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DANNA GARCİA

BLOĞUMA HOŞGELDİNİZ (Welcome)





 
                                         

En büyük karakterimiz "dost" olmaktır.Kendimize dost, Yaradan 'a dost, yaradılana dost, hakka-hakikate dost.Dostluk sevgi ile, muhabbetle başlar, yine bunlarla serpilir büyür. Bu sevginin kaynağında ise en büyük sevgi, Alemlerin Rabbi 'ne sevgi vardır.

Biz çağlar boyu bu sevgiyi ispat etmiş, bu sevgiyi yaşamış ve yaymıştık.Ya şimdi ?

Sevgi ispat ister. İspat edilmeyen sevgi laftan öteye geçmez. Sevginin ispatı hayata yansıması, kuşatması iledir. Bunun için Rabbimiz şöyle buyurmuştur : "De ki: Eğer Allah 'ı seviyorsanız, bana uyunuz. Böylece Allah da sizi sevsin ve günahlarınızı bağışlasın..." (Âl-i İmran,31) İşte her şeyin sahibi sevginin ispatını istiyor. O'nun dostluğunu, affını kazanmak istiyorsak, Efendimiz s.a.v.'in rehberlik ettiği bir hayatı yaşamaya çalışacağız. Ve o zaman "biz" olacağız. O zaman dost olacak, dost kalacağız. Ve o zaman, insanoğlunun ulaşabileceği en büyük nimete, Cenab-ı Mevlâmız'ın sevgisine, affına mazhar olacağız. Saygılarımla...

Me ilema Mehmet Tunabaş--Soy de Turguie:This blog page dear DANNA GARCİA hear I organized deep love.Happy and peaceful days spend wish.I am presenting the respect....http://www.netvibes.com/mehmettunabas#General


 

 

  

tunalim 

Columbian Beautiful Artist: Danna Garcia 

Oyunculuğuna hayran olduğum güzel yıldız







TUNALIM... www.mehmettunabas.tr.com.tr

Yes  the dear *Danna;This  world  one  stage.

Everbody is Ing the film of the life play in the world. World  widthness  beautifull  women  49  desk.(www.askmen.com)

You  dear  congratulate.

You real  life  film happy  days  wish.Yoursfaithfully



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Dünyanın prensesi DANNA!..Türkiye seni seviyor..The princess of the world... Turkey is loving you
   

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DANNA GARCIA FOTOGRAFLARI

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TUNALIM..

TÜRK KÜLTÜRÜ (Cultura Turguie)

                                                


   




.İSTANBUL FOĞRAF GALERİSİ


    

HistoriaTurguie

Los comienzos de la humanidad La Caverna de Karain guarda las primeras huellas de la humanidad en tierras anatolias. Pertenecen al periodo paleolítico pues se remontan a hace unos 100.000 años a.C. aunque el número de asentamientos aumentó considerablemente alrededor del año 8.000 a.C. De esta época se han encontrado asentamientos en Çayönü y Hacılar. En Çatalhöyük hay hasta doce yacimientos que oscilan entre los 6.500 y el 5.650 a.C. nos han revelado la primera urbanización organizada en la historia de la Humanidad, con una población de unos cinco a diez mil habitantes.

Entre los siglos V a.C. y III a.C. se desarrolla la cultura asiria, sobre la zona de Kultepe. Por aquel entonces ya tenían desarrollado una importantísima red comercial, donde se importaban y exportaban todo tipo de productos.

La cultura hitita

Los hititas fueron los primeros en fundar un estado indoeuropeo en el año 1.800 a.C. Este pueblo llegó a dominar Babilonia. Los hititas cobraban impuestos y concedían autonomía a los pueblos siempre que no opusieran resistencia. Su máximo esplendor duró entre el 1.450 a. C. hasta el año 1.200 a.C. Fue entonces cuando los tracios y otros pueblos comenzaron a invadir el Imperio Asirio, dejando solo pequeños asentamientos. A su época se la conoce como el Imperio Nuevo, con capital en Hattuşaş (la actual Boðazköy).

Entre los siglos XV y XIV a.C. los hititas se enfrentaron a los hurritas, pueblo que se localizaba en la región del Alto Eúfrates, con el Imperio de Mitanni y con os bárbaros de la región del Ponto. Así, los hititas ensanchaban su imperio desde la Región del Mármara hasta los países a lo largo del Río Eúfrates.

Con el siglo XIII llegaron los primeros enfrentamientos con los egipcios. Durante el reinado de Ramsés II los enfrentamientos por la repartición de Siria llevaron a la rubrica del primer tratado de paz de la historia, firmado en Kadesh en el año 1285 a.C.

Pero en los últimos siglos del Imperio, la organización se fue debilitando hasta que en el siglo VII se formaron las ciudades soberanas. Los hititas dejaron para la posteridad un importantísimo legado artístico que demuestra el desarrollo de esta gran cultura. Los principales yacimientos arqueológicos se encuentran en Hattuşaş, Yazılıkaya, Alacahöyük, Malatya, Karkamiş, Sakçegözü, Zincirli y Karatepe.

Las civilizaciones de Urartu y Frigia

Junto al Lago Van, hacia el año 1.000 a.C., mientras que el Imperio Hitita se está deshaciendo, comienza a desarrollarse una cultura que alcanzaría un desarrollo increíble, la Urartu, probablemente descendientes de los hurritas. Su mayor logro fue el desarrollo de la metalurgia y el bronce hasta el siglo VI a.C. Los asentamientos más importantes de esta cultura se encuentran en Altintepe, Toprakkale y Çavuştepe aunque hay más repartidos por toda Antolia Oriental.

En el siglo XIII a.C., los frigios cruzaron el estrecho de Dardanelos y el estrecho del Bósforo. Se asentaron sobre la región septentrional de la Anatolia Central, donde crearon una poderosa civilización muy avanzada.

Las primeras fuentes escritas que mencionan a los frigios (La Iliada) dicen que fueron los aliados de los troyanos en la Guerra de Troya. Esta civilización ha dejado muestras artísticas repartidas por asentamientos en Gordion, Aslankaya, Aliðar, Alaca y Pazarlı, antes de borrarse del escenario de la historia durante el periodo de la gran invasión persa del siglo VI a.C.

Lidios, licios y carios

Los carios eran descendientes de los lelegianos inmigrados a Anatolia durante la época de la civilización micénica del rey Minos. Los lidios y los licios, según se cree, eran los pueblos autóctonos de Anatolia, Zante, la Capital de Licia, nos da las obras de arte más bellas de esta cultura original (600 200 a.C.).

Sardes fue la capital de Lidia. Se desarrolló entre el 600 y el 200 a.C. y fue la mayor fuente de inspiración de arte helénico de Anatolia. Se cree que probablemente fueron los primeros en acuñar moneda. El más famoso de sus reyes fue el rey Creso, cuya capital se asentaba cerca de la zona del actual río Gediz.

En cuanto a la civilización caria, se desarrolló en ciudades como Halicarnaso (la actual Bodrum), Afrodisias, Miletos y Esmirna (la actual İzmir). En Halicarnaso está una de las siete maravillas del mundo, el monumento funeral del sátrapa persa Mausolo. En cuanto a Afrodisias, probablemente sea una de las ciudades más bellas de la antigüedad.

Los pueblos marineros

A partir del siglo XII a.C. los pueblos marineros que los antiguos egipcios llamaron `pueblos del mar´, invadieron no solamente las tierras de Anatolia, sino también todo el Oriente Medio. Los acadios, los lelegianos, los jonios, los dorios, los griegos, los micénicos, llegaron unos tras otros... Tuvieron que atravesar el estrecho de los Dardanelos para poder establecerse en las costas del Mar Negro, para lo cual tenían que pagar peaje a los troyanos. En La Iliada se cuenta como vencieron a los troyanos y consiguieron cruzar el estrecho sin pagar.

Los pueblos del mar se asimilaron con los pueblos autóctonos de Anatolia, cuyas culturas se mezclaron y se enriquecieron. El culto a la diosa madre Cibeles, que existía en Anatolia desde tiempos inmemoriales, fue adoptado por los Pueblos del Mar mientras que el poderoso Zeus se debilitaba frente a Artemisa en Jonia y Afrodita en Caria.

De esta forma, la cultura de los recién llegados se asimiló a la de los pueblos autóctonos de Anatolia, dando lugar a la civilización helenística, que dejó los legados de personajes de la talla de Tales, Diógenes o Estrabón. Las civilizaciones de Anatolia alcanzaron los niveles más altos en la filosofía, las matemáticas, la geometría, la astronomía, la astrología, la pintura, la escultura, el mosaico, la cerámica y muchas otras ciencias y artes.

La invasión persa

Los persas empezaron a invadir Anatolia a partir del siglo V a.C. llegando a Grecia durante los reinados de los emperadores de Ciro, Dario y Jerges. No todo fueron victorias, los persas perdieron batallas vitales como las de Maratón, Salamina y Platea aunque la dominación continuó hasta el siglo IV a.C.

La Época Helenística

Uno de los momentos de oro de la cultura europea y asiática comienza con la llegada de Alejandro Magno a las tierras de Anatolia, en el año 334 a.C., es la época helenística.

El emperador consiguió minar al Imperio Persa venciendo varias veces a Dario, extendió su dominación hasta la India; mientras tenía un pie en las civilizaciones orientales, era venerado en Egipto como el hijo del dios Amon y adorado en todo el país persa. Sin duda, Alejandro Magno impulsó la síntesis entre las civilizaciones occidental y oriental.

El reino de Pérgamo, que se fundó después de su muerte y dominó en Eolia y Jonia (283 133 a.C.) alcanzó un nivel de civilización sin igual, creando las ciudades más bellas y prestigiosas de Anatolia, como Hierápolis o Antalya. Mientras, en Bitinia, se desarrolló un arte con un alto nivel artístico pero con un carácter más oriental.

