsellik imasında bile bulunan bir herif),
Hakan Albayrak (hocayı savunacağım, REİSçilere çakacağım derken Ahmet Hakan’ı bile savunan bir zavallı) ve Diriliş Postası,
Yıldıray Oğur ve Ceren Kenar (bakanların Yüce Divan’a gönderilmesi gerektiğini yazdı, Mahçupyan’a siper oldular, Babacan’a sahip çıktılar, Can Dündar bırakılınca sevinçten havalara uçtular), Genç Siviller ekibi (Yıldıray Oğur’un talimatıyla AK Parti gençlik kollarının üst kademelerine sızdılar),
İbrahim Karagül (1 Kasım seçimlerine bir hafta kala, içinde Ali Bulaç gibi paralellerin de ilk sayfada yer aldığı “gelin uzlaşalım kampanyası” başlattı; “Kabinede mason bakan korkusu” türü haberlerle kabineye ayar vermeye çalıştı) ve Yeni Şafak ekibinin neredeyse tamamı (elbette ki Salih Tuna, İsmail Kılıçarslan, Leyla İpekçi, İbrahim Tenekeci gibi bazı istisnalar hariç).
Abdülkadir Selvi (Yeni Şafak’ta yazdığı dönem, eskiden Aydın Doğan’ın 28 Şubat sürecindeki rolü üzerine yazdığı yazıları unutup CNN ekranlarına çıkmaya başlayarak Doğan medyasıyla dirsek temasına giren, bu arada yavaş yavaş REİS eleştirilerine başlayan, ve sonunda Hürriyet’e geçiş yapan şaşkın)
Akif Beki (REİS’in basın başdanışmanlığı sebebiyle adam yerine konulan, sonra kapağı Radikal ve Hürriyet’e atan, Karar’ın kuruluşunda bizzat etkili olan, ve bugünlerde köşesinden REİS’e “işler daha da çirkinleşebilir” tehditler savuran)
Taraf‘ın tamamı (Alkım ziyareti sonrası)…
Mahçupyan köşesinden REİS’e yardırmaya başlar.
REİS meydanlara indiği, “Başkanlık” dediği için seçim kaybedilmiştir.
Hoca itiraz etmez.
Hakan Albayrak “artık konuşma reis!” “artık köşene çekil reis!” yazıları kaleme alır.
Hoca itiraz etmez.
Bu ekip kendi medyalarında iki seçim arası dönemde tam yüzden fazla haber ve köşe yazısı yazar REİS karşıtı.
Bu arada REİS tarafından çok fazla ses çıkmaz.
Zira REİS müsaade etmez.
Hocayı kendi ıslah edecektir.
Dışarıya kavga görüntüsü vermeyecektir.
11
Hilal Kaplan, Melih Altınok, Kurtuluş Tayiz, Cemil Barlas, Haşmet Babaoğlu gibi isimler inceden dokundurmaya başlar hocaya.
Fakat Suheyb Öğüt Aktüel’de çok sert bir eleştiri yazar.
“Hoca felç geçiriyordum” diye inlemeye başlar.
Derhal Turkuvaz grubunu arar. Yazıyı kaldırtır.
Grup yazıyı hocadan tırstığı için değil, REİS’in politikası bu yönde olduğu için kaldırır.
Öğüt de durumu öğrenir, “eyvallah” der.
Bu arada bizim hocacı liboşlar da susmaktadır.
Şirin ve güler yüzlü hocamız kendisi hakkında ilk defa net bir eleştiriyle karşılaşmış ve ilk tepkisi bu yazıyı kaldırtmak olmuştur.
Bildiğin, Öğüt’ü sansürlemiştir.
Ama ne Mahcupyan, ne Oğur ne de başka bir özgürlükçü vatandaş bu durumu umursamıştır.
Durum hâlâ aynıdır onlar için;
kendisine her gün küfredilen,
uluslararası operasyonlarla devrilmeye çalışılan,
oğlu bile kendisinden kurban olarak istenen Erdoğan baskıcıdır;
kendisini eleştiren ilk yazıyı sansürleyen hoca ise demokrat.
12
Hoca artık kendisine ait müstakil bir medya kurma vaktinin geldiğine KARAR verir.
(Söylemeye gerek var mı bilmem: Bir siyasetçinin kendine ait yeni bir medya kurması, kendine ait yeni bir parti kurmasından farksızdır.)
Basın danışmanı Osman Sert’in desteğiyle KARAR’ı kurar.
KARAR’ın finansmanı “örtülü” olarak halledilir.
Yeni Şafak’a ise Ülker’in arka çıktığı söylenmektedir.
Hani şu hocanın lise arkadaşı Murat Ülker.
Hani şu hocanın vakfı Bilim-Sanat’ı finanse eden Murat Ülker.
Hani şu Rothschild’den aldığı kredilerle Godiva’yı satın alan Murat Ülker.
Hani şu başörtülü kadın nefretçisi Bedrim Baykam’ın boş çerçevesine 500bin TL veren Murat Ülker.
Hani şu Ali Atıf Bir Denen paralel vatandaşı kendi üniversitesine (Şehir) rektör olarak atamaya kalkan Murat Ülker.
Hani şu, Harvard’a milyonlarca dolar bağış yapıp kendi üniversitesindeki yüksek lisans öğrencilerinin burslarını kesen Murat Ülker.
Hatırladınız değil mi?
Hah işte o adam.
En çıldırtıcısı ne biliyor musunuz?
Kendi medyasını kuran hocamız daha geçen gün, Turkuvaz’ı hedef alarak “medya üzerinden siyasete dizayn vermeyin” diye çıkış yaptı.
Galiba şunu söylemek istedi:
Ben çok uğraştım ama yapamadım, beceremedim, Karar bütün çabamıza rağmen hala 2 bin satıyor, ne olur siz de yapmayın, tavsiye etmem.”
13
Eylül’de MKYK’yı baştan sona kendi şekillendirmek isteyen hocaya karşı, REİS’in talimatıyla Binali Yıldırım devreye girdi.
1353 delegenin 900’ünün imzasını topladı.
Sonra da Abdülhamit Gül’den Mehmet Muş’a, Berat Albayrak’tan Ayşenur Bahçekapılı’ya kadar REİSçi pek çok isim MKYK’ya girdi.
Gül’ün ekibi (Hüseyin Çelik, Ali Babacan, Mehmet Şimşek vs.) ise safdışı edildi.
14
Madem ki partinin has isimleri ve tabanı kendisine destek vermiyordu, o zaman diğer kesimlerin desteğinin alması lazımdı.
Gezici ve PKK’cı güruha bile şirin gözükmek için,
