{"id":11414,"date":"2025-08-29T07:30:00","date_gmt":"2025-08-29T05:30:00","guid":{"rendered":"https:\/\/baraka.cc\/?p=11414"},"modified":"2025-08-15T22:50:35","modified_gmt":"2025-08-15T20:50:35","slug":"sozumuz-perdede-mucadele-her-yerde-ahmet-sucubasi","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=11414","title":{"rendered":"S\u00f6z\u00fcm\u00fcz Perdede, M\u00fccadele Her Yerde! – Ahmet Sucuba\u015f\u0131"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

\u0130\u00e7inde bulundu\u011fumuz kapitalizmin neoliberal evresinde yaln\u0131zca eme\u011fe de\u011fil, ayn\u0131 zamanda d\u00fc\u015f\u00fcnsel d\u00fcnyam\u0131za ve k\u00fclt\u00fcrel \u00fcretim s\u00fcre\u00e7lerine de sald\u0131r\u0131lar y\u00f6neltilmektedir. Burjuvazinin elinde bir silaha d\u00f6n\u00fc\u015fen postmodernizm; hakikati par\u00e7alamakta, s\u0131n\u0131f m\u00fccadelesinin tarihsel ve politik niteli\u011fini mu\u011flakla\u015ft\u0131ran kar\u015f\u0131 devrimci bir sis perdesi i\u015flevi g\u00f6rmektedir. Emperyalist fon ili\u015fkilerine bula\u015ft\u0131\u011f\u0131 oranda sol harekete de sirayet eden bu ku\u015fatma; b\u00fct\u00fcnc\u00fcl yakla\u015f\u0131mlar\u0131 reddeden, s\u0131n\u0131ftan kopuk ve yaln\u0131zca par\u00e7alarla ilgilenen yap\u0131lara d\u00f6n\u00fc\u015f\u00fcme yol a\u00e7maktad\u0131r. Siyasetle birlikte felsefi ve edebi \u00fcretimler arac\u0131l\u0131\u011f\u0131yla postmodernizmin toplumun temel d\u00fc\u015f\u00fcnme bi\u00e7imine d\u00f6n\u00fc\u015fmesi, neoliberalizmin ekonomik sald\u0131r\u0131lar\u0131n\u0131n \u00f6n\u00fcn\u00fc a\u00e7an bir zemin olu\u015fturmaktad\u0131r. Tam da bu tarihsel kesitte, i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n kendi dertlerini anlatma \u00e7abas\u0131n\u0131n ve \u00e7eli\u015fkileri derinle\u015ftirmenin bir par\u00e7as\u0131 olarak devrimci sanat, s\u0131n\u0131f\u0131n belle\u011fini canl\u0131 tutman\u0131n, akl\u0131 merkeze alman\u0131n, s\u0131n\u0131f bilincini ve m\u00fccadeleyi b\u00fcy\u00fctmenin ara\u00e7lar\u0131ndan biri olarak \u00f6nemini bir kez daha hat\u0131rlatmaktad\u0131r.Bu \u00e7aban\u0131n sanatsal \u00fcretimdeki yans\u0131malar\u0131; \u015fiirden tiyatroya, m\u00fczikten sinemaya kadar devrimci sanat\u0131n farkl\u0131 bi\u00e7imlerinde kendine yer buldu. Bu \u00fcretimler yaln\u0131zca estetik kayg\u0131larla de\u011fil, s\u0131n\u0131f\u0131na kar\u015f\u0131 politik bir sorumlulukla ortaya kondu. Egemenlerin, \u00e7eli\u015fkileri ve kavramlar\u0131 \u00e7arp\u0131tan, umutsuzlu\u011fu ve bireycili\u011fi \u00f6ne \u00e7\u0131karan, \u00f6rg\u00fctl\u00fcl\u00fc\u011f\u00fc ve adanm\u0131\u015fl\u0131\u011f\u0131 de\u011fersizle\u015ftiren, bundan ba\u015fka bir alternatifin olmad\u0131\u011f\u0131n\u0131 anlatan k\u00fclt\u00fcrel hegemonyas\u0131na kar\u015f\u0131; devrimci sanat, eme\u011fin ve direni\u015fin sesini y\u00fckselten, ba\u015fka bir d\u00fcnyan\u0131n m\u00fcmk\u00fcn oldu\u011funu hat\u0131rlatan bir kar\u015f\u0131 mevziye d\u00f6n\u00fc\u015ft\u00fc. Bu yaz\u0131n\u0131n konusu olan devrimci sinema da hak m\u00fccadelelerinin hem tan\u0131\u011f\u0131 hem de ta\u015f\u0131y\u0131c\u0131lar\u0131ndan biri oldu. \u00c7al\u0131\u015fma ya\u015fam\u0131ndaki s\u00f6m\u00fcr\u00fc, g\u00f6\u00e7men eme\u011fi, kad\u0131n \u00f6zg\u00fcrle\u015fmesi ve sendikal direni\u015fler; bast\u0131r\u0131lm\u0131\u015f \u00f6fke ve umutlarla birlikte sinema perdesine ta\u015f\u0131nd\u0131. Bu yap\u0131mlar, s\u0131n\u0131f\u0131n belle\u011fini diri tutmay\u0131 ama\u00e7larken, ayn\u0131 zamanda ku\u015faklar aras\u0131nda bir ba\u011f kurdu. Eme\u011fi kadraj\u0131na alan sinema, hayat\u0131 \u00fcretenlerin hik\u00e2yesini anlatma sorumlulu\u011funu \u00fcstlendi. <\/p>\n\n\n\n