La época helenística constituye el mayor desarrollo en ciencias como la arquitectura y la urbanística. Es la época de la fundación de la Escuela de Arquitectura Jónica. Gracias a ella se construyeron templos tan bellos como Artemisia, Dídimo o Euromos ciudades tan bien planeadas como Priene, Mileto, Teos o Magnesia. Pero no era esta la única cultura que estaba alcanzando su mayor esplendor cultural. En Pérgamo existía una biblioteca con más de 200.000 pergaminos, era, sin duda, el mayor centro científico de la época.

Época romana

A la muerte del último rey de Pérgamo, Atalo III (133 a.C.), Pérgamo pasó a formar parte del Imperio Romano. Los romanos vencieron al rey Mitrídates del Ponto y llegaron a extender su territorio por toda Anatolia. Los recién llegados también aportaron su granito de arena al desarrollo cultural, con grandes construcciones en ciudades como Éfeso, Mileto, Foçea, Tarsus, Filadelfia, Tralles (Aydın) y Assos. También fundaron nuevas ciudades como Iconio (Konya), Cesarea (Kayseri) y Sebsteia (Sivas).

Zonas como Pamfilia, donde estaban Perge, Side, Aspendos, Jaunos, Antifelos, Mira y Termessos, alcanzaron su máximo apogeo. El reino de Comagene se desarrolló en un breve periodo (69 34 a.C.) en la zona de la Anatolia oriental. Esto no impidió que consiguiera construir uno de los santuarios más hermosos de Turquía en el Monte Nemrut.

El Cristianismo y Bizancio

Muchos de los episodios del Antiguo Testamento se desarrollaban en Anatolia, de ahí que de siempre se considera a esta zona tierra sagrada. El arca de Noé se había quedado atrapada en el monte Ararat, Abraham había vivido en Urfa y Harran. Tras la fundación del cristianismo, San Pablo nació en Tarso y recorrió Anatolia, los apóstoles adoptaron por primera vez el nombre de `cristiano´ en la caverna de San Pedro de Antioquia (la actual Antakya), San Juan Evangelista escribió su evangelio en Éfeso y la Virgen María pasó sus últimos años de visa y murió en la misma ciudad. Las siete iglesias del Apocalipsis fueron fundadas en estas tierras y los primeros concilios ecuménicos fueron organizados en Nicea (İznik), Éfeso y Calcedonia (Bitinia).

Una de las fechas claves para la historia de Turquía es el año 330 cuando Constantino el Grande trasladó su capital a Constantinopla, la `ciudad de Constantino´ (İstanbul). Poco después, se adopta el cristianismo como religión oficial del estado bizantino convirtiendo la ciudad en el centro de una gran civilización.

El Imperio Bizantino no solo desarrolló obras artísticas de gran calidad, sino que consiguió resistir a los ataques árabes (siglo VII) y de los primeros pueblos bárbaros (XI). Las tierras de Anatolia fueron el escenario de once cruzadas. En 1071 el emperador romano Diógenis fue vencido por los turcos selyuquíes, en la batalla de Mantzikert (Malazgirt). Es el comienzo de la decadencia del Imperio Bizantino. Constantinopla sería conquistada en 1453.

Los Selyuquíes, los Otomanos y la República de Turquía

Los clanes y tribus nómadas turcos habían desarrollado su civilización en Asia Central durante más de mil años, huyeron hacia Anatolia debido a la sequía y la hambruna que asolaba sus tierras. A su llegada a la península de Anatolia ocuparon vastas tierras fértiles inhabitadas y se asimilaron con los pueblos autóctonos. Es el comienzo de una nueva época. Nacieron así dos de los más poderosos reinos de la península: los selyuquíes de Anatolia que reinaron desde mediados del siglo XI hasta mediados del siglo XIII cuando la gran invasión mongólica devastó Anatolia y los turcos otomanos que fundaron uno de los imperios más grandes del mundo entre los siglos XIVXX durante los cuales adornaron este país con numerosas obras de arte crearon nuevas riquezas y bellezas.

Los selyuquíes fueron los que fundaron el primer estado turco en Anatolia, no intervinieron de ninguna manera ni en las creencias, ni en las formas de vivir de los distintos pueblos que habían inmigrado a estas tierras antes de ellos y habían adoptado la fe cristiana durante la época bizantina; al contrario, acabaron con las opresiones feudales existentes sobre estos pueblos y lograron establecer un orden público.

Los turcos otomanos buscaron y consiguieron una paz interna lo que ha posibilitado la convivencia pacífica de un amplio mosaico de pueblos en Anatolia durante un periodo de más de mil años.

Antes de la llegada de los turcos, las rutas comerciales más importantes (la ruta de la seda, la ruta de las especias, la ruta de Marco Polo...) pasaban por Anatolia. Buscando mejorar y aumentar ese comercio, los selyuquíes construyeron centenares de caravasares sobre estas mismas rutas para resucitar el comercio entre Europa y el Lejano Oriente, interrumpido durante la decadencia del Imperio Bizantino.

Los otomanos fueron los que impulsaron el avance en la arquitectura, con un estilo propio, una vez que dejaron la vida nómada para asentarse. El máximo desarrollo se dio en İstanbul con mezquitas, baños, albergues de caridad, escuelas, fomentando el arte en todas sus formas.

El viejo Imperio Otomano se mantuvo hasta el fin de la Primera Guerra Mundial cuando nació la República de Turquía en 1923 después de una penosa Guerra de Independencia. El fundador de la nueva república fue Atatürk.

Turquía es un estado laico y democrático. Un país en vías de desarrollo gracias a una política económica, adoptada desde 1923, formando una parte vital del mundo occidental. Es una República basada en un sistema parlamentario democrático. La Asamblea Nacional es elegida por el pueblo y el poder ejecutivo recae en el Consejo de Ministros presidido por el Primer Ministro. Turquía es miembro de la OCDE (Organización de Cooperación y Desarrollo Económico), de la Organización de Cooperación Económica del Mar Negro, de la OTAN, del Consejo de Europea, del Parlamento Europeo, de la Asociación de la Conferencia Islámica, así como miembro asociado de la Unión Europea.

La economía turca se basa principalmente en el turismo pues disfruta de uno de los legados de la historia más importantes del mundo así como la naturaleza que se desarrolla en todo su esplendor. El cultivo de trigo, arroz, algodón, té, tabaco, avellanas y frutas es otro de los puntos fuertes de la agricultura. A través del Plan de Desarrollo del Sureste (GAP) se ha desarrollado enormemente este sector, a través de canales, centrales hidroeléctricas y canales de regadío. Este plan incluye la Presa de Atatürk que está dentro de las diez presas más grandes del mundo. Además, parte de la población trabaja en las minas de carbón, cromo, hierro, cobre, bauxita y azufre.

Geogafía

Turquía, con sus 814.578 kilómetros cuadrados, repartidos entre Tracia Oriental, en Europa, y la Península de Anatolia, en Asia, disfruta de grandes cordilleras como Tauro, inmensas mesetas como Anatolia Central, grandes ríos como el Dicle (Tigris) y el Fırat (Eúfrates), además de una extensa costa.

La parte europea y el territorio asiático están separados por el `İstanbul Boğazı´ (Bósforo), el Mar Mármara y el `Çanakkale Boğazı´ (Estrecho de Dardanelos). La Península de Anatolia tiene una superficie de 23.000 kilómetros cuadrados. La Meseta de Anatolia Central, oscila entre los 800 metros y los 2.000 2.200 metros sobre el nivel del mar de la zona este. Está atravesada por quince ríos entre los que destacan el `Dicle´ (Tigris) y el `Fırat´ (Eúfrates), ambos nacen en territorio turco. Junto a los ríos, los grandes lagos. El de mayor extensión es el Lago Van, situado a unos 1.646 metros de altura y con más de 3.788 kilómetros cuadrados de extensión.

Turquía cuenta además con amplias zonas montañosas. Así, paralela a la costa mediterránea, están los Montes Tauro cuya altura máxima alcanza los 4.000 metros de altura y las más bajas los 2.500 metros. A lo largo de la costa del Mar Negro se extienden los Montes Pónticos cuya altura oscila entre los 1.500 metros y los 3.600 en la zona este. Turquía disfruta de más de 8.333 metros de costa.

Gracias a la abundancia del agua, en la meseta, entre las montañas que llegan hasta el Mar Egeo, se formaron hace miles de años varios fértiles valles regados por los ríos Meandro, Caistro, Pactolo o Selinus, entre otros. Las tierras que rodean al Mar de Mármara son también las tierras fértiles.

Al este de la cuenca del Lago Salado se extiende la parte más alta de la meseta, donde están los volcanes que oscilan entre los 3.000 y los 4.000 metros de altura. El más alto es Ararat con 5.165 metros de altura.

Gente y costumbres

Un total de sesenta y cinco millones de personas viven en Turquía. De ellos, unos tres millones viven en el extranjero y el setenta por ciento de la población de Turquía vive en las ciudades. El treinta por ciento en las zonas rurales. Las ciudades más pobladas son İstanbul, Ankara, İzmir, Adana, Antalya y Bursa. La población turca es una población joven, debido a la alta natalidad.

Uno de los mejores sitios para conocer el carácter abierto del pueblo turco son los cafés o `kahve´. Aquí se reúnen los hombres a tomar café o a jugar al `tavla´. Se puede fumar una pipa `Nargile´ en los cafés de Turquía.