PKK’nın ortalığı kan gölüne döndürdüğü, HDP’nin terör propagandası yaptığı, canlı bomba taziyelerine gittiği dönemlerde bile HDP’ye yönelik bir tepki ortaya koymadı.
Baktı ki MHP kendisini eleştirmeye başlamış, işte o zaman, şişin ve kebabın yanmaması için, “bütün dokunulmazlıkları kaldıralım” dedi.
Daha kötüsü hocanın iki adamı, Naci Bostancı ve Ali Sefer Üstün, dokunulmazlık meselesini görüşmek üzere katil HDP’nin ayağına gitti.
Sırrı Süreyya bu şaşkın ikiliyi ceketsiz, kravatsız, gömleksiz, basit bir kazakla karşıladı.
Dayı dayı konuştu. Artistliğini yaptı, bunlar da Sırrı’ya hürmetlerini arz edip gittiler.
15
Bitmedi! Hoca PKK’ya yönelik olarak “2013 Mayıs şartlarına dönülürse her şey konuşulabilir”
diye bir açıklama yaptı.
Barış zamanında savaşı konuşan ne kadar hainse, savaş zamanı barışı konuşan da işte o kadar haindir.
16
Aynı günlerde AK Parti milletvekili Özhaseki “paralel fabrika ayarlarına dönerse mücadele biter” açıklaması yaptı.
Hocamdan tek bir itiraz gelmedi.
17
Avrupa Parlamentosu başkanı Schulz, REİS’e en galiz şekilde küfreden video klibe yönelik Türkiye’nin verdiği tepkiye karşı yine REİS’e yönelik “otoriter” kabilinden hakaretler etti.
Hocamız ise Schulz’a karşı tek kelam etmedi.
18
Schulz’un
“Biz Erdoğan’la anlaşmadık. Bizim muhatabımız Davutoğlu’dur, hükümettir, onlar da gayet ciddi muhataplar”
sözleri üzerine hocamız yine tek kelam etmedi.
REİS ise önce bu Nazi bozmasına çaktı:
“Bahsettiğiniz kişi, benimle ne zaman görüşse, liderliğimin ne kadar saygın olduğundan söz eder.
Yüzüme karşı böyle konuşan bir insanın şimdi o türden tavırlara girmesine ne demeli?
Ben bu tür davranışları, Alman ekolünün Türkiye’ye bir operasyonu gibi görüyorum.”
Sonra da mülteciler konusunda Almanya’ya övgüler düzen hocaya:
“3 milyar euro meselesinde en büyük yükü Almanya alıyor deniliyor. Halbuki cüzi bir miktar hariç, Türkiye’ye gelen bir şey yok. Bizden neyin projesini istiyorsunuz? Sizin proje dediklerinizi biz çoktan yaptık. Proje diyerek kimse bizi aldatmasın.
Birileriyle fotoğraf verebilmek için böyle şeylerin içine girmeye gerek yok”
19
Her işte çuvallayan hocamız artık ne yapacağını, REİS’i nasıl görünmezleştireceğini, kendisinin nasıl varlık göstereceğini şaşırır hale geldi.
“Schengen vize anlaşmasını dört ay öne alacağız. Bu bizim başarımızdır” türünden laflar etti.
REİS “artık yeter!” dedi ve patladı:
“Başbakanlığım döneminde Schengen’in Ekim 2016’da uygulamaya gireceği açıklandı. 4 ay öne çekmenin kazanım gibi sunulmasını anlayamıyorum. Küçük şeylerin büyük kazanım gibi sunulmasına üzülüyorum.”
20
REİS Obama’yla görüştü. Bütün ABD, REİS’in ayağına geldi. Bizim FETÖcu, Gezici ve PKKcı medya mosmor oldu.
Sanıyorum hocam da öyle oldu.
REİS-Obama görüşmesinin üzerinden bir ay geçmeden, hocam Beyaz Saray’dan randevu istedi.
Başka söze gerek var mı?
21
Hocam, Osman Sert eliyle Taha Ün’ü kendi trol ekibine dahil etti.
İşin kötüsü Taha Ün’ün eşi, Emine Erdoğan hanımefendinin özel kalem müdiresi Sema Silkin.
REİS açısından ne kadar berbat bir durum değil mi?
Taha Ün ve ekibi, yanlarına birkaç hırdavatı da alıp, hocayı eleştiren herkesi tvitırda FİTNEci ilan etmeye başladı.
22
Hocanın fahri danışmanı yeni gazetecisi Mahcupyan,
PKK ile masayı kuran onlarca yazı yazdı;
devlete, “dönüp dolaşıp PKK’nın ayağına geleceksiniz, gelmezseniz anti-demokratiksiniz, gayrimeşrusunuz” minvalinde yazılar döşendi.
23
Beştepe’ye karşı paralellerin “İsrafsaray” hakaretleri, 250bin dolarlık masa iftiraları kol gezer, REİS bu kepaze ithamlarla boğuşurken bir kez olsun sesini çıkarmayan hocamızın partisi;
Can Dündar serbest bırakılınca, sevinçle karşıladı.
REİS “karara saygı duymuyorum” deyince,
hükümet sözcüsü Numan Kurtulmuş çıkıp
“Cumhurbaşkanı’nın şahsi fikridir” diyerek makamı küçümsemeye kalktı.
24
REİS’in “yalan söyleyen zat” dediği, “paralel için cübbemi giyerim” diyen Arınç, Manisa’da özel törenle hocamız tarafından karşılandı ve ağırlandı.
25
REİS’e yönelik hemen her gün hakaretamiz haberlerin çıktığı Taraf gazetesinin sahibi Arslan’la Alkım Kitabevi’ne ziyaretine gidip el sıkıştı hocamız.
O gün bugündür Taraf, hocaya taraf.
26
Hoca, “her şeye ben karar vereyim hırsıyla bakanların müsteşar atamasına bile izin vermedi. 4 aydır müsteşarı atanamayan bakanlar var.
27
Hocamız, REİS’in şiddetle eleştirdiği, 1100 terör destekçisi Akademisyen’in imza kampanyası için “görmezden gelsek olay bu kadar büyümezdi” yorumu yaptı.
Sonuç:
hoca ile REİS arasındaki hikaye basit bir ihtiras hikayesi değildir.
Çünkü hoca kendi ihtiraslarının peşinden koşabilmek için,
REİS karşıtı, ve dolayısıyla REİS’i destekleyen halkın karşıtı kim varsa, onunla işbirliği kurma yoluna gitmiştir.
Küresel güçlerin ülkemizdeki satrancında vezir görüntüsüne sahip basit bir piyon olmayı kabul etmiştir.
Kavga budur.
Kaybedeni de bellidir!

