Quelques perles du cinéma turc des années 50′-70’…

Erol Amaç est M. Spak (à ne pas confondre avec M.Spock, qui lui porte un sous-pull bleu). Source : Monster movie music

Voici quelques extraits – pour rire mais aussi pour déplacer un peu le regard qu’on porte habituellement sur le cinéma – d’adaptations turques de franchises américaines des années 70 et 80…

Celles qui m’intéressent le plus directement sont avant tout les adaptations de séries de cette époque telles que Star Trek « alla turca » ou « Betmen », mais on ne peut s’empêcher se savourer d’autres adaptations locales pour le cinéma : « Supermen », « Badi » (la version turque de E.T.), le magicien d’Oz turc, « Frankeştayn », Drakula à Istanbul, le Zorro turc… et bien sûr l’inénarrable « Turkish Star Wars », connu également sous son nom original de « Dünyayi Kurtaran Adam » (l’homme qui a sauvé le monde). « Nanarland« , qu’on peut saluer pour ses leçons de cinéma et son érudition particulière dans le genre « série Z » a d’ailleurs consacré une émission à ce film. Une attention particulière est à porter aux bandes sons, on peut reconnaître des emprunts parfois étranges, voire hors propos.

Voir aussi quelques pages et groupes où assouvir sa nostalgie ou sa curiosité de bizarreries datées :

Groupe Facebook « Eski Yerli Diziler ve Filmler » :
https://www.facebook.com/EskiDiziler?fref=ts

Emission « Escale à Nanarland » :
http://www.allocine.fr/video/nanarland/

Le site de Nanarland, « le site des mauvais films sympathiques » :
http://www.nanarland.com

 

Les acteurs de « Turist Ömer Uzay Yolu’nda » sur la place Taksim. Source : Facebook (Rauf Kösemen)

Source : Nanarland

« Festival to remember Meral Okay » – Hürriyet Daily News

Meral Okay, who died of cancer in April 9, will be commemorated at the event. Source: Hürriyet

« The 15th Flying Broom International Women’s Film Festival started May 10 with a commemoration ceremony for Meral Okay, who died of cancer last month. The festival will continue until May 17 in Ankara.

The festival, supported by the Culture and Tourism Ministry, the Prime Ministry’s Promotional Fund and the European Union, was launched yesterday at a press conference. The Flying Broom Festival has been organized since 2003 in memory of Bilge Olgaç, one of the most creative directors in Turkish cinema history. This year’s Success Awards will be presented to actresses Füsun Demirel and Serra Yılmaz, and the Honorary Award will be given to actress Hale Soygazi.

The festival will present a selection of work from one of the leading names in Moroccan cinema, Farida Benlyazid, curated by Turkish film critic Sevin Okyay, and will bring together films from female directors from all around the world, with the goal of making the work of women filmmakers visible. « 

Source : Hürriyet Daily News

Representation of media groups. Looking for inspiration…

As I’d like to make a representation of the media groups in Turkey I looked for some works previously done on this kind of topic. Those two graphs found on the web illustrate the links between audiovisual and press production in one hand, and the media groups in another hand. Those representations are very helpful to give an idea of the complexity of media sector and of the interelations between finance, media groups, producers, technicians, and so on… 

Financial links between cinéma et media groups in 2010 (source CNC). Click to download the complete pdf
Media groups in France in 2004. (source : internet). Click to dowload the complete pdf file

See also the Pierre Carles documentaries on media groups in France, particularly on TF1 channel : « Fin de concession » (2010), « Pas vu, pas pris » (1998), « Enfin pris? » (2003)

Bonus : 

Photogram of the Pierre Carles documentary, « Fin de concession » (2010). Extract of a printed interview of Patrick Le Lay, TF1 CEO.

