Yılmaz Güney (April 1, 1937 — September 9, 1984) was a Kurdish film director, scenarist, novelist and actor. Many of his works are devoted to the plight of the Kurdish people.
Any question, contact me...
Any question, contact me...
المعلومات
- انتماء:
- Politics, Culture, Nationality, and Media.
- المكان:
- Turkey
- تاريخ الميلاد:
- 01 أبريل، 1937
المعجبون
6 من 118.196 معجبمشاهدة الكل
الصفحات المفضلة
الصور
2 من 3 ألبوماتمشاهدة الكل
Ugly King :)تمّ الإنشاء يوم 27 مارس، 2008 الساعة 11:27 مساءً
Yilmaz Guneyتمّ الإنشاء يوم 24 مارس، 2008 الساعة 03:49 مساءً
الملاحظات
3 من 5 مدوّناتمشاهدة الكل
- Results of Yilmaz Guney Culture and Art Festival Caricature Cont. 14 مارس 01:37 صباحاً|5 تعليقات
- Part II: HAYATININ SANATI HAKKINDA 20 فبراير 01:11 مساءً|تعليق واحد
- Part I: HAYATININ SANATI HAKKINDA 20 فبراير 01:09 مساءً
الفيديو
Yilmaz Guney Bundan sonra ve gelecekte, Türklerle yanyana İngilizce yazmayacağım. Bana ve önerilerime dinleme sabrı gösterdiğiniz için teşekkür ederim.
Yilmaz Guney Kimin kime hakaret ettiği tarihsel bir gerçektir. Ben burda politik bir tartışma başlatmak istemiyorum. Uygun bir ortam değil. Bunu ben sizin okullarına ve tarih kitaplarınıza bırakıyorum. Gerçek şudur ki, ben burda 3 dili konuşabilirim, İngilizce, Türkçe ve Kürtçe. Fakat İngilizce konuşmayı tercih ettim ve hala ediyorum, uluslararası bir dil olduğu için. .....
Yilmaz Guney Kendimi tekrar ediyorum, ben kimseye hakaret etmedim, ne de insanların anadiline ve yapmak istediğim de bu değil fakat eğer siz benim mesajlarımı tersinden anladıysanız bu benim suçum değildir, sizin suçunuzdur. Doğrudur, destekçilerin çoğunluğu Türktür fakat burda hem Kürt, hem Türk olmayan hemde Kürt olmayan insanla...rın da var ve bu nokta benim önerimi başlattığım noktaydı. ......
Yilmaz Guney Tek yapmak istediğim bir öneri sunmaktı kendimce, fakat destekçilerin çoğunluğu maalesef benim tarafımda değiller. Bende bir destekçiyim, burdakiler gibi ve kesinlike kendi kahraman destekçilerime karşı hiç bir şekilde, sesimi yükseltmeye çalışmıyorum. .......
Yilmaz Guney I am not insulting anybody or anybody's language, if I wrote and comment in English. I mean, let's use an international language, instead restricting ourselves to a language, where not all FaceBook users know it... Thanks for being patients with us...
Yilmaz Guney To all dear fans of Yilmaz Guney, I prefer to write and comment in English, this will give an international form of our page... Thanks for all of you...
Yilmaz Guney I like this one.... "Some books are to be tasted, others to be swallowed, and some few to be chewed and digested. That is, some books are to be read only in parts, others to be read, but not curiously, and some few to be read wholly, and with diligence and attention"
Yilmaz Guney Sophocles (496 BC-406 BC) was right when he said "None love the messenger who brings bad news"
Yilmaz Guney I change the world around me by changing myself.
Yilmaz Guney I appreciate all that I have and all that I am. I am the Source of all I want.
Yilmaz Guney "The Herd, in fact, is the history of the Kurdish people, but I could not even use the Kurdish language in this film; if we had used Kurdish, all those who took part in this film would have been sent to jail..."
Yilmaz Guney
A very rare movie, in this small movie, our Hero Yilmaz Güney talks about being a Kurd, he is saying that his mother and his father were Kurds.
It's written in Wikipedia:
"Yilmaz Guney was born in 1937 in a village near the southern city of Adana, Turkey. His father is a Kurd from Siverek, Turkey and his mother is a Kur...d from Varto, Turkey."
"The Herd, in fact, is the history of the Kurdish people, but I could not even use the Kurdish language in this film; if we had used Kurdish, all those who took part in this film would have been sent to jail..." Güney said in his last interview with journalist Chris Kutschera.
To read more:
http://en.wikipedia.org/wiki/Y%C4%B1lmaz
Yilmaz Guney
BABA -- Which means Father in English...
Umut heralded a new direction in Güney's filmmaking, but the director-star was not yet prepared to abandon his popular image, and the films that immediately followed were more disposable melodramas and action thrillers such as Canlý Hedef (Live Target) (1970), Umutsuzlar (The Ho...peless Ones) (1971) and Kacaklar (The Fugitives) (1971).
However, with 1971's Baba (The Father), Güney again seized the cultural spotlight.
Like Umut, Baba begins as a grimly realistic portrait of a desperate family man under relentlessly miserable circumstances. Güney plays Cemal, a worker who does minor jobs for some gangster/businessmen (in Güney's world the two are usually interchangeable). He tries to find work in Germany, but can't pass a physical. After being told his family will be well provided for, he takes the fall for a crime committed by his rich boss.
Needless to say, his family is not provided for. As it progresses, Baba becomes a more standard revenge picture, not entirely different from Güney's earlier action films. While in prison, Cemal becomes a vengeful, well-respected tough guy.
The film's uneasy embrace of benevolent gangsterism flies in the face of the incisive class politics of its earlier scenes. Whereas Umut drifted towards a surreal kind of poetry, Baba displays a populist anger that suggests Güney was trying to create a cinema that would encompass both his personae, that of the Marxist artist and the populist roughneck.
Over and over, one finds these tonal shifts in Güney's films. They begin as grim portraits of social anguish, and then veer off in bizarre, sometimes contradictory directions. A less generous view might suggest that Güney didn't quite know what to do with his stories – that he was very good at portraying societal despair, but was at a loss for developing resonant stories out of it. But the shifts seem too planned, too deliberate, to be chalked up to mere inadequacy. Güney's work has been compared to that of Third World filmmakers such as Glauber Rocha or American “primitives” such as Samuel Fuller. But perhaps a more appropriate comparison is to the Italian filmmaker Pier Paolo Pasolini, with whom Güney shares a distinctly anti-Utopian, renegade classicism. The Turkish critic Atilla Dorsay has written of the director's films as classical tragedies.
Güney's tonal shifts might be better understood in that light: As in Pasolini's Teorema (1968) and Porcile (1969), political awakening often leads to social and psychic meltdown.
النشاط الأخير