Los turcos se distinguen por su carácter hospitalario y por la extraordinaria manera en la que atienden a sus invitados o konuk. Así, una comida en una casa turca puede durar horas, pues además de cubrir las necesidades básicas, hay que disfrutar de una buena conversación. Casi todos los turcos de clase media hablan una lengua extranjera por lo que las distancias idiomáticas se salvan enseguida.

Arte y cultura

Música Dos son las ramas principales en el mundo musical turco: la refinada

música de la corte otomana y la música popular, procedente de las estepas asiáticas. Los `Aşık´ o trovadores han transmitido esta última a lo largo de los siglos, cantando de pueblo en pueblo acompañados del `saz´, instrumento musical parecido a la mandolina. La música militar otomana y la música religiosa de los Derviches Danzantes o `Mevleviler´ completan el conjunto de la música popular. La primera es interpretada por el `Mehter Takımı´, en el Museo Militar de Istanbul. La música ritual que acompaña la danza de los Derviches, está dominada por el sonido de la flauta `ney´. En diciembre, en Mevlana, se toca esta música durante las ceremonias conmemorativas.

Baile

El baile es una de las formas de expresión artística más variadas de Turquía. Cada una de las culturas turcas tiene el suyo propio. Por ejemplo, el Horon es el baile del Mar Negro. Es un baile masculino en el que cada hombre va vestido con un traje negro muy ajustado con adornos de plata, moviéndose rápidamente al son del `kemençe´, un instrumento musical muy parecido al violín.

El Kaşık Oyunu o `Baile de la Cuchara´ es típico de la zona de Konya y Silifke. Es un baile en el que participan hombres y mujeres vestidos con trajes de vivos colores al ritmo que producen con las cucharas que llevan en las manos.

La danza egea es el Zeybek. Es una danza masculina de ritmo lento. Cada uno de los hombres simboliza el ritmo y el coraje, reciben el nombre de `efe´. El Kılıç Kalkan es la danza de Bursa. En el baile participan sólo hombres ataviados con el traje de los primeros soldados otomanos. Al ritmo que producen las espadas chocando unas contra otras y sin música, reproducen la conquista otomana de la ciudad de Bursa.

Deportes Nacionales

Son cuatro los deportes nacionales:

· Yağlı Güreş es una lucha cuerpo a cuerpo en la que los hombres van embadurnados de aceite. El campeonato tiene lugar cada año en junio, en Kırkpınar, muy cerca de Edirne.

· Cirit Oyunu es un deporte que suele practicarse en el este de Turquía. Consiste en un tipo de lucha en la que los competidores van montados a caballo han de coger las jabalinas que se lanzan al aire.

· La Deve Güreşi es una lucha de camellos propia de Selçuk (Izmir).

· Boğa Güreşi es la lucha taurina propia de Kafkasör, cerca de Artvin.

Los baños turcos

Esta costumbre es sin duda una de las más apreciadas tanto dentro como fuera de Turquía. Los estrictos preceptos de aseo de su cultura y religión, han hecho que, desde la Edad Media, el `hamam´ o baño público esté presente en cada población. Con el `peştemal´ puesto (una fina toalla de tela) se pasa a la zona de masaje y el `tellak´ (hombres) o `natır´ (mujeres), una especie de masaje, se consigue la limpieza profunda de la piel y la reactivación de la circulación sanguínea.

Gastronomía

Los turcos muestran su gastronomía como una de las grandes virtudes del país y no es para menos. La mesa turca se prepara con los ingredientes más frescos, buscando la más armónica de las combinaciones.

Los restaurantes suelen abrir las veinticuatro horas del día y tienen en cualquier momento, una gran selección de sopas, entrantes, platos de verdura y carne, ensaladas, postres dulces y las irresistibles frutas. Cuatro mares bañan el país por lo que los pescados y mariscos no podían ser más frescos y selectos.

Entre los entrantes o `mezeler´ están algunos tan apetitosos como el arnavut ciğeri, el çerkez tavuğu, o las tarama, salsa de huevas con pescado. Las más originales son las que se preparan con yoğurt, como la yayla çorbası. Entre las carnes destaca el cordero, preparado, por ejemplo en un döner kebap. Los pilav son los platos que llevan arroz como el iç pilav. El aceite de oliva, zeytinyağlılar, acompaña a platos como las berenjenas o las judías rojas.

Los börekler o hojaldres suelen ir rellenos de carne picada, verdura o queso. El pepino rallado con yogur aderezado, se conoce con el nombre de cacık. Los dulces postres van rellenos de pistachos como el baklava.

Turquía se distingue además por sus cervezas y por sus vinos. El rakı es un tipo de anisete que suele acompañar a los entremeses y que se bebe acompañado de agua. El té y el café turco son una auténtica maravilla. Los turcos son aficionados al primero, por lo que suelen ofrecerlo en todos los sitios.

Fauna y Flora

En las mesetas de la Anatolia Central existen todavía amplios bosques sobre las zonas montañosas. Las zonas de la costa mediterránea están pobladas por matorrales y brezales. Turquía, situada en el cruce de tres continentes, forma un puente natural entre los focos reproductivos de las aves, en el norte; y los lugares donde pasan el invierno, en el sur. Para los amantes de las aves, Turquía ofrece multitud de reservas como el Parque Nacional Kuşcenneti `Paraíso de las Aves´o la provincia de Bandırma. Las principales reservas naturales de Turquía son las siguientes: Uludağ, Truva (Troya), Kuşcenneti, Spil Dağı, Dilek Yarımadası, Fethiye, Kovada Gölü, Güllük Dağı, Olimpos / Bey Dağları, Karatepe / Aslantaş, Munzur Vadisi, Kızıl Dağ, Köprülü Kanyon, Gelibolu Yarımadası Tarihi Millipark (Parque Histórico y Natural en la Península de Gelibolu), Yozgat Çamlığı, Soğuksu, Ligas Dağı, Yedi Göller, Altındere, Göreme, Nemrut, Başkomutan, Kaz Dağı, Boğazkale, Alacahöyük, Beyşehir Gölü, Ala Dağları, Honaz Dağı, Karagöl, Hatilla Vadisi, Kaçkar Dağları, Altınbeşik Mağarası.

Dirección General de Parques Nacionales

Orman Bakanlığı Milli Parklar Genel Müdürlüğü Gazi Tesisleri 11, Gazi Ankara

Festividades

Los días festivos oficiales son los siguientes:
· El 1 de enero es Año Nuevo.
· El 23 de abril es el Día de la Soberanía Nacional y el Día del Niño.
· El 19 de mayo es el Día de la Conmemoración a Atatürk, de la Juventud y del Deporte.
· El 30 de Agosto es el Día de la Victoria.
· El 29 de Octubre es el Día de la República, cuando se conmemora el Aniversario de la Fundación de la República Turca.

Entretenimiento

Turquía ofrece todo tipo de actividades culturales así como deportivas. Entre los deportes más practicados está el submarinismo, el rafting, el windsurf, la pesca, el golf, la caza y la espeología, además de los deportes de invierno y los de montaña. En los Montes Tauro, Anatolia Central, el suroeste y noroeste de Anatolia y Tracia, existen numerosas rutas para practicar la espeología.

El submarinismo está permitido en algunas zonas, hay que consultar en las oficinas de turismo o en la Dirección General de la Juventud y el Deporte. El rafting se practica ríos Çoruh, Barhal, Berta, Fırtına, Çolaklı, Köprüçay, Manavgat, Dragon, Göksu (Silifke), Göksu (Feke), Zamantı, Kızılırmak y Dalaman Çayı. En cuanto al windsurf, sepuede practicar en todos los mares turcos pero lo más recomendable es hacerlo en las calas del mar Egeo, cerca de Çeşme, Bodrum y la Península de Datça, así como en las costas del Mediterráneo y la zona de Antalya.

La pesca, en las zonas permitidas, no requiere de licencia aunque está prohibida para los extranjeros con fines comerciales y no se puede sobrepasar la red de cinco kilos de peso. En cuanto a la caza, hace falta una licencia del país de origen que ha de ser homologada por el Departamento de Parques Naturales, Caza y Asuntos Rurales del Ministerio de Bosques. Sólo se puede practicar durante las cacerías organizadas por el ministerio.

El golf se puede practicar en campos de 18 hoyos en las principales ciudades. En cuanto a los deportes aéreos, la Compañía Aérea Turca THY ofrece los siguientes: vuelo sin motor en Ankara, paracaidismo, vuelo sin motor y ala delta en Eskişehir.

Turquía cuenta con varias estaciones de esquí en los macizos montañosos de altitud media, poblados de árboles. Las estaciones están bien acondicionadas y a ellas se accede fácilmente por carretera. Las principales estaciones de esquí son las siguientes: Bursa Uludağ / Bolu Kartalkaya / Kastamonu; Ligas Dağı, Antalya / Saklıkent, Kayseri / Erciyes, Erzurum / Palandöken, Kars / Sarıkamış, Gümüşhane / Zigana, Ağrı / Monte Ararat , Erzincan / Bolkar Dağı, Bitlis / Bubi Dağı.

Turquía, con los grandes macizos montañosos, es también el lugar ideal para la práctica de deportes como el alpinismo. Se recomienda que los alpinistas extranjeros informen de sus expediciones a la Federación Turca de Alpinismo para que estén preparados en caso de emergencia. Se recuerda que hace falta un permiso especial para acceder al Büyük Ağrı y a los macizos Clio / Sat. Entre las ascensiones más usuales están las Montañas Bey (Beydağları), las Montañas Kaçkar, Montañas Ala ( Aladağları), Monte Hasan (Hasan Dağı), Monte Erciyes (Erciyesdağı), Montañas Bolkar, Monte Ararat (Büyük Ağrı Dağı), el Monte Süphan, el Macizo Clio / Sat y las Montañas Mercan (Munzur).