My translation to english of the quote in pink (from « Les dirigeants face au changement. Baromètre 2004 »):

« […] let’s be realistic : the basis of TF1 job, is to help Coca-Cola, for instance, to sell its product. But to make the advertisement message perceived, the brain of the spectator has to be available. The vocation of our broadcasts is to make it available, so to say entertain it, to relax it to prepare it between two messages. What we sell to Coca-Cola is available brain time. […] »

« Oh séries chéries! » – HS Les Inrocks

Texte de présentation du Hors-série des Inrocks « Oh séries chéries »  par Olivier Joyard : 

« Il y a eu le cinéma (“Tout le monde a deux métiers : le sien et critique de cinéma”, écrivait Truffaut), puis le foot (“La France compte cinquante millions de sélectionneurs”, se plaignaient Michel Hidalgo et consorts), il y a désormais les séries télé. Depuis dix ans, les anciens feuilletons du dimanche après-midi ont pris la dimension d’un phénomène culturel massif en même temps qu’ils gagnaient en maturité et en diversité. De chaque côté de l’écran, une révélation a eu lieu.

Les séries, invention du XXIe siècle ? Pas vraiment, mais leur perception et leur réalité ont changé. La sériephilie, petite soeur contemporaine de la cinéphilie, fait office de mot de passe générationnel. Les plateformes de streaming sont les nouvelles cinémathèques. De grandes oeuvres sont nées, de The Wire à Friday Night Lights ; il est du dernier chic de passer ses nuits devant l’intégrale A la Maison Blanche ou la saison 1 du Trône de fer ; les colloques universitaires s’épanchent sur la question du genre à travers Glee ou Buffy ; et personne ou presque n’ignore que Don Draper est un garçon compliqué.

L’amour des séries s’incarne sous des formes futiles ou profondes, sentimentales ou intellectuelles. C’est ce spectre inédit, large et organique, que Les Inrocks traversent à l’occasion de ce hors-série. Nous aimons les séries pour la grandeur ou la bêtise d’un personnage, pour la ritournelle d’un générique devenu madeleine (voir notre CD en supplément, qui convoque Angelo Badalamenti ou Lalo Schifrin), pour l’ampleur romanesque d’un récit, ou simplement pour le plaisir de revoir les mêmes visages entrer dans nos vies à répétition. On y découvre de nouveaux continents de fiction, pas seulement anglais ou californiens. On y croise des auteurs tout-puissants, à la liberté créative sans équivalent dans l’entertainment d’aujourd’hui. Pour les meilleures, de The Good Wife à Treme, les motifs sociaux et politiques viennent perturber l’ordonnancement tranquille des épisodes. Les séries déploient un monde de fétiches et d’idées neuves pour spectateurs contemporains jamais rassasiés. Elles supposent aussi un travail acharné dont la France n’a toujours pas trouvé la clef. Le témoignage exceptionnel du scénariste de Prime Suspect, John McNamara, nous plonge dans le quotidien d’une industrie US réactive et organisée pour faire face à l’imprévu. Malgré Engrenages et quelques autres, difficile de trouver une série d’ici vraiment aboutie. Les méthodes de travail américaines, souvent citées en exemple, ne sont pas simples à importer. 

Elles supposent une révolution culturelle qui n’est peut-être pas la solution. Les copies de bonnes séries seront toujours des copies. Dans l’entretien qu’il nous a accordé, l’écrivain Tristan Garcia, grand amateur du genre, diagnostique la fin de l’âge d’or des années 2000, symbolisé par des sommets comme Lost ou Six Feet Under, et l’arrivée des “séries conscientes”, potentiellement prétentieuses et maniéristes. On peut à la fois être d’accord avec lui et considérer que l’époque reste propice à l’émerveillement, même prudent. Les grandes séries continuent d’arriver chaque saison. Opportunité rare, l’histoire du genre se construit désormais en direct pour chacun de nous, et elle est passionnante. L’arrivée massive sur le petit écran des cinéastes, de Gus Van Sant, Martin Scorsese à David Fincher, sans oublier le retour du pionnier Michael Mann, marque un nouveau tournant. Les séries font envie même à ceux qui pensaient ne jamais en avoir envie. Ultime signe des temps. »

Olivier Joyard – Les Inrockuptibles

« Historical dramas, reborn sagas set for big screen outing » – Today’s Zaman

« Every year, come summertime, Turkish filmmakers roll up their sleeves and get stuck into filming new movies for the coming season.