IIFF 2016 | Turkish Cinema | The Field

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Mavi Boncuk |

IIFF 2016 | Turkish Cinema | The Field

THE FIELD | TARLA | Director: Cemil Ağacıkoğlu / Screenwriter: Cemil Ağacıkoğlu / DOP: Cemil Ağacıkoğlu / Editor: Orhan Örsman, Emel Kumbur / Cast: Serkan Ercan, Ilgaz Kocatürk, Kenan Bal, Hale Akınlı, İlyas Özçakır / Producer: Taha Altaylı, Sezgi Üstün San / Co-Producer: Galata Film / Production Co.: Galata Film / World Sales: Galata Film / Turkey / 2015 / DCP / Colour / 85´ / Turkish; English s.t.

SYNOPSIS | Driven into a spiral of debt because of his ambition, Tarık´s life begins to fall apart with the seizure orders issued for his home and workplace when he fails to pay his debts. Suffocating under the pressure from his bank and a loan shark, and on the brink of divorce with his wife, he intends to fight to the end. Selling the field back in his hometown is the last resort, and he visits his parents to persuade them. His father is unwilling at first, but with his mother´s insistence, accepts to let their son sell the field, the only remaining piece of land they own. The family urges him to take his younger brother Emre to İstanbul to help him out, and Tarık reluctantly heads to İstanbul with him. As the two brothers dig up unresolved events from their past and head into conflict, they are also drawn together closer than ever.

DIRECTOR | Cemil Ağacıkoğlu was born in İstanbul in 1959. He opened the photography exhibitions Hasırın Öyküsü” (“Story of the Wicker”) (1993), “Selene” (1995), “Bir Günde” (“In A Day”) (1997), “Hüznün Grenleri” (“Grains of Sorrow”), “Propaganda Filmi” (“Propaganda The Movie”), “Jerusalem” (1999), Aralık - Passage a Way (2000), “Kapadokya” (“Cappadocia”) (2007), and “Biz” (“Us”) (2008). “Hasırın Öyküsü”, “Bir Günde”, “Hüznün Grenleri”, “Jerusalem” and “Aralık - Passage a Way” were published as photobooks.

Ağacıkoğlu participated in many exhibitions around the world. In 1995, he was presented the Artiste FIAP (AFIAP) title by The International Federation of Photographic Art (FIAP). In 1996, he received the Gold Medal at the 12th International Salon of Photography held in Pakistan. In 1998, he won the third prize in the Hong Kong International Photography Competition, and the Gold Medal in the competition of the International Federation of Photographic Art. In 1999, he won the Grand Prize at the Adana Golden Boll Film Festival’ s photography competition. The same year, he won the Gold Medal at the World Biennial of Black and White Photography held in Switzerland, curated by Mehmet Bayhan, where Turkey came first as a team for the first time. Ağacıkoğlu has also won the Gold Medal in the Pakistan National Photography Contest, the Honorary Award at the SuperCircuit contest in Austria, and was given the Excellence FIAP (EFIAP) title by the FIAP. In 2000, he won the third prize at the FIAP Biennial of Black and White Photography in Italy. In 2002, he won the Kral TV Best Music Video Director Award and the second prize at the Balkan Photography Contest. In 2003, he won the FIAP 23rd International Trofeo Gipuzkao Second Prize.