Pero si lo que se desea es disfrutar de la montaña de una manera más tranquila, escapando de la rutina y de la ciudad, otra posibilidad es el montañismo o el trekking. Este deporte se puede practicar en muchas de las montañas mencionadas anteriormente.

Otras de las grandes ventajas de Turquía es la gran cantidad de estaciones termales. Cuenta con más de un centenar de ellas, algunas explotadas ya en tiempos de los romanos. En la mayor parte de ellas el tratamiento se realiza o bien por medio de la ingestión (bebida) o bien por medio de los baños. Para disfrutar de los balnearios, se puede optar por Bursa, Çanakkale, Yalova, Izmir, Denizli, Konya, Sivas o Afyon.

La equitación es una de las grandes tradiciones turcas. De hecho, `Capadocia´ significa en el `País del Caballo´. Zonas ideales para la práctica de este deporte son Daday, Araç, Eflani, Safranbolu, Ulus o Devrek. Practicar este deporte en primavera permite, por ejemplo, disfrutar de los caminos que atraviesan los valles llenos de orquídeas en primavera y la variedad de colores en otoño.

Dirección General de la Juventud y el Deporte

Compras

El ir de compras constituye todo un aprendizaje cultural, la riqueza de la artesanía del pueblo turco, el ambiente de los bazares y la cálida acogida de sus gentes, hacen de esta actividad todo un placer. Entre los objetos más apreciados están las alfombras, la orfebrería, los trabajos en cerámica y latón, las joyas, la piel, las figuras de madera, el ónice, las pieles, los tavla (es un tablero del juego backgammon), tableros de ajedrez, atriles para el Corán (rahle) o cajitas de todas formas y tamaños adornadas con plata o nácar. Kaynak:T.C Kültür ve Turizm Bakanlığı  

 TUNALIM.....

INKAS--İNKA MEDENİYETİ--PERU RESİMLERİ

MUÇHU--PİCHU

   

Chinchero

     

 

  

Urubamba. In Chinchero

 

Urubamba Valley:


TUNALIM...

SİNEMA TARİHİ (Historical of cinema)

 Her ülkenin bir sinema tarihi vardır. Bu, elbette belgelerle saptanır. O yıllardaki adıyla sinematograf, yani sinemanın dünya üzerindeki resmi tarihi belgelere göre 22 Aralık 1895 olarak bilinir. İki Fransız genci Louis ve Auguste Lumièr kardeşlerin Paris'te Capucines Bulvarı'ndaki Grand Cafe'de düzenledikleri bir gösteriyle dünya sinemasının resmi tarihi doğar.

     Sinemanın Türkiye'ye girişi ise çeşitli kaynaklara göre Yıldız Sarayı'nda ve halka açık gösterilerle başlar. Örneğin, Romanya uyruklu bir Polonya'lı Sigmund Weinberg'in Galatasaray dönemindeki Sponeck adlı birahanenin salonunda düzenlediği halka açık film gösterisi, bu konuda en sağlam kaynaklardan biridir. Ve bu film gösterisinin tarihide 1897'dir.                   (Historical of cinema)

Undoubtedly each country has its own history of the cinema and such an history is confirmed by documents. According to such documents the official history of the cinema, known then as the cinématograph, begins on December 22, 1895 in Paris at the Grand Café, near the Boulevard des Capucines, where two young Frenchmen, the brothers Louis and Auguste Lumière, stages a first showing.

According to several sources the cinema enters Turkey first through private showings, held at the Sultan's court (The Yıldız Palace), followed by public ones. We know, for example, that in 1897 a Rumenian citizen of Polish origins, Sigmund Weinberg, staged a first public show in Istanbul. The place being Sponeck's beerhouse in Galatasaray's square ..

Yesilcam 1970 te sexle tanisti

Yeşilçam'ın 'seks'le tanıştığı günler!
1970’li yıllara damgasını vuran ve sonradan ‘seks filmleri furyası’ olarak adlandırılan dönem çoğu kere küçümseme ve kötüleme ile karışık bir tarzda hatırlanır. Oysa o dönemin ardında başka dinamikler vardı.

1972 tarihli Parçala Behçet filmi seks filmleri furyasını başlatan film olarak bilinir.
Yeşilçam, Parçala filminin gördüğü ilgiden sonra devam filmleri çekmeyi unutmadı.
Aydemir Akbaş'ın filmleri bir döneme damgasını vurdu.
Seks-avantür veya seks-komedi tarzlarında çekilen ve kısaca 'seks filmi' diye anılan o filmlerde kimler oynanamıştı ki… Aydemir Akbaş ve Kazım Kartal gibi o dönemin adeta simgesi’ olmuş oyuncuların yanı sıra Salih Güney, Ali Poyrazoğlu, Tugay Toksöz de kamera karşısına geçmişti.

Zerrin Egeliler, Dilber Ay ve Arzu Okay gibi isimlerin yanı sıra mesela Seyyal Taner’in de o filmlerde soyunup seviştiğini hatırlayan pek fazla kişi kalmadı. Oysa bugün 40 ve 50’li yaşlarını sürmekte olan Türk erkeklerinin pek çoğu ilk gençlik heyecanlarını o filmlerle yaşamışlardı.

TÜRKİYE'DE SEKS FİLMLERİ NASIL BAŞLADI?

Osmanlı’da seks filmlerinin ilk gösterildiği tarih kesin olarak bilinmemekle birlikte, sinema denen icadın bu topraklara girişiyle aynı zamanlara rastladığı sanılıyor. Daha 1922’de bazı yabancı filmlerin ’gençleri zehirledikleri’ gerekçesiyle yasaklandığına dair polis kayıtları tutulmuştu. Himaye-i Etfal Cemiyeti (Çocukları Koruma Derneği) Başkanı Dr. Besim Ömer Paşa’nın uyarısıyla harekete geçen İstanbul Polis Müdüriyeti bu Kadıköy ve Odeon sinemalarını kapatmıştı.

Şüphesiz o zamanki film ve resimler bugün yeterince ‘tahrik edici’ olarak görülmeyebilir ama ahlaka mugayir ve muzır neşriyatın bu topraklarda mazisi oldukça eski.

Televizyon yayınlarının başladığı ve giderek ailelerin bu yeni oyuncağın etrafında evlere kapandığı dönemde Yeşilçam sineması da kendine yeni bir çıkış aradı. Melih Gülgen’in 1972’de çektiği ve Behçet Nacar serisinin ilki olan ‘Parçala Behçet’ filminin ‘seks filmleri furyasını’ başlatan film olduğu kabul edilir.

Bu filmi altı ay oynatan sinemalar bile olmuş, hatta filmin Konya’daki galasına tam 7 bin kişi katılmıştı. İlerleyen dönemde yalnızca Behçet serisi devam etmekle kalmadı, yeni kazanç kapısını gören film yapımcılarını gayretleriyle bu tarzın hemen her türlü varyasyonu denendi.

Atilla Dorsay seks filmleri furyasının başlangıcını şöyle anlatır: "Bu filmlerin yayılması, Batı’daki yayılmayı izler biçimde 1970′lerden sonra oldu. TV’nin veremediğini, yani şiddet ve seksi vermeye başlayan sinema özellikle TV alıp izleme düzeyinde olmayan bir kesime, yani gelir düzeyi düşük bir lumpen seyirciye hitap etme yolunu seçti."

Söz konusu dönemde İtalyan ve Fransız sineması da yeni erotik açılımlar yapacak ve dönemde yapılan bazı filmler bütün dünyada olay yaratacaktı. Sonradan devamı ve benzerleri çekilecek olan Emmenuelle filmi buna iyi bir örnektir.

ARTAN REKABET YÜZÜNDEN TABULAR DEVRİLDİ

Ekonominin yasaları seks filmlerinin giderek ‘sınırları zorlamasına’ neden oldu. 1975 yılından itibaren Türkiye’de enflasyon oranlarının ve hayat pahalılığının da giderek yükselmesi sonucunda seyirciyi sinemaya çekmek giderek zorlaşmaktaydı.

Popüler mizah dergisi Gırgır’ın da etkisiyle artık sokaklarda yepyeni ve canlı bir argo dili konuşulur olmuştu. Gençlerin de süratle benimsediği ve ‘esprili ve dalgacı’ üslup seks filmlerinin adlarına da yansıdı.

Agah Özgüç’ün deyimiyle Türk sinemasını ‘hela duvarı edebiyatına’ döndüren bu film adları aslında ‘hayatın içinden’ gelen esprilerdi ve ince bir zekanın izlerini taşıyorlardı. Ah Deme Oh De, Beş Dakikada Beşiktaş, Dam Budalası, Fırçana Bayıldım Boyacı, Hasan Almaz Basan Alır, Kartal Pendik Gittik Geldik, Civciv Çıkacak Kuş Çıkacak, Kendin Pişir Kendin Ye gibi isimler hala hatırlardadır.

1980 askeri darbesini izleyen dönemde seks filmleri de yasaklardan nasibini aldı. Türk halkı bundan sonra seks filmlerini ‘video’ adlı yeni oyuncaktan izlemeye devam edecekti.

1970’li yıllarda yapılan Türk seks filmlerinin pek çoğu 2000’li yıllarda bile VCD olarak kendisine alıcı buluyor. Entellektüel kesim aşağılayarak burun kıvırsa da bu filmler Türk erkeklerinin belleğinde nostaljik bir anı olarak yaşamaya devam edecek.



Etiketler: sinema , yeşilçam , seks filmi , emanuelle , zerrin egeleliler , dilber ay , arzu okay , aydemir akbaş , kazım kartal

guncel.net den alıntıdır. TUNALIM...