Bu anlay\u0131\u015fla 1994 y\u0131l\u0131nda San Francisco\u2019da, liman i\u015f\u00e7ilerinin grevi s\u0131ras\u0131nda ya\u015fanan katliam\u0131n y\u0131ld\u00f6n\u00fcm\u00fcnde ba\u015flat\u0131lan \u201cLaborFest\u201d, devrimci sineman\u0131n ilk kurumsalla\u015fm\u0131\u015f \u00f6rneklerinden biri oldu. Sermaye destekli \u2018k\u00fclt\u00fcr end\u00fcstrisine\u2019 kar\u015f\u0131 g\u00f6n\u00fcll\u00fc emekle \u00f6rg\u00fctlenen bu festival, i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n kendi anlat\u0131s\u0131n\u0131 kurma iradesinin bir \u00f6rne\u011fine d\u00f6n\u00fc\u015ft\u00fc. Amerika\u2019dan Japonya\u2019ya, Kore\u2019den Bolivya\u2019ya, \u0130talya\u2019dan T\u00fcrkiye\u2019ye kadar pek \u00e7ok co\u011frafyada \u201c\u0130\u015f\u00e7i Filmleri Festivali\u201d temas\u0131yla yay\u0131ld\u0131 ve \u2018uluslararas\u0131\u2019 bir boyut kazand\u0131. Uluslararas\u0131 \u0130\u015f\u00e7i Filmleri Festivalleri, seyirlik bir etkinlik olman\u0131n \u00f6tesine ge\u00e7erek, ele\u015ftirel d\u00fc\u015f\u00fcnce ve dayan\u0131\u015fma i\u00e7in ortak bir zemin olu\u015fturdu. Kat\u0131l\u0131mc\u0131lar\u0131n\u0131 pasif izleyici olmaktan \u00e7\u0131kartarak; sinema salonlar\u0131n\u0131 birlikte d\u00fc\u015f\u00fcnmenin, \u00fcretmenin ve yeniden in\u015fa etmenin mek\u00e2nlar\u0131 olarak kurgulad\u0131. Her g\u00fcn yeniden hayat\u0131 \u00fcreten ama g\u00f6rmezden gelinenleri kadraj\u0131na yerle\u015ftirerek, egemenlerin ana ak\u0131m medyas\u0131n\u0131n yok sayd\u0131klar\u0131na yer veren alternatif anlat\u0131 alanlar\u0131ndan biri oldu. Ayn\u0131 zamanda bu festivaller, \u2018kapitalist k\u00fclt\u00fcr end\u00fcstrisinin\u2019 yar\u0131\u015fma mekanizmalar\u0131 arac\u0131l\u0131\u011f\u0131yla sanat alan\u0131nda me\u015frula\u015ft\u0131rd\u0131\u011f\u0131 rekabet\u00e7i anlay\u0131\u015fa da itiraz etti. \u0130\u015f\u00e7i Filmleri Festivalleri\u2019nin yar\u0131\u015fmas\u0131z olmas\u0131 yaln\u0131zca bi\u00e7imsel de\u011fil, ilkesel bir tercihtir. Sermayedarlara \u2018\u2019neye yat\u0131r\u0131m yap\u0131lmal\u0131\u2019\u2019, sanat\u00e7\u0131lara \u201cne yat\u0131r\u0131m al\u0131r\u201d bilgisini sa\u011flayan, sanat\u0131 pazar\u0131n mant\u0131\u011f\u0131na g\u00f6re s\u0131ralayan yap\u0131larla aras\u0131na a\u00e7\u0131k bir mesafe koyan \u0130\u015f\u00e7i Filmleri Festivalleri; rekabeti de\u011fil, dayan\u0131\u015fmay\u0131 \u00f6nc\u00fclleyen, takdiri sermayeden de\u011fil halktan almay\u0131 esas alan bir zemin olu\u015fturdu. <\/p>\n\n\n\n

Bu festivallerin K\u0131br\u0131s aya\u011f\u0131 ise ilk kez 2007 y\u0131l\u0131nda \u201cUluslararas\u0131 K\u0131br\u0131s \u0130\u015f\u00e7i Filmleri Festivali\u201d ad\u0131yla hayata ge\u00e7irildi. T\u00fcm g\u00f6sterimlerin \u00fccretsiz ve biletsiz ger\u00e7ekle\u015fti\u011fi festival; sendikalar\u0131n, demokratik kitle \u00f6rg\u00fctlerinin ve g\u00f6n\u00fcll\u00fclerin eme\u011fiyle s\u00fcrd\u00fcr\u00fclebilir bir yap\u0131ya kavu\u015ftu. Fonlar de\u011fil, organizasyon komitesinde bulunan \u00f6rg\u00fctlerin \u00f6z g\u00fcc\u00fc \u00fczerinden y\u00fckselen festival; yaln\u0131zca farkl\u0131 co\u011frafyalardaki hik\u00e2yeleri de\u011fil, \u0130leri Bas\u0131mevi Direni\u015fi, Sanayi Holding, Kasiyerler Aya\u011fa, Madencilerin An\u0131lar\u0131 gibi yerli yap\u0131mlarla emek\u00e7i halk\u0131m\u0131z\u0131n onurlu m\u00fccadele tarihini ve hik\u00e2yelerini de kat\u0131l\u0131mc\u0131lar\u0131yla bulu\u015fturdu. 