Ağacıkoğlu taught black and white photogaphy at the Cemil Ağacıkoğlu Workshop for four years, and founded 18 Design, which brought design and photography together under the same roof for the first time in Turkey. During this period, he also made music videos and designed albums for many well-known acts in Turkey. He made his first short film “I Am Ivan” in 2005; it was followed by “İp” (“The Thread”) in 2006, “It Was White” in 2007 and “Polis” in 2008. Ağacıkoğlu completed his feature film debut “Eylül” (“September”) in 2010, and his second feature “Özür Dilerim” (“Apologies”) in 2012.

IIFF 2016 | Turkish Cinema | My Own Life

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Mavi Boncuk |MY OWN LIFE | BENİM KENDİ HAYATIM | Director: Adnan Akdağ / Screenwriter: Adnan Akdağ, Ali Doğan Gönültaş, Öztekin Düzgün / DOP: Adnan Akdağ, Ali Doğan Gönültaş / Editor: Selamet Alkan, Necdet Kopuz / Original Music: Jacques-Martin Hotteterre, Ze Tije / Cast: Merve Menekşe Özer, Adnan Akdağ, Ali Doğan Gönültaş, Öztekin Düzgün, Bedriye Akdağ, Galip Akdağ / Producer: Adnan Akdağ / Production Co.: Sui Generis Film / World Sales: Sui Generis Film / Turkey / 2016 / DCP / Colour / 149´ / Turkish, Kurdish; English s.t.



Adnan, who has to move to his village home in order to look after his father after the sudden death of his elder brother, takes this long road with the idea of filming his own life to ensure not interrupting his studies on cinema, which he is so fond of. Nonetheless, it appears to be more difficult than expected. In his film, trying to depict the incidents he fictionalised from his own life, Adnan encounters with incidents he never expected or wanted. His fictionalised world and the real one begin to blur. The relationships between each and every person comes to light one by one.


Interview with  Adnan Akdağ

Turkish PM Ahmet Davutoğlu "I Resigned Therefore I am"

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Prime Minister Ahmet Davutoglu, a pivotal ally of President Recep Tayyip Erdogan, announced his resignation on Thursday. Speaking at the Justice and Development Party’s headquarters in Ankara, Mr. Davutoglu refrained from criticizing Mr. Erdogan, with whom he said he had “a brotherly relationship...You will never hear me say negative things about the president,” Mr. Davutoglu said.

Mavi Boncuk |


“I did not bargain for the sake of the values I believe in. I wanted to make sure of the frinds I took this together. I wanted them to tell me when they're not with me in this. What happened in the last Cental Party Directors meeting | MKYK, I put my signature  as the first,  I do not agree to the method and could not reconcile with it as part of the distinction of being a road fellow “refik”. These friends being a  “refik. including the President, and in consultation with my friends I trust with their political experience. As a result, for the AKP's unity, rather than a change of “refik” to the idea  of a change in leadership was the end result”. 

“İnanmadığım değerler uğruna pazarlık içinde olmadım. Yola çıktığım arkadaşların benimle olduğuna emin olmak istedim. Benimle olmadıklarında da bunu bana söylemelerini istedim. Son MKYK’de yaşananları, ki ilk imzayı kendim attım, takip edilen yöntemi refik olma özelliğiyle bağdaştıramadım. Refik ve hedef önemliyse hepimizin muhasebe yapmamız gerekiyordu. Refiklerimin de benim de. Cumhurbaşkanımız dahil, siyasi tecrübesine güvendiğim dostlarımla istişareler neticesinde, AKP’nin birliği, devamı için refikin değişmesindense, genel başkan değişmesi fikri bende hasıl oldu.” 

Turkish PM | Başbakan Ahmet Davutoğlu

IIFF 2016 | Turkish Cinema | Memories of the Wind

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Mavi Boncuk |MEMORIES OF THE WIND | RÜZGARIN HATIRALARI | 

Director: Özcan Alper[1] / Screenwriter: Özcan Alper, Ahmet Büke / DOP: Andreas Sinanos / Editor: Baptiste Gacoin, Özcan Alper / Original Music: Francois Couturier / Cast: Onur Saylak, Sofya Khandamirova, Mustafa Uğurlu, Ebru Özkan, Murat Daltaban, Tuba Büyüküstün, Menderes Samancılar / Producer: Soner Alper / Co-Producers: Micheal Eckelt, Guillaume De Seille, Mamuka Chikhradze / Production Co.: Nar Film Yapım, İstanbul Dijital, Most Production / World Sales: Nar Film Yapım / Turkey, Germany, France, Georgia / 2015 / DCP / Colour / 126´ / Turkish, Russian, Armenian; English s.t. 