HİSTORY OF THE TURKISH CİNEMA (1914-1930)

1914-1930
A Chronological History Of The Turkish Cinema
1914

     Starting from 1908 more movie theaters are opened in various cities, most of them owned by foreigners or minorities. Practically the history of the Turkish cinema starts on November 14, 1914 when Fuat Uzkınay, being at that time an army officer, shoots a 150 meter long documentary (Ayos Stefanos'taki Rus Abidesinin Yıkılışı / The Demolition of the Russian Monument in St. Stephan) considered to be the first Turkish film.

      One year later (1915), by orders coming from Enver Pasha, Minister of War, an "Army film Center" is founded and Sigmund Weinberg, a pioneer in the film field, appointed as head of the said Center with Uzkınay as his assistant. Weinberg, who was usually shooting war documentaries and newsreels concerned with the visits of foreign monarchs, succeeds in convincing Enver Pasha to start producing feature films.

      Weinberg's first attempt is an adaptation of a popular stage play, Leblebici Horhor, but after a while and due to the death of one of the leading actors, the shooting has to be stoped. A second film, Himmet Ağanın İzdivacı (The Marriage of Master Himmet), encounters a similar end when most of the actors are recruited in order to serve during the war of the Dardanelles. It is only after the end of World War I that Fuat Uzkınay, substituting Weinberg at the head of the "Army Film Center", will complete Himmet Ağa'nın İzdivacı (1918).

1917

     In those first years of the Turkish cinema a further military office, "Müdafaa-i Milliye Cemiyeti" (The Association for National Defence), gets involved into film production, Fuat Uzkınay, now a foremost documentary director, is put at the head of the said department and young journalist, the 20 years old Sedat Simavi, succeeds in directing two feature films, Pençe (The Claw) and Casus (The Spy). Both being the truly completed first feature films of the Turkish cinema.

1919

     Only two feature films are produced during the year: Mürebbiye (The Governess) and Binnaz. Both are directed by the 62 years old Ahmet Fehim, a leading figure in the foundation of the Turkish theater, and the male cast is composed by such stage actors as Raşit Rıza Samako, Behzat Butak and Hüseyin Kemal Gürmen while the female leads are played by Mme. Kalitea, Eliza Binemeciyan and Bayzar Fasulyeciyan.

1921

     Şadi Fikret Karagözoğlu, a top comedian of the period, brings to the Turkish screen, with Bican Efendi Vekilharç (Mister Bican, Secretary) the first comic character. Karagözoğlu directs two more adventures of his hero, Rican Efendi Mektep Hocası (Mister Bican, School- master) and Bican Efendi'nin Rüyası (Mister Bican's Dream), playing also the leading part.

1922

      A new era begins in the Turkish cinema with Muhsin Ertuğrul, who had worked as an actor and director in the German cinema from 1916, returning in Turkey and with the foundation, by brothers Kemal and Şakir Seden, of "Kemal Film", Turkey's first private producing company. Muhsin Ertuğrul, relying on his filmic experiences abroad, directs two features for "Kemal Film": İstanbul'da Bir Facia-i Aşk (A Love Tragedy in Istanbul) and Boğaziçi Esrarı / Nur Baba (The Mystery of the Bosphorus / Father Light).

      The second one causes some incidents: adapted from a novel by Yakup Kadri Karaosmanoğlu it attracts the attention of the religious sect known as the "Bektaşi". Thinking that the production is aimed against their teachings the Bektaşi's raid the studio, while shooting is in progress. The police has to protect the crew, the leading actor flies in panic and refuses to resume his work and so on. But, in the end, the film is finally completed.

1923

      Muhsin Ertuğrul is ready to start his career, as the ruler and No. I man of the Turkish cinema, directing three productions during the year. The first of them is Ateşten Gömlek (The shirt of fire), adapted from the novel by Halide Edip Adıvar. Set during the years of the Turkish War of Independence it remains the "first" of an epic tradition and, furthermore, also the first film where -following the proclamation of the Turkish Republic (1923) and its allowing Turkish women the freedom to work- two Turkish actresses, Bedia Muvahhit and Neyyire Neyir, appears in front of the camera.

      During the year Muhsin Ertuğrul directs also Leblebici Horhor and Kız Kulesinde Bir Facia (A Tragedy at Kız Kule).

1924

      Muhsin Ertuğrul directs only one movie and after completing Sözde Kızlar (The Would be Girls), adapted from a novel by Peyami Safa, goes to Russia (1925) to continue his cinematographical works.

1928

      The brothers, İpekçi who, in 1924, had started a ring of movie theaters enters feature production with a new company, "İpek Film", thus founding the second private film producing venture of the Turkish cinema. Muhsin Ertuğrul, back to Turkey, starts directing the first feature of "İpek Film", Ankara Postası (The Courier from Ankara), to be completed the following year.

      Another feature, also signed by Muhsin Ertuğrul, and titled Kaçakçılar (The Smugglers) has to be interrupted when one of the leading actors dies in a car crash. Kaçakçılar is thus completed in 1929.TUNALIM...

HİSTORY OF THE TURKISH CİNEMA (1931-1950)

1931-1950
A Chronological History Of The Turkish Cinema
1931

     Muhsin Ertuğrul's İstanbul Sokaklarında (The Streets of Istanbul) shares the titles of both "first Turkish co-production" (with Greece and Egypt) and "first talkie". Combining a cast of Turkish (Semiha Berksoy, Talat Artemel, I. Galip Arcan), Egyptian (Azize Emir) and Greek (Gavrilides) players the film is dubbed in Paris, at the Epinay studios.

1932

     Shoot with a cast of theatrical actors, including Atıf Kaptan, Ferdi Tayfur, Mahmut Moralı, Hadi Gün, Hazım Körmükçü, Sait Köknar, Ercüment Behzat Lav, Bir Millet Uyanıyor (A Nation Awakens), another War of Independence epic, becomes Muhsin Ertuğrul's best work and one of the first "good", films in the history of the Turkish cinema. Furthermore and again for the first time an actor (Atıf Kaptan) becomes a popular figure through his part (Captain Yahya) in the film.

     While Ertuğrul goes on completing Kaçakçılar (The Smugglers), İpek Film opens its first sound stage and censorship enters the Turkish cinema with the first version of the "Instructions concerning the control of cinema films " . akı filmlerimizden biridir. Ve ilk kez bir oyuncu halk içinde ünlenip öne çıkar. Bu oyuncu Yahya Kaptan rolüyle Atıf Kaptan'dır. Ertuğrul, Kaçakçılar'la çalışmalarını sürdürürken, İpek Film Şirketi de Nişantaşı'nda ilk sesli stüdyoyu kurup işlemlere başlar. Bu yıl, ilk şekliyle hazırlanan Sinema Filmlerinin Kontrolü Hakkında Talimatname'de yürürlüktedir.

1933

     4 feature films and 3 short ones are produced. 1933 is the year devoted mostly to operettas and vaudevilles. Muhsin Ertuğrul directs Karım Beni Aldatırsa (If my wife betrays me), Söz Bir Allah Bir (One is the word and one is the Lord) and Fena Yol (The Bad Way), the last being a further co-production with Greece. In the meantime, together with Nâzım Hikmet Ran who had authored several screenplays under the penname of Mümtaz Osman, Ertuğrul signs also Cici Berber (The Nice Barber). Nâzım Hikmet directs a short feature, Düğün Gecesi / Kanlı Nigâr (The Weding Night / Bloody Nigâr) and actor Hazım Körmükçü signs another short Yeni Karagöz (The New Karagöz).

1934

     A new producing company, "Ha-Ka (Halil Kamil) Films" is founded. Muhsin Ertuğrul directs Milyon Avcıları (The Million Hunters) and Leblebici Horhor Ağa while Nâzım Hikmet gives another short work with İstanbul Senfoni (The Symphony of Istanbul). The remake of Leblebici Horhor Ağa represents Turkey at the Second Venice Biennale and is awarded with a "diploma of honor" thus becoming the first Turkish feature awarded in an international film festival.

1935

     With Bataklı Damın Kızı Aysel (Aysel, the Girl from the Swampy Roof) Ertuğrul gives to the Turkish cinema its first rural drama. The film, who carries openly influences derived from the Soviet cinema, is also noticeable for the presence of Cahide Sonku, a theater actress who had entered the movies in 1933. With her interpretation of Aysel, Cahide Sonku becomes the first star of the Turkish screen. yönetmen araya girer. Tiyatrocuların dışından gelen bu yönetmen Faruk Kenç'tir. Almanya'da Fotoğrafçılık ve Film Okulu'nu bitirip 1938 yılında yurda dönen Kenç, zorunlu olarak Muhsin Ertuğrul'un takımındaki tiyatro oyuncularıyla bir süre çalışacaktır. Çünkü o günün koşulları içinde Şehir Tiyatrosu oyuncuları, hocaları Ertuğrul'un izinde olup, Türk sinemasını ellerinde tutmaktadırlar.

1939

     From 1916 to 1939 the Turkish cinema remains under the strong domination of theatrical personalities, including Muhsin Ertuğrul. In 1939 a new director enters the field, Faruk Kenç, who directs Taş Parçası (The Stone). Kenç returns to Turkey in 1938, after completing in Germany a film and photography school. And Kenç has also to use, in his cast, leading theatrical actors following the steps of Ertuğrul since the cinema is still dominated by the theater.

1940

     With Faruk Kenç entering the field the number of films produced during the year reaches 5. Suavi Tedü, a young stage actor playing leading parts in Ertuğrul's Şehvet Kurbanı (Victim of Lust) and Kenç's first action thriller Yılmaz Ali (The Indomitable Ali), starts a line of handsome and typical "jeune premier".