This year historical dramas abound, with Çağan Irmak and Levent Semerci narrating stories through the eyes of children, Sinan Çetin recreating the Battle of Gallipoli of 1915 and Faruk Aksoy taking a cinematic look at Sultan Mehmet II’s conquest of İstanbul. Here’s a detailed look at some of the upcoming season’s films in Turkish cinema:

Filming has ended on director Faruk Aksoy’s “Fetih 1453” (Conquest 1453), the most expensive movie in Turkish cinema to date with a budget of $17 million. The historical drama that recounts the conquest of İstanbul stars Devrin Evin, İbrahim Çelikkol, Dilek Serbest, Recep Aktuğ and Erden Alkan in its cast. The film will have its theatrical release in February 2012.

Director Chris Roche is currently shooting a follow-up to the 1970s’ historical saga “Kara Murat” — made famous by the lead character played by Cüneyt Arkın — in the Black Sea city of Trabzon using new filmmaking technology. Titled “Kara Murat: Mora’nın Ateşi” (Kara Murat: The Fire of Morea), the new installment stars Nefise Karatay, Bahadır Sarı, Tatiana Marinescu, Hakan Ural, Kerem Alışık, İlker İnanoğlu and Suna Selen. Release date: December 2011 […]

 The Turkish movie industry is collaborating with Bollywood in one of the upcoming season’s films. A co-production between Turkey’s Evrensel Media and India’s Rakhshan Movies Network, the movie, titled “Süper Rakstar” (Super Rockstar), blends a love story with action-adventure. Set to start filming in October, the movie is planned for a March 2012 release. […]

Source : Today’s Zaman

« Turkish filmmakers hit the road for upcoming season » – Todays Zaman

Director Çağan Irmak (R) and cast members are seen on the set of Irmak’s upcoming film, “Dedemin İnsanları.” Source : Today's Zaman

« Summer is here, meaning it’s time for “Action!” in the Turkish movie industry. These days every corner of Anatolia is home to a movie set, with filmmakers and their crews hitting the road for next season’s titles. Here’s a brief overview of what’s coming soon to a theater near you.

Considering that 65 Turkish productions hit the big screen over the past 12 months, we will obviously be hearing more from movie sets around Turkey over the next three months; but for now, here’s a quick look at those who have already started work on their new efforts. (…)

Behzat Ç. jumping to the big screen

“Behzat Ç.,” the phenomenal Turkish crime series that became an instant hit with TV audiences since its launch at the beginning of this season, will be making a leap to the big screen later this summer. Famous stage and screen actor Erdal Beşikçioğlu reprises his title role as the hard-drinking, foul-mouthed chief inspector of the Ankara Police Department’s homicide bureau in the film version, which will be directed by Serdar Akar, who has also directed key episodes of the TV series.(…) »

Source : Today’s Zaman

 

Documentary : « Ekümenopolis : city without limits », by Imre Azem

source : http://www.ekumenopolis.net/

Projection at the IFEA : May 25th 2011, 6pm

Synopsis:

« The neoliberal transformation that swept through the world economy during the 1980’s, and along with it the globalization process that picked up speed, brought with it a deep transformation in cities all over the world. For this new finance-centered economic structure, urban land became a tool for capital accumulation, which had deep effects on major cities of developing countries. In Istanbul, which already lacked a tradition of principled  planning, the administrators of the city blindly adopted the neoliberal approach that put financial gain ahead of people’s needs; everyone fought to get a piece of the loot; and the result is a megashantytown of 15 million struggling with mesh of life-threatening problems.

Especially in the past 10 years, as the World Bank foresaw in its reports, Istanbul has been changing from an industrial city to a finance and service-centered city, competing with other world cities for investment. Making Istanbul attractive for investors requires not only the abolishment of legal controls that look out for the public good, but also a parallel transformation of the users of the city. This means that the working class who actually built the city as an industrial center no longer have a place in the new consumption-centered finance and service city. So what is planned for these people?