 2015 Antalya Best Cinematography, Best Music





Memories of the Wind tells the story of Aram, a translator and painter, who flees from Istanbul for political reasons to save his life during World War II. That escape becomes a search for the traces of the lost times of childhood for Aram who is stuck in a forest village at the Soviet-Georgian border by the Black Sea. Love, time, death, exile, homeland, borders, freedom, and confrontation themes appear in Memories of the Wind as doors opening to the dark hallways of no return of memory in the political and cultural atmosphere of the period. Remembering changes everything. With the blowing of the wind… 



[1] Özcan Alper (born 1975 in Hopa, Artvin, Turkey), is a Hemshin Armenian[*] film director and screenwriter from Turkey.[1] He studied at Trabzon Lisesi. In 1992, he moved to Istanbul to study at İstanbul Üniversitesi Fen Fakültesi in the Physics Department and then moved to İstanbul Üniversitesi Edebiyat Fakültesi where he studied History of Sciences and graduated in 2003. Since 1996, he was interested in films and took part in workshops organized by Mezopotamya Kültür Merkezi, the Nâzım Kültürevi culture house (now renamed Nâzım Hikmet Kültür Merkezi). Starting 2000 started assisting in films under the supervision of film director Yeşim Ustaoğlu. After being assistant director in the short Toprak, he filmed Momi as his first short film as main director. He also shot the documentary Tokai City'de Melankoli ve Rapsodi in Japan following it with yet another documentary entitled Bir Bilimadamıyla Zaman Enleminde Yolculuk. In 2008, Alper released his first long feature Sonbahar (Autumn in Turkish) with multiple awards as a newcomer. He followed that with another critically acclaimed film Gelecek Uzun Sürer, English title Future Lasts Forever that has also won important awards.

Director
2006: Saklı Yüzler (as assistant director)
2007: Sonbahar (director), English title Autumn
2011: Gelecek Uzun Sürer, English title Future Lasts Forever
Screenwriter
2007: Sonbahar (director), English title Autumn
2010: Kars Öyküleri
2011: Gelecek Uzun Sürer, English title Future Lasts Forever
Shorts
1999: Toprak as assistant director (short film)
2001: Momi, director (short film)
Documentaries
Tokai City'de Melankoli ve Rapsodi
Bir Bilimadamıyla Zaman Enleminde Yolculuk
Actor
2011: Fotoğraf

[*] The Hemshin peoples (Armenian: Համշէնցիներ Hamshentsiner; Turkish: Hemşinliler), also known as Hemshinli or Hamshenis or Homshetsi, are a diverse group of peoples who in the past or present have been affiliated with the Hemşin district in the province of Rize, Turkey. It is generally accepted that they were Armenian in origin, and were originally Christian and members of the Armenian Apostolic Church, but over the centuries evolved into a distinct ethnic group and converted to Sunni Islam after the conquest of the Ottomans of the region during the second half of the 15th century.

IIFF 2016 | Turkish Cinema | Black Crow

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Mavi Boncuk |

SİYAH KARGA | BLACK CROW | 

Directed by: M. Tayfur Aydın[1] / Screenplay: M. Tayfur Aydın / Cinematography: Emre Konuk / Edited by: Selim Demirdelen / Original music: Selim Demirdelen / Cast: Şebnem Hassanisoughi, Aziz Çapkurt, Murat Toprak, Sedat Culum, Aydın Orak, Memet Ünal, Ayhan Eren, Tahsin Kaytar, Medya İzgi / Yapımcı: M. Tayfur Aydın / Yapım Şirketi: Mta Film Yapım Prodüksiyon / World Rights: Mta Film Yapım Prodüksiyon / Turkey / 2016 / DCP / Renkli / 98´ / Kurdish, Turkish, English, Persian.

Sara who is an Iranian actress living in France has to go back to her homeland after having received a letter from her father. Because of the obscene scenes which she took part in, it is forbidden for her to enter into her own country. She decides to go to Iran through illegal ways over Turkey. She receives help from tourist guide Yılmaz in Turkey. At the end of a difficult and long trip, they arrive at Hakkari where Yılmaz´s friend Mehmet Selim joins them. But the trip is much more troublesome and dangerous than they expect. After this trip full of patience and fear of being caught by Iranian and Turkish soldiers, Sara encounters very unexpected situations.

[1] M. Tayfur Aydin born in Bitlis, in 1981. He directed his first short length film named "Sen Olmak"(To Be Her) in 2007. He also worked behind camera in construction and coordination task of different projects. Iz (rêç) which he wrote and directed in 2011 is his first full length film. His films are Iz-Rec, 2010 Ic Ses, Yasak Elma (the Forbidden Apple) ,Esikte, Icimdeki Mezar (the Ground in Me),Sen Olmak (To Be Her) which are awarded with worldwide prizes. 
Interview (In Turkish) 


Tayfur Aydın ın ikinci sinema filmi ">Siyah Karga nın tanıtımı.

IIFF 2016 | Turkish Cinema | Cold of Kalandar

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For me this is the highlight of Turkish Cinema for 2016.

2015 Tokyo Best Director, Wowow Best Film
2015 Antalya Best Actor–International Competition (H. Şişman), Best Actress–National Competition (N. Yeşilaraz), Best Music, Special Jury Award

2015 Premier Plans D`angers Special Jury Award

Palmarès du festival d'Angers 2016. Mention spéciale du jury (long métrage européen): Cold of Kalandar de Mustafa Kara “Kalandar Soğuğu” (Cold of Kalandar), a new dramatic feature by Turkish director Mustafa Kara, won two awards at this year's Tokyo International Film Festival, where it was the sole Turkish-language film among the 16 titles in the main competition. The drama garnered the best director prize for Kara and the WOWOW Viewer's Choice Award at the 28th Tokyo International Film Festival. “The Cold of Kalander” also won four prizes at The 52nd International Antalya Film Festival: the Dr. Avni Tolunay Jury Special Award, National Competition for Best Music to François Couturier, International Competition Best Actor to Haydar Şişman and National Competition to Nuray Yeşilaraz for Best Actress.

