 As some of you may already know, my department, Communication and Design, started a series of film screenings. What makes these screenings different from others is that there is not only a film, but a discussion afterwards, moderated by professors from different departments. I did not have the chance to attend the first screening of "Mardi Gras: Made in China" and a discussion led by Professor Erinç Yeldan of the Economics department.
This week's film was Hacivat Karagöz Neden Öldürüldü? (“Who Killed the Shadows?”). Set in Bursa, the film tells the story of the famous traditional shadow theatre figurines Hacivat and Karagöz. In the film they are depicted by two construction workers of the same names, one a sophisticated, educated small-time crook and the other an uneducated, naïve nomad.
I have seen the movie before, but I did not miss the chance to see it again because it is such a magical film, both very funny and very touching. Afterward, Dr. Oktay Özel from the Department of History explained the historical background: The story takes place in the 1330s, the first years of the Ottoman Beylik (Emirate). Özel then answered questions from the audience about historical facts and inaccuracies.
Historical accuracy is an important issue, which we also discuss in our classes from time to time. You all know how it goes: Everytime a historical film is released, discussions immediately start. There is always a historian who claims that the film has inaccurate descriptions of certain details and characters, sometimes even events.
I'd like to give two recent examples. Quentin Tarantino's latest film, “Inglorious Basterds,” is criticized by some circles for depicting Jewish violence on Nazis and distorting this recent period of history. A new TV series has set off recently, called Bu Kalp Seni Unutur Mu, set in the post-coup d'etat period of Turkey. This series is also criticized for paying inadequate attention to details such as sets, props, dialects, choice of words and the appearance of some cast members, all thought to be belonging to the 2000s. So, can history be played with, or can some details be ignored? That is why I admire what Ezel Akay, a.k.a. Ezop, the director of the film, did in the opening credits. He merely calls himself a "narrator," a story-teller, and reminds (or warns) the audience that they are about to watch a fairy tale and whether the events are real or not is not more than a trivial matter. What makes the distinction in my mind is the approximation of the fictive period to today. So Ezel Akay has much more liberty to play with the first years of Ottoman history because there are very few sources of that period anyways. The inaccuracy of the details is not going to change our lives. By contrast, writers and producers of Bu Kalp Seni Unutur Mu have to be much more careful because they are depicting a very recent past, one which had an enormous effect on our society, and it is their responsibility to remain faithful (I will not include “Inglorious Basterds” in this debate, because I believe Tarantino has a different mission than the depiction of historical events.)
Coming back to Hacivat Karagöz Neden Öldürüldü?, I could say that what I really liked about the film, apart from its witty dialogues, was its political criticism, allusions and superb acting. The newly founded Ottoman Emirate seems liberal, fresh state where people of different ethnicities and different faiths live side by side without offending each other. (There are of course exceptions but given the date and the geographical conditions, the situation is better than today). Women wander freely in the streets in their choice of clothing; they join public meetings with men; and they even form defensive forces to protect the city on horse and with swords. The customs of the shamanistic Turcomans are still in effect. There is a general feeling of tolerance within the state, but this "equilibrium" is disturbed by newcomers into the state. However fictive this general scenery, I loved it and wished it were real, wished that the later Turkish societies were also characterized by gender equality and social tolerance.
And a reminder: Next week, on November 4, Wednesday, there will be the third screening of the COMD film series. We will watch Memento and afterwards, Asst. Prof. Hilmi Demir of the Philosophy department will lead the discussion. So don't forget to be at FFB-05 at 5:30 p.m.
By Damla Okay (COMD/V)
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