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203
ÖZET
Latin Amerika sineması, dünya sinema tarihi açısından önem arz etmektedir.
Bu önemin kökenleri 1960’larda oluşmaya başlayan muhalif sinema hareketlerinden
kaynaklanmaktadır. 1960’lar sinemada politik radikalleşmenin en üst seviyeye çıktığı
dönemdir. Politik düzene bağımlı olarak son bulan muhalif sinema hareketlerinin
ardından 1995’den sonra Latin Amerika’da yeni bir sinemaya oluşmaya başlamıştır.
Bu yeni sinemanın sinema hareketleri ile bağlantıları ve farklılıkları bulunmaktadır.
Latin Amerika sineması toplumsal bir sinemadır. Sömürgeci geçmiş,
melezlik, azgelişmişlik, gecekondulaşma, gerilla mücadeleleri, diktatörlükler ve
toplumsal baskılar gibi toplumsal hayatı etkileyen faktörler sinemanın yönünü
çizmesini sağlamıştır. Toplumsal dinamikler hem üretim açısından etkili olurken,
diğer yandan sinema tematik kaynağını toplumun bu çeşitliliğinden alır. Sinema
üretiminin önündeki en önemli belirleyici devletler olmuş ve devletlerin sinemaya
müdahalesini azalttığı zamanlarda alternatif sinema hareketleri oluşabilmiştir.
‘Üçüncü sinema” Latin Amerika kaynaklı bir terimdir. Bu terimi bulan
Fernando Solanas ve Octavio Getino’ya göre “birinci sinema” ticari, “