Mavi Boncuk |

COLD OF KALANDAR | KALANDAR SOĞUĞU | 

Director: Mustafa Kara[*] / Screenwriter: Bilal Sert, Mustafa Kara / DOP: Cevahir Şahin, Kürşat Üresin / Editor: Umut Sakallıoğlu, Ali Aga, Mustafa Kara / Original Music: Eleonore Fourniau / Cast: Haydar Şişman, Nuray Yeşilaraz, Hanife Kara, İbrahim Kuvvet, Temel Kara / Producer: Nermin Aytekin / Co-Producer: İvan Angelusz / Production Co.: Kara Film / World Sales: Kara Film / Turkey, Hungary / 2015 / DCP / Colour / 130´ / Turkish; English s.t.

Mehmet is a man living with his family in a mountain village in the Black Sea region. He earns his life breeding a few animals, while passionately looking for a mineral reserve on the mountains, but his pursuit is seen futile by his family. Devastated by vain efforts, his hope is renewed with a competition: Mehmet will attend the bullfights held in Artvin. But he returns from Artvin completely lost, once again. This simple story pictures the naive portrait of a touching life, a life struggle in hardship and the relationship between nature, animals and human beings.

[*] Mustafa Kara (1980) graduated from the Department of Radio and Television at Cumhuriyet University. His debut feature was Hope Island which was a co-production between Turkey and the United Kingdom in 2006. He founded Karafilm Production in 2009 with Nermin Aytekin. Cold of Kalandar is his second feature film, which he had been working on for a long time after many documentaries. 




Mavi Boncuk | 

Official Site

Cold of Kalandar (2015)
Kalandar sogugu (original title)
2h 19min | Drama | Turkey, Hungary
World Premiere | 28 October 2015 (Japan)
Interview [1]

"Cold of Kalandar" pictures within a unique pastoral atmosphere the realist, passionate and emotional story of Mehmet and his family living far from modern life, in a mountain village. Mehmet is a man living with his family in a mountain village in Black Sea. He earns his life breeding a few animals, while looking for a mineral reserve on the mountains but his pursuit is seen as useless by his family. Destroyed in search of a mineral reserve, his hope is renewed with the news of a competition... A documentarian must capture a single moment in a miraculous event that occurs in the course of everyday life after patiently pursuing his or her subject for an extended period. And this film proves that its director, Mustafa Kara, is endowed with this special ability. In Kara’s second dramatic feature, there is no distinction between truth and fiction. The protagonists, a family living in a natural setting far from modern civilization, are portrayed with palpable realism. But the inclusion of heartwarming exchanges, cow-training scenes, and fantastic elements prevents the film from being overly realistic. This magnificent paean to humans and nature is an allegory of enduring hope in harsh conditions.

Watch the movie's trailer.


[1] Set on top of a mountain facing the Black Sea in Turkey’s Trabzon region, Cold of Kalandar tells the tale of daily life for a family who breeds livestock, spun together with the formidable reality of nature. In his second feature film, documentary filmmaker Mustafa Kara has created an honest portrayal of a family’s earnest life in a home without electricity or running water. Highly praised has been his ability to capture such a large-scale depiction of nature within the relentless mountains, without using any artificial effects. He visited Japan together with his staff.

Please tell us about how the film came about.

Director Mustafa Kara (Director Kara below): When I was a child, there was a person close to me who was much like the protagonist in the film. I thought that there are some close similarities between modern society and the grandeur of nature, and using that person’s way of life as a reference, I put together my plan for the film.

Bilal Sert (Sert below): We wanted to illustrate a comparison between the struggles of daily life for those who live in cities, and those who live in nature. The director created the original story, and after that, I wrote the screenplay.

The place where such overwhelming shots were taken, is this a place where you [Kara] actually used to live?

Director Kara: I decided to film in the villages of Macka, Trabzon, on Turkey’s Black Sea coast. It’s a mountainous region that is right near the sea. I spent my childhood in an environment similar to that, but I didn’t choose this area for sentimental reasons. I felt that this place was most suitable for expressing the main character.

How did you both [Kara and Sert] cooperate while the story was being written?

Director Kara: Bilal was my university professor. So when I had the idea for this film, I brought it to him and we developed the story together.

From what point was the producer involved?

Nermin Aytekin (Aytekin below): From the beginning.

Sert: We all know each other normally. She had experience as a producer, so we brought her into the group from the beginning. She really contributed a lot.

Was Şişman envisioned as the lead as soon as the screenplay was finished?

Haydar Şişman [Şişman below]: The director was a student of mine. I had heard that the screenplay was completed, but at the beginning I wasn’t a candidate for the role. They tried different people but it didn’t go well, so in the end I took the part.

So there are two professors?!

Şişman: I’m an elementary school teacher.

Sert: I teach visual arts and sciences (film, TV and radio) at a university.

This film has scene-after-scene of incredible shots. What kind of difficulties did you have while filming?