This is where the “urban renewal” projects come into play. Armed with new powers never before imagined, TOKI (State Housing Administration), together with the municipalities and private investors, are trying to reshape the urban landscape in this new vision. With international capital behind them, land plans in their hands, square meters and building coefficients in their minds, they are demolishing neighborhoods, and instead building skyscrapers, highways and shopping malls. But who do these new spaces serve?

The huge gap between the rich and the poor in Istanbul is reflected more and more in the urban landscape, and at the same time feeds on the spatial segregation. While the rich isolate themselves in gated communities, residences and plazas; new poverty cycles born in social housing communities on the prifery of the city designed as human depots continue to push millions to desperation and hopelessness. So who is responsible for this social legacy that we are leaving for future generations?

While billions of dollars are wasted on new road tunnels, junctions, and viaducts with a complete disregard for the scientific fact that all new roads eventually create their own traffic, Istanbul in 2010 has to contend with a single-line eight-station metro “system”. Due to insufficient budget allocations for mass public transportation, rail and other alternative transport systems, millions of people are tormented in traffic, and billions of dollars worth of time go out the exhaust pipe. What do our administrators do? You guessed right: more roads!

Everything changes so fast in this city of 15 million that it is impossible to even take a snap-shot for planning. Plans are outdated even as they are being made. A chronic case of planlessness. Meanwhile, the population keeps increasing and the city expands uncontrollably pushing up against Tekirdağ in the east and Kocaeli in the west. But does Istanbul really have a plan?

In 1980 the first plan for Istanbul on a metropolitan scale was produced. In that plan report, it is noted that the topography and the geographic nature of the city would only support a maximum population of 5 million. At the time, Istanbul had 3.5 million people living in it. Now we are 15 million, and in 15 years we will be 23 million. Almost 5 times the sustainable size. Today we bring water to Istanbul from as far away as Bolu, and suck-up the entire water in Thrace, destroying the natural environment there. The northern forest areas disappear at a rapid pace, and the project for a 3rd bridge over the Bosphorous is threatening the remaining forests and water reservoirs giving life to Istanbul. The bridges that connect the two continents are segregating our society through the urban land speculation that they trigger. So what are we, the people of Istanbul, doing against this pillage? If cities are a reflection of the society, what can we say about ourselves by looking at Istanbul? What kind of city are we leaving behind for future generations?

Ecological limits have been surpassed. Economic limits have been surpassed. Population limits have been surpassed. Social cohesion has been lost. Here is the picture of neoliberal urbanism: Ecumenopolis.

Ecumenopolis aims for a holistic approach to Istanbul, questioning not only the transformation, but the dynamics behind it as well. From demolished shantytowns to the tops of skyscrapers, from the depths of Marmaray to the alternative routes of the 3rd bridge, from real estate investors to urban opposition, the film will take us on a long journey in this city without limits. We will speak with experts, academics, writers, investors, city-dwellers, and community leaders; and we will take a look at the city on a macro level through animated maps and graphics. Perhaps you will rediscover the city that you live in and we hope that you will not sit back and watch this transformation but question it. In the end this is what democracy requires of us. »

Source : official website
http://www.ekumenopolis.net/

Facebook page of the film:
https://www.facebook.com/pages/Ekümenopolis/141253259238073


Interview de Pierre Langlais par Pamela Pianezza : « Les séries sont-elles l’avenir du cinéma ? »

Titre :
« Les séries sont-elles l’avenir du cinéma ? »

Chapeau :

« A quelques jours de la 2e édition du festival Séries Mania (du 11 au 17 avril au Forum des images), rencontre avec Pierre Langlais, journaliste spécialiste des séries TV (Télérama, Canal+.fr, TPS Star, Le Mouv’, Slate.fr, Snatch) et membre du Syndicat de la critique. »
Interview de Pierre Langlais par Pamela Pianezza (Syndicat de la Critique)

L’article en entier ici :
http://www.syndicatdelacritique.com/blog