1942

     While 1941 ends with only one feature film produced, Muhsin Ertuğrul's "Kahveci Güzeli" (The Handsome Coffee-seller) brings out four releases, one (Kıskanç / The Jealous one) directed by Ertuğrul and the remaining three by Adolf Körner, a former Czechoslovakien entertainer. For "Ha-Ka Film" Körner directs three features in a row: Duvaksız Gelin (The Unveiled Bride), Sürtük (The Trollop) and Kerem ile Aslı (Kerem and Aslı). Among them Sürtük, an adaptation of G. B. Shaw's Pygmalion, will influence the melodramatic tradition of the Turkish screen through several remakes.

1943

     Nasrettin Hoca Düğünde (Nasrettin Hodja at The Wedding), started in 1940 by Ertuğrul from a screenplay by Burhan Felek, is finished by actor and dubbing specialist Ferdi Tayfur. A new producing company, "Ses Film", owned by Necip Erses enters into production with Dertli Pınar (The Sorrowful Spring) a further rural melodrama directed by Faruk Kenç.

1944

     Following Faruk Kenç another non-theatrical director, formed in Europe, comes back to Turkey in 1939; Baha Gelenbevi. Gelenbevi, who had worked in Paris with Abel Gance (Napoleon) and Marcel L'Herbier (L'argent), starts as Director of Photography in Kenç's Dertli Pınar then goes on to direct his first feature, Deniz Kızı (The Mermaid). sayısında ise belli bir artış görüldü. Erman Film (Hürrem Erman), Duru Film (Naci Duru) bu yapımevlerinin başlıcalarını oluşturdular.Yılın en önemli sinema olayı ise Yerli Film Yapanlar Cemiyeti'nin kurulması oldu. Çünkü YFYC, yapımcıları bir araya getiren bağımsız bir sinemacılar kuruluşudur. Kuruluşun İdare Heyeti'nde ise Faruk Kenç (İstanbul Film), İhsan İpekçi (İpek Film), Turgut Demirağ (And Film), Fuat Rutkay (Halk Film), Necip Erses (Ses Film), Murat Köseoğlu (Atlas Film), Refik Kemal Arduman (Ankara Film), İskender Necef (Birlik Film), Hikmet Aydın (Şark Film) ve Yorgo Saris (Elektra Film) görev aldı.

1945

     Kenç, who has formed his own company "İstanbul Film" in 1944, produces and directs Hasret (Nostalgia), a drama staring singer Münir Nurettin and newcomer Oya Sensev. With Kenç non-theatrical newcomers had the possibility of acting in feature films.

     During the year three new directors direct their first film: Şadan Kamil, who had graduated in photography in Germany, signs Onüç Kahraman (13 Heroes), Talat Artemel and Refik Arduman, both from the City Theater (İstanbul), give respectively Hürriyet Apartmanı (Freedom Apartment) and Köroğlu.

     And three new producing companies are started: Fuat Rutkay's "Halk Film", Nazif Duru and Murat Köseoğlu's "Atlas Film" and Turgut Demirağ's "And Film" Rutkay being a movie theater owner, Duru operating its own theater and Demirağ having graduated from the Southern California University and worked with Leo McCarey.

     Another non-theatrical actor, Sadri Alışık joins the cast of Faruk Kenç's Günahsızlar (Those Without sin) while further producing companies, such as Hürrem Erman's "Erman Film" and Naci Duru's "Duru Film", enters into the market.

     The year's most important event is the creation of the "Association of Film Producers" an independent association bringing together all producers of Turkish films. The Board is composed, thus, by Faruk Kenç, (Istanbul Film), İhsan İpekçi (İpek Film), Turgut Demirağ (And Film), Fuat Rutkay (Halk Film), Necip Erses (Ses Film), Murat Köseoğlu (Atlas Film), Refik Kemal Arduman (Ankara Film), İskender Necef (Birlik Film), Hikmet Aydın (Şark Film) and Yorgo Saris (Elektra Film).

1947

     12 feature films are produced during the year. Vedat Örfi Bengü, a pioneer of the Egyptian cinema, directs Bağda Gül (A Rose in the Wineyard); Seyfi Havaeri, a former stage actor in Burhanettin Tepsi's and Sadi Tek's theatrical companies, signs two films, Yara (The Wound) and Kılıbıklar (Woman-haters); Ferdi Tayfur, a member of the City Theater, gives Senede Bir Gün (Once A Year) and Kerim'in Çilesi (The Ordeal of Kerim). Following the steps of their "master" Muhsin Ertuğrul the said directors' works are stamped with a heavy, outdated theatrical pathos. Another negative influence is also derived from the Egyptian features abondantly imported in Turkey during the years of World War 2. pırıltılarından biridir Lütfi Ö. Akad Türk sinemasının gelişim tarihi içinde çok önemli yeri ve gerçekçi bir kurtuluş savaşı filmi olan Vurun Kapheye ile Akad, yeni sinema anlayışının ilk belirtilerini ortaya koyar.

     Among the new directors of the year the only one to gain some attention is Turgut Demirağ who, devoid of any theatrical background, had been formed in Hollywood. Adapted from a novel by Reşat Nuri Güntekin, Demirağ's Bir Dağ Masalı (Tale of A Mountain) constitutes the first attempt at a super-production.

1948

     18 features are produced. 5 of them are directed by Vedat Örfi Bengü, 7 are produced by Fuat Rutkay (Halk Film) who, in the following years, will remain the most active producer of the Turkish cinema.

     Meanwhile: three new companies are founded, Ömer Aykut's "Ömay Film", Agop Fındıkyan's "Işık Film" and Sabahattin Tulgar's "Milli Film". Sami Ayanoğlu and Kadri Ögelman, both coming from the ranks of Muhsin Ertuğrul, directs their first films, Harmankaya and Kahraman Mehmet (The Heroic Mehmet). And two non-theatrical directors enters the cinema: Şakır Sırmalı with Domaniç Yolcusu (The Domaniç Traveler) and Çetin Karamanbey with Silik Çehreler (Pale Faces).

     The rise in the number of feature films produced yearly as well as the flow of new producing companies is primarily caused by the fact that, as per the Law on Municipal Incoms, local productions are taxed, on ticket prices, only for 25 % so that, for the first time in its history, the Turkish cinema gains a protection aimed at its gross revenue.

     During the year the "Association of Film Producers" (Yerli Film Yapanlar Cemiyeti) organises the first offical Turkish films festival aiming at "Promoting several contests in order to help the development of the national cinema and assist its members". The awards of this first 'local films contest' are given as follows:
  • Best picture: Unutulan Sır (Forgoten Secret), directed by Şakir Sırmalı.
  • Second best picture: Bir Dağ Masalı (Tale of a Mountain), directed by Turgut Demirağ.
  • Best Director: Turgut Demirağ for Bir Dağ Masalı (Tale of a Mountain).
  • Best Photography: Kriton İlyadis.
  • Best Sound: Yorgo İlyadis.
  • Best actress: Nevin Aypar.
  • Best actor: Kadri Erdoğan.
  • Best character actress: Cahide Sonku.
  • Best character actor: Talat Artemel.
  • Best screenplay: Turgut Demirağ, for Bir Dağ Masalı (Tale of a Mountain).
  • Best story: Reşat Nuri Güntekin, for Bir Dağ Masalı (Tale of a Mountain)
  • Best processing : Ses Film (Necip Erses) studio.
  • Best editing: Özen Sermet.
  • Best original song: Unutulan Sır (Forgoten Secret)
  • Best art direction: Kadri Erdoğan, for Yuvamı Yıkamazsın (You Can't Destroy my Home) No awards had been given for make-up and original music.

    1949

         Production reaches 19 feature films. The Turkish cinema is at the begining of a new era and during this era new, independent and original cinematographers will take their places, step by step, in accordance with the changing economical and social conditions. The first of them is Lütfi Ömer Akad, a landmark in the history of the Turkish cinema, who by directing his first feature, Vurun Kahpeye (Strike the Whore), gives a realistical War of Independence film and shows the first signs of a new and different filmic flair.

         A new and much more dynamic style is also evident in the acting of the new performers. Sezer Sezin (Vurun Kahpeye/ Strike the Whore), Muzaffer Tema (Çığlık/The Scream), Gülistan Güzey, Hümaşah Hican, Orhon Murat Arıburnu, Reha Yurdakul are only some of the names composing such a new generation of actors. Among them Sezer Sezin and Muzaffer Tema will reach stardom and a larger audience in the following years with Tema bringing to the "jeune premiere" type, started by Suavi Tedü, a more wide and popular approach.

    1950

         22 films are produced during the year, the majority of them being the work of the "old generation" and its representative Vedat Örfi Bengü who directs 7 of them.Like other theatrical directors Bengü is living his last epoch. Still the sort of "primitive" cinema instaured and followed by Muhsin Ertuğrul and his pupils between 1922 and 1947 will go on for a while. Ertuğrul's "inheritance" is carried by names such as Kadri Ögelman, Cahit Irgat, Avni Dilligil, Mümtaz Ener and, it the following years, by Sami Ayanoğlu (1951), Kani Kıpçak (1951), Talat Artemel (1952) and Suavi Tedü (1953).

         Together with Faruk Kenç, Çetin Karamanbey and others from the 40's, newcomers like Orhan Murat Arıburnu, Semih Evin, Mehmet Muhtar, Hüseyin Peyda will somewhat try to stand against the theatrical tradition assisted by actresses like Neriman Köksal and Mesiha Yelda.

  • HİSTORY OF THE TURKISH CİNEMA (1951-1960)

    1951-1960
    A Chronological History Of The Turkish Cinema
    1951

         36 features are produced. With the start of the "period films" era movies dealing with the War of Independence or the Corean War raise in number. Some 13 historical films are shoot, 8 of them dealing with the War of Independence.