Director Kara: There was the elevation of the mountain, and the battle with nature. In order to get realistic footage, we had to wait for natural conditions to sort themselves out. This film was made over the course of all four seasons, and you can’t control nature. Even if things don’t go according to plan, and even if the budget changes, it’s still necessary to coordinate according the weather and natural conditions. In the beginning we thought to film for two or three weeks during each season, but each time it took over one month. In total, the filming took five or six months. Shooting in the mountains meant that we had to repeatedly go back down.

What did it feel like to be directed by one of your former pupils?

Şişman: He’s been the type to give focus to passion and enthusiasm ever since he was a child. Even with filming he kept the level of enthusiasm high, and although we did at times get tired, that became energy that was dedicated to producing the film. It was a strong scenario, and a strong character. To survive in the middle of nature, strength is essential.

What did it feel like to direct your teacher?

Director Kara: We didn’t come into it from a student-teacher stance, we approached it with the attitude that we are cooperating together for a work. I treated them the same as I did other actors. Of course in a proper setting he is a teacher, so it would be necessary to be respectful, but that doesn’t mean that he gets some kind of special treatment. On top of that, because they’re both “teacher”, I was able to demand impossible from them. Once finishing the film they’ve been good friends.

How was the collaboration with Hungary decided?

Aytekin: When the screenplay was finished we were looking for investors, and a Hungarian investor took a liking to the film.

Do you have plans to make another film together as a team?

Sert: I think we’re going to begin soon. It’s a story about a woman who is waiting for a face transplant.

(Interview and write-up by Takaki Inada of the Japan Film Pen Club)

IIFF 2016 | Turkish Cinema | Rauf

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Mavi Boncuk |
See: Turks of Berlinale


RAUF | RAUF | Director: Barış Kaya, Soner Caner / Screenwriter: Soner Caner / DOP: Vedat Özdemir / Editor: Ali Emre Uzsuz, Ahmet Boyacıoğlu / Original Music: Ayşe Önder, Ümit Önder / Cast: Alen Hüseyin Gürsoy, Yavuz Gürbüz, Şeyda Sözüer, Muhammed Ubiç, Veli Ubiç / Producer: Burak Ozan, Kazım Uğur Kızılaslan / Production Co.: Peri İstanbul, Aslan Film / World Sales: Peri İstanbul / Turkey / 2016 / DCP / Colour / 93´ / Turkish, Kurdish; English s.t.

2016 Sofia FIPERSCI Award

Rauf is the story of the 9 year old Rauf, living in a rural village under the shadow of an invisible endless war, who embarks on a journey to find the colour pink for the the girl he loves - who happens to be the 20 year old daughter of the carpenter to whom he is an apprentice. For him, pink is the colour of the love in his dreams, of the courage to hope, of the peace he never saw. The quest for pink starts with his desire to make her smile. But his experiences in a grey world would teach him the black and the white.

IIFF 2016 | Turkish Cinema | Blue Bicycle

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Mavi Boncuk |
BLUE BICYCLE | MAVİ BİSİKLET | Director: Ümit Köreken[1] / Screenwriter: Ümit Köreken, Nursen Çetin Köreken / DOP: Niklas Lindschau / Editor: Ali Aga / Original Music: C. Ozan Türkyılmaz / Cast: Selim Kaya, Eray Kılınçarslan, Katya Shenkova, Fatih Koca, Bahriye Arın / Producers: Ümit Köreken, Nursen Çetin Köreken / Co-Producers: Oliver Thau, Ufuk Genç, Oğuz Kaan Kurbanoğlu / Production Co.: Drama Film Prodüksiyon Ümit Köreken / World Sales: Attraction Distrubition / Turkey, Germany / 2016 / DCP / Colour / 94´ / Turkish; English s.t.

Ali lives with his mother and sister. When not at school, he works at a tire repair shop, gives his wage to his mother, and saves his tips to buy himself a blue bicycle. Ali´s father has lost his life, his body was found on the railroad tracks. The only witness to his death is Salim, the butler of the farm where he works. The semester holiday is over. School has just started. Ali is very happy to see his platonic love Elif. On the first day of school, butler Salim´s grandson Hasan is enrolled. Elif is the student president but the headmaster appoints Hasan as the interim president. Ali believes that Elif has been relieved from her role as president unfairly. He decides to put the money he saved for the blue bicycle into the campaign, which he starts working on with his friend Yusuf.

[1]Ümit Köreken
Biography
Born in 1978 in Akşehir, Ümit graduated from Anadolu University School of Business Administration. He began studying filmmaking in 2011, directing THE LINE (2011), followed by BLUE BICYCLE (2015) which was selected at the Berlinale Generation in 2016.

Films Selection
Blue Bicycle (Mavi bisiklet) - 2015

The Line (Çizgi) - 2011

Interview with Ümit Köreken on Blue Bicycle.

Word origin | Refik, Refika, Dost, Eş, Arkadaş

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“I did not bargain for the sake of the values I believe in. I wanted to make sure of the friends I took this together. I wanted them to tell me when they're not with me in this. What happened in the last Cental Party Directors meeting | MKYK, I put my signature  as the first,  I do not agree to the method and could not reconcile with it as part of the distinction of being a road fellow “refik”. These friends being a  “refik". including the President, and in consultation with my friends I trust with their political experience. As a result, for the AKP's unity, rather than a change of “refik” to the idea  of a change in leadership was the end result”. 