2025 itibar\u0131yla 13.\u2019s\u00fc d\u00fczenlenen Uluslararas\u0131 K\u0131br\u0131s \u0130\u015f\u00e7i Filmleri Festivali, bu y\u0131l \u201cI\u015f\u0131klar a\u00e7\u0131k, plan \u00e7ok; karanl\u0131\u011fa ge\u00e7it yok\u201d slogan\u0131yla ba\u015flad\u0131. Bu slogan, festivalin emek temas\u0131n\u0131n yan\u0131nda; g\u00fcndemdeki gerici t\u00fcz\u00fck de\u011fi\u015fikli\u011fi dayatmas\u0131na kar\u015f\u0131 y\u00fckselen direni\u015fin de devam\u0131 niteli\u011finde oldu. \u201cGe\u00e7it Yok\u201d eylemleriyle y\u00fckselen laiklik savunusu, festivalin politik zeminini belirleyen ba\u015fl\u0131klardan biri oldu. B\u00f6ylece sokakta ve mahkemede s\u00fcren m\u00fccadeleye, k\u00fclt\u00fcrel alanda da yeni bir mevzi kaz\u0131ld\u0131; devrimci laiklik anlat\u0131s\u0131 i\u00e7in bir zemin yarat\u0131ld\u0131. \u0130\u015f\u00e7i Filmleri Festivali, k\u00fclt\u00fcrel \u00fcretimin sermaye eliyle bi\u00e7imlendirilip bir silah olarak kullan\u0131ld\u0131\u011f\u0131 yerde, i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n kendi s\u00f6z\u00fcn\u00fc kendi ara\u00e7lar\u0131yla kurma \u0131srar\u0131d\u0131r. Tamamen g\u00f6n\u00fcll\u00fcl\u00fck eme\u011fiyle var olan bu festival; izleyicisini edilgen bir konumda b\u0131rakmaks\u0131z\u0131n, birlikte \u00fcretmeye ve direnmeye \u00e7a\u011f\u0131r\u0131r. \u00c7\u00fcnk\u00fc bu festivalin amac\u0131 yaln\u0131zca perdeye yans\u0131mak de\u011fil, s\u0131n\u0131f\u0131n sesini y\u00fckseltmek, belle\u011fini tazelemek ve m\u00fccadeleyi her alanda oldu\u011fu gibi burada da \u00f6rg\u00fctlemektir.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u0130\u00e7inde bulundu\u011fumuz kapitalizmin neoliberal evresinde yaln\u0131zca eme\u011fe de\u011fil, ayn\u0131 zamanda d\u00fc\u015f\u00fcnsel d\u00fcnyam\u0131za ve k\u00fclt\u00fcrel \u00fcretim s\u00fcre\u00e7lerine de sald\u0131r\u0131lar y\u00f6neltilmektedir. Burjuvazinin elinde bir silaha d\u00f6n\u00fc\u015fen postmodernizm;<\/p>\n","protected":false},"author":17,"featured_media":11415,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[40,67,38,42,1,39],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/baraka.cc\/wp-content\/uploads\/2025\/08\/ARGASDI-SAYI-78-KALITELI-9.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-2Y6","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11414"}],"collection":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/users\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11414"}],"version-history":[{"count":1,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11414\/revisions"}],"predecessor-version":[{"id":11416,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11414\/revisions\/11416"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/11415"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11414"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11414"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11414"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}