         Further producing companies enters the field: "Lale Film" (Cemil Filmer), "Adalı Film"(Handan Adalı), "Yakut Film" (Dr. Arşavir Alyanak) and Cahide Sonku's "Sonku Film". koyacaktır. Gerçekten Akad, yıllardır anlatım aksaklıklarıyla yaşamaya çalışan kekeme bir sinemaya bir dil kazandırıyor, yeni soluk getiriyordu. Yaşayan tipler, gündelik olaylar ve doğal çevrenin kullanımı Kanun Namına'yı tarihsel süreç içindeki yerine oturtuyordu.

         Nuri Akıncı, Dr. Alyanak and İhsan Tomaç are the new directors of the year while Orhon M. Arıburnu's "Sürgün" (The Exile) raises as one of the best production of 1951 and actor Turhan Seyfioğlu attracts attention as a promising new star.

    1952

         The Turkish cinema tries to break its own record going up to 61 features. However 1952 was an important year.

         Lütfi Akad directs 4 films. Among them Kanun Namına (In The Name of The Law), adapted from a real story, becomes a milestone in the history of the Turkish screen. Really, Akad brought a new breath and caused to gain a new language to a cinema who tried to express itself for ages. Living characters, actual events and the usage of natural environment put Kanun Namına (In The Name of The Law) its place inside the historical process.

          Another important cinematographer, Metin Erksan, follows Akad's mastery. Although harassed by the censors Erksan is able to give, with his first directorial job, a realistical rural drama telling the life story of Anatolian bard Aşık Veysel. Thus with Karanlık Dünya / Aşık Veysel'in Hayatı (Dark World / The Story of Aşık Veysel) Metin Erksan easily proves that he has tinge to say and intends to say them. Derneği) kuruldu. Derneğin temel amacı: "Türk filmciliğinin sanat bakımından inkişafını ve milletlerarası filmcilik aleminde mümtaz ve mevkie ulaşmasını temin etmek" görüşüne dayanıyordu.

          Following a transition period the Turkish screen enters into a new phasis. Still the traditional Muhsin Ertuğrul style is around and among others influences a director such as Muharrem Gürses (Zeynep'in Gözyaşları / Zeynep's Tears), who in the following years became one of the leading names of the populist cinema and, at least for his capability of reaching a large number of spectators, a director of some notice. Moreover his naive approach lead to a sort of "Gürses school" who was to influence other popular moviemakers.

          During the year two actors from Ertuğrul's squad, Vahi Öz and Hayri Esen, directed their first films followed by Orhan Atadeniz, an editor working at the İpek Film's studios, and Nedim Otyam.

          With the year's most important film, Akad's Kanun Namına (In the name of the law), the Turkish screen gains its first big star: Ayhan Işık. Işık came to the movies through a contest promoted by a film magazine (Yıldız/Star) and, as a winner, got his first part in Yavuz Sultan Selim and Yeniçeri Hasan (The Sultan Yavuz Selim and Hasan the Janissary, 1951). Another winner of the same contest, Belgin Doruk, soon became also a top female star.

          The same year saw the foundation, by Lütfi Ö. Akad, Aydın Arakon, Orhon M. Arıburnu, the publisher Hüsamettin Bozok and the writers Burhan Arpad and Hıfzı Topuz of the "Türk Film Dostları Derneği" (Association of the friends of the Turkish Film). The aim of the Association was such expressed: "Provide so that the Turkish cinema may achieve artistic progress and take a special place in the international film world". Canavarı'nda Nazım İnan, yeni oyuncular olarak ilgi çekip ağırlıklarını koydular.

    1953

          The year closes with a total of 44 films. Atıf Yılmaz, who had started his career as a director the year before, went on adapting popular novels in heavily melodramatic works such as Hıçkırık (Sob) Aşk Istıraptır (Love is Suffering). Atıf Yılmaz Batıbeki started as assistant director to Semih Evin before signing his first feature.

          After 6 years absence from the screen Muhsin Ertuğrul makes a come-back with Halıcı Kız (The Weaver) who, apart from being one of the first color productions of the Turkish cinema, ends in a total flop hastening Ertuğrul's retreat from the movies. Practically the first Turkish color film had been Salgın (The Plague), produced and directed by Ali Ipar staring Ipar's wife and Hollywood star Virginia Bruce, released after Ertuğrul's Halıcı Kız.

         Akad, during the year, follows his success with Katil (The Killer); Orhon M. Arıburnu with Kanlı Para (Bloody money) and Nedim Otyam with Toprak (The Land) give two interesting features while Kemal Kan and Şinasi Özonuk signed their first films. Özonuk gave also a first chance to young actor Eşref Kolçak in Affet Beni Allahım (Forgive me, my God) and İstanbul Canavarı (The Monster of Istanbul) stared another new player, Nazım Inan.

          Meanwhile the first "Turkish Film Festival" organised by the "Türk Film Dostları Derneği" (Association of the friends of the Turkish Film) awarded the followings:
  • Best film: Kanun Namına (In the Name of the Law), directed by Lütfi Ö. Akad.
  • Mentions: Kanlı Para (Bloody Mooney), directed by Orhan M.Arıburnu, İki Süngü Arasında (Between Two Bayonets), directed by Şadan Kamil, Drakula İstanbul'da (Dracula in Istanbul), directed by Mehmet Muhtar, Efelerin Efesi (The Master of all Masters) directed by Şakir Sırmalı.
  • Best directors:Lütfi Akad, Orhon M. Arıburnu, Şadan Kamil, Mehmet Muhtar, Şakir Sırmalı.
  • Best photography: Enver Burçkin, Kriton Ilyadis, Özen Sermet, İlhan Arakon, Şadan Kamil.
  • Best screenplays: Osman Seden, Adnan Fuat Aral, Orhon M. Arıburnu, Ümit Deniz.
  • Best musical score: Orhan Barlas, Nedim Otyam.
  • Best actors: Turhan Seyfioğlu, Ayhan Işık, Atıf Kaptan, Orhon M. Arıburnu.
  • Best actresses: Lale Oraloğlu, Nedret Güvenç, Ayfer Feray.

    1954

          48 feature films are produced. Musicals featuring well-known singers ,first launched in the late 40's with Münir Nurettin Selçuk as a leading star, are back again this time with star singer Zeki Müren. During the year Akad signs another city drama, Öldüren Şehir (Killer City) and Şadan Kamil gives Kaçak (The Fugitive).

          The second film festival organised by the "Association of the friends of the Turkish Film" ends as follows without any "best film" awarded.
  • Best directors: Lütfi Akad (Öldüren Şehir/ Killer City), Ali Ipar (Bir Şehrin Hikayesi/ The Story of A City).
  • Best screenplay: Ali Ipak (Bir Şehrin Hikayesi/ The Story of A City).
  • Best photography:Yuvakim Filmeridis (Mahallenin Namusu/The Honor of the Neighbourhood), İlhan Arakon (Salgın/ The Plague), Mike Rafaelyan (Ölüm Saati/ Hour of Death), Kriton Ilyadis (Öldüren Şehir/ Killer City).
  • Best actor and actresses: Lale Oraloğlu (Leylaklar Altında/ Under The Lilacs), Aliye Rona (Mahallenin Namusu/ The Honor of The Neighbourhood), Belgin Doruk (Öldüren Şehir/ Killer City), Cahit Irgat (Altı Ölü Var/ Six Deads), Orhan Elçin (Ölüm Saati/ Hour of Death) .
  • Best musical score: Nedim Otyam (Ölüm Saati/ Hour of Death). dikkatleri üzerine topladı. Bu, bir oyuncu aşamasıydı kuşkusuz. Ve sinemaya ilk kez bir sahici oyuncu geliyordu.

    1955

          The number of films produced reaches 61. Osman F. Seden, head of "Kemal Film" Turkey's first producing company, follows his career as screen-writer with a first directorial item: Kanlarıyla Ödediler (They payed it with their blood). Memduh Ün, Abdurrahman Palay and Mümtaz Alpaslan enters into the film world and the screen gains several new and different players such as Muhterem Nur, Lale Oraloğlu, Bülent Oran, Mualla Kaynak and Neşe Yulaç.

          Lütfi Akad, adapting a story by Yaşar Kemal, signs a further personal film with Beyaz Mendil (The White Handkerchief). Newcomer Fikret Hakan, playing the leading part in this realistically handed rural love drama, attracts praise and attention with his direct acting style bringing to the screen the personality of a "real actor".

          Beyaz Şehir (White City), directed by Sami Ayanoğlu, is dubbed into French and enters the Red Cross Congress, in Switzerland, wining a special award.

          The Third Turkish Film Contest, organised by the "Association of The Friends of The Turkish Film", awards the followings:
  • Best film: Kaçak (The Fugitive), directed by Şadan Kamil, Sevdiğim Sendin (Your Were The one I Loved), directed by Agâh Hün, Bulgar Sadık (Sadık, The Bulgarian), directed by Lütfi Akad.
  • Best directors: Şadan Kamil, Lütfi Akad, Agâh Hün.
  • Best screenplays: Haldun Taner, for Kaçak (The Fugitive), Lale Oraloğlu for Sevdiğim Sendin (You Were The one I Loved).
  • Best photography: Turgut Ören, for Sevdiğim Sendin (You Were The one I Loved), Kriton Ilyadis, for Bulgar Sadık (Sadık, The Bulgarian), Ilhan Arakon, for Kaçak (The Fugitive), Enver Burçkin, for Ecel Köprüsü (The Bridge of Death).
  • Best producers: Nazif Duru, for Kaçak (The Fugitive), Ali Oraloğlu, for Sevdiğim Sendin (You Were The one I Loved),.
  • Best actresses: Sezer Sezin, for Kaçak (The Fugitive), Lale Oraloğlu, for Sevdiğim Sendin (You Were The one I Loved),.
  • Best actors: Şevki Artun, for Bulgar Sadık (Sadık, The Bulgarian),Turan Seyfioğlu, for Kaçak (The Fugitive), Cahit Irgat, for Sevdiğim Sendin (You Were The one I Loved).