“İnanmadığım değerler uğruna pazarlık içinde olmadım. Yola çıktığım arkadaşların benimle olduğuna emin olmak istedim. Benimle olmadıklarında da bunu bana söylemelerini istedim. Son MKYK’de yaşananları, ki ilk imzayı kendim attım, takip edilen yöntemi refik olma özelliğiyle bağdaştıramadım. Refik ve hedef önemliyse hepimizin muhasebe yapmamız gerekiyordu. Refiklerimin de benim de. Cumhurbaşkanımız dahil, siyasi tecrübesine güvendiğim dostlarımla istişareler neticesinde, AKP’nin birliği, devamı için refikin değişmesindense, genel başkan değişmesi fikri bende hasıl oldu.” 

Turkish PM | Başbakan Ahmet Davutoğlu

Mavi Boncuk |

Refik: [ Seyf-i Sarayî, Gülistan tercümesi, 1391] from AR rafīḳ رفيق  [#rfḳ faˁīl sf.] yoldaş, eşlik eden
old Persian kat

Refika: from AR rafīḳ رفيق  [#rfḳ faˁīl sf.]  old Persian kat eden, yoldaş, arkadaş from AR rafaka رفق eşlik etti

Dost: friend[1], comrade[2], companion, fellow [3], partner [4]EN [ Kutadgu Bilig, 1069] öz asġı tiler dostḳa birme köŋül [kendi çıkarını kollayan dosta gönül verme]
[İsk 1389] el irince dostāne söylegil
from Persian dost دوست arkadaş, yar from old Persian dauştā/dauştar- a.a. ≈? Ave zuş- sevmek, hoşlanmak
Benzer sözcükler: dostane, dostluk, zendostrefik

Eş: oldTR: [ Uygurca İyi ve Kötü Prens Öyküsü, 1000] oğlum téginke éş boluŋlar [oğlum prense arkadaş olsunlar]
TTü: [ Meninski, Thesaurus, 1680]
eş اش: Socius, par [yoldaş, arkadaş, bir çiftin her biri] (...) eş itmek, eşlendürmek: tezvīc [evlendirmek], çiftlemek.
tartarTR: [ Ahmed Vefik Paşa, Lugat-ı Osmani, 1876] eşleşmek (...) eşsiz
oldTR éş yoldaş, arkadaş

Arkadaş: tartarTR: arkadaş "yoldaş, dost, ayakdaş, hempa" [ Bianchi, Dictionnaire Turc-Français, 1851] tartarTR arka +tAş

[1] friend (n.) Old English freond "one attached to another by feelings of personal regard and preference," from Proto-Germanic *frijand- "lover, friend" (cognates: Old Norse frændi, Old Danish frynt, Old Frisian friund, Dutch vriend, Middle High German friunt, German Freund, Gothic frijonds "friend"), from PIE *priy-ont-, "loving," present participle form of root *pri- "to love"

[2] comrade (n.) 1590s, "one who shares the same room," from Middle French camarade (16c.), from Spanish camarada "chamber mate," originally "chamberful," from Latin camera (see camera). In Spanish, a collective noun referring to one's company. In 17c., sometimes jocularly misspelled comrogue. 

Related: Comradely; comradeship.

[3] fellow (n.)  "companion, comrade," c. 1200, from Old English feolaga "partner, one who shares with another," from Old Norse felagi, from fe "money" (see fee) + lag, from a verbal base denoting "lay" (see lay (v.)). The root sense is of fellow is "one who puts down money with another in a joint venture." 

Meaning "one of the same kind" is from early 13c.; that of "one of a pair" is from c. 1300. Used familiarly since mid-15c. for "any man, male person," but not etymologically masculine (it is used of women, for example, in Judges xi:37 in the King James version: "And she said unto her father, Let this thing be done for me: let me alone two months, that I may go up and down upon the mountains, and bewail my virginity, I and my fellows"). Its use can be contemptuous or dignified in English and American English, and at different times in its history, depending on who used it to whom, it has carried a tinge of condescension or insult. University senses (mid-15c., corresponding to Latin socius) evolved from notion of "one of the corporation who constitute a college" and who are paid from its revenues. Fellow well-met "boon companion" is from 1580s, hence hail-fellow-well-met as a figurative phrase for "on intimate terms." 

In compounds, with a sense of "co-, joint-," from 16c., and by 19c. also denoting "association with another." Hence fellow-traveler, 1610s in a literal sense but in 20c. with a specific extended sense of "one who sympathizes with the Communist movement but is not a party member" (1936, translating Russianpoputchik). 

Fellow-countrymen formerly was one of the phrases the British held up to mock the Americans for their ignorance, as it is redundant to say both, until they discovered it dates from the 1580s and was used by Byron and others.

fellowship (n.)  c. 1200, feolahschipe "companionship," from fellow + -ship. Sense of "a body of companions" is from late 13c. Meaning "spirit of comradeship, friendliness" is from late 14c. As a state of privilege in English colleges, from 1530s. In Middle English it was at times a euphemism for "sexual intercourse" (carnal fellowship).

[4] partner (n.) c. 1300, altered from parcener (late 13c.), from Old French parçonier "partner, associate; joint owner, joint heir," from parçon "partition, division. portion, share, lot," from Latin partitionem (nominative partitio) "a sharing, partition, division, distribution" (see partition (n.)). Form in English influenced by part (n.). The word also may represent Old French part tenour "part holder."

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