          Ekrem Bora, who started his career in Mehdi Özgürsel's Alın Yazısı (Fate), emerges as a promising new actor. Like Ayhan Işık and Belgin Doruk, Bora comes to the screen after a movie star contest sponsored by the film magazine Yıldız (Star).

    1956

          50 features are produced. Muharrem Gürses, keen in following the popular taste, mostly in its rural melodramas, goes through a "golden era" directing seven features in a row.

          In Berlin, a documentary directed by Sabahattin Eyüpoğlu and Mazhar Şevket Ipşiroğlu (Hitit Güneşi/ The Hitit Sun) wins the Silver Bear Award.

    1957

          61 features are produced. Gürses goes on with his fast melodramas and his style echoes also in Memduh Un's Yetim Ömer (Ömer, The Orphan) and Güllü Fatma (Fatma, The Rose). The new directors of the year are Nejat Saydam and Ziya Metin and the new formed companies are Muzaffer Aslan's "As Film" and Özdemir Birsel's "Birsel Film".

         A character actor, Osman Alyanak, steals the attention in Lütfi Akad's Ak Altın (White Gold) playing the part of Fettah while new actresses, Fatma Girik and Leyla Sayar, and a further new actor, Orhan Günşiray, starts a promising career.

          Atıf Yılmaz, a director since then mostly devoted to sentimental and popular melodramas, signs his first personal work with Gelinin Muradı (The Bride's Wish) adapting Kemal Bilbaşar's short stories set in a small town.

         At the Berlin Film Festival a further Turkish documentary short film, Sabahattin Eyüpoğlu and Mazhar Şevket İpşiroğlu's Siyah Kalem (Black Pencil), is the winner of a "mention".

    1958

          Production goes up to 80 films. New production companies are founded such as "Güven Film" (Yuvakim Filmeridis), "Melek Film"(Şahan Haki), "Kervan Film"(Ümit Utku) and "Pesen Film" (Nevzat Pesen).

         New directors like Nuri Ergün, Hulki Saner, Nevzat Pesen, Nişan Hançer and new leading players such as Ahmet Mekin, Çolpan İlhan and Göksel Arsoy start their career.

          Uluslararası Berlin Film Şenliği bu yıl da Türk sineması adına küçük bir zaferle sonuçlandı.

          During the year the Turkish cinema witnesses a very important film event: Memduh Ün, a director formerly busy with second hand popular melodramas directs Üç Arkadaş (Three Friends). After Akad this stands as the second revelation of the Turkish screen and the film, with its intimate and sentimental style, its values based on friendship, love and solidarity is a further milestone enriched by moving performances from a cast composed of Fikret Hakan, Muhterem Nur, Salih Tozan and Semih Sezerli. Based on a screenplay by Aydın Arakon, Metin Erksan, Muammer Çubukçu, Memduh Ün, Ertem Göreç and Atıf Yılmaz with additional dialogues by Orhan Kemal Üç Arkadaş (Three Friends) thus owes most of its success to a calibrated collaboration between leading professionals.

          Another top film of the year is Metin Erksan's Dokuz Dağın Efesi (The Lord of Nine Mountains), about a fiery young paesant turned outlaw.

    1959

          Production goes down to 76 features. With Aydın Arakon's Fosforlu Cevriye (Cevriye, The Phosphorescent) starts the era of the "mainly women heroes" with Neriman Köksal as its first representative. Meanwhile a new comic actor, Feridun Karakaya, starts a series with Cilalı İbo (Ibo, the Polished One). Cilalı İbo serisiyle de yeni bir güldürü oyuncusu doğdu; Feridun Karakaya.

          Adapted from a popular romantic novel Nevzat Pesen's Samanyolu (The Milky Way) launches leading actor Göksel Arsoy. Coupled with Belgin Doruk, Arsoy brings to the screen a different, blonde and baby-faced, sentimental "lady killer" type. The film's box-office success gives way to the first steady duo (Belgin Doruk
  • Göksel Arsoy) of the Turkish screen.

          Actor Suphi Kaner directs his first film and Yılmaz Güney starts his career acting in Bu Vatanın Çocukları (This Motherland's Childrens). Poet Attila İlhan, under the pen-name Ali Kaptanoğlu, signs the script of Lütfi Akad's Yalnızlar Rıhtımı (Wharf of The Lonely Ones). Akad's film and, mostly, Atilla İlhan's script, permeated with heavy foreign influences gives way to hard criticisms.

          With Bu Vatanın Çocukları (This Motherland's Childrens) and Karacaoğlan'ın Kara Sevdası (Karacaoğlan's Hopeless Love) Atıf Yılmaz signs the year's most polished productions and Nejat Saydam gives with Kalpaklılar (The Fur Capped Ones), a War of Independence epic, his best picture.

          He newly formed "Türk Sinema Sanatçıları Derneği" (Association of the Turkish Cinema Artists) launches a "Turkish Film Festival" together with the "Gazeteciler Cemiyeti" (Journalists Association). 15 movies are shown but no award is given for best film, best screenplay and best actress. The remaining awards are as follows: kadın oyuncu seçilmedi. Öteki sonuçlar:
  • Best director: Atıf Yılmaz Batıbeki.
  • Best photography : Kriton İlyadis, for Beraber Ölelim (Let's die Together).
  • Best musical score: Yalçın Tura, for Zümrüt (Emerald).
  • Best actor: Sadri Alışık, for Zümrüt (Emerald).
  • Jury's special award: Metin Erksan's Dokuz Dağın Efesi (The Lord of Nine Mountains).

    1960

          78 films are produced. A host of producing companies are founded: Be-Ya Film (Nüsret İkbal), Saner Film (Hulki Saner), Uğur Film (Memduh Ün), Yerli Film (Atıf Yılmaz
  • Orhan Günşiray), Erler Film (Türker İnanoğlu), Metro Film (Aram Gülyüz), Site Film (İlham Filmer), Şan Film (Baki Üsküdarlı), Kurt Film (Mehmet Arancı).

          Ayşecik (Little Ayşe), staring child actress Zeynep Değirmencioğlu, starts the fashion of the "child heroes". With Ayşecik (Little Ayşe), directed by Memduh Ün, Zeynep Değirmencioğlu becomes the first child star of the Turkish screen.

         Turgut Ozatay, playing opposite leading star Ayhan Işık in Akad's period piece Yangın Var (Fire), stands easily the confrontation giving a noticeable performance.

          New actresses such as Türkân Şoray and Gönül Yazar, new directors like Türker Inanoğlu, Burhan Bolan, Hüsnü Cantürk, Yavuz Yalınkılıç and Fikret Uçak enters the field. Uçak yeni yönetmenler olarak sinemaya girdiler.Türk

          With the Turkish Armed Forces taking hold of the government on May 27 a new way of thought enters into the Turkish cinema. Known as social realism it starts with Metin Erksan's Gecelerin Ötesi (Over The Nights) and reflects itself in pictures such as Osman F. Seden's Namus Uğruna (For The Honor), Orhan Elmas's Kanlı Firar (Bloody Escape), Atıf Yılmaz's Dolandırıcılar Şahı (King of The Swindlers), Memduh Ün's Kırık Çanaklar (Broken Dishes) and Ateşten Gömlek (Shirt of Fire).

          Atilla Tokatlı's Denize İnen Sokak (A Street Toward The Sea), a very special and personal opus, becomes a box-office flop but is presented at Venice and Karlovy-Vary film festivals and wins a "diploma of honor" in Locarno.
    Tunalım...

  • HİSTORY OF THE TURKISH CİNEMA (1961-1970)

    1961-1970
    A Chronological History Of The Turkish Cinema
    1961

         The number of production fastly grows and reaches 113 titles. Türker İnanoğlu's Hancı (The Inn-keeper) and Ümit Utku's Yaban Gülü (The Wild Rose) are box-office hits. Nejat Saydam's Küçük Hanımefendi (Little Lady) provides actress Belgin Doruk with a further staring vehicle and starts a host of sequels and variations based on "little ladies" or "young gentlemen". Meanwhile, with Kolsuz Bebek (The Armless Doll), Münir Hayri Egeli directs a "first" feature grouping three separate stories.

          Actors Muzaffer Tema and Kenan Pars starts directing, followed by Ülkü Erakalın, Süreyya Duru, Natuk Baytan and Halit Refiğ who all signs their first film. Actor Orhan Günşiray, considered the "Turkish Mike Hammer", brings a new breath to the cops and robbers trend.

          Director Ertem Göreç and screenwriter Vedat Türkali come together in Otobüs Yolcuları (Buss Travelers), the story of a group of people fighting for their homes, thus signing one of the year's best film. Film critic Halit Refiğ directs his first film, Yasak Aşk (Forbidden Love), after having done a short period as assistant director.

          The Municipality of Istanbul promotes a "Turkish Film Contest", following its "Art Festival". The awards are as follows:
  • Best film: Memduh Ün's Kırık Çanaklar (Broken Dishes).
  • Best director : Memduh Ün.
  • Best screenplay: Metin Erksan, for Gecelerin Ötesi (Over The Nights).
  • Best photography: Turgut Ören, for Ölüm Peşimizde (Death on our Tracks).
  • Best actress: Lale Oraloğlu, for Kırık Çanaklar (Broken Dishes).
  • Best actor: Ekrem Kolçak, for Namus Uğruna (For the Honor).
  • Best character actress: Mualla Kaynak, for Kırık Çanaklar (Broken Dishes).
  • Best character actor: Kadir Savun, for Gecelerin Ötesi (Over The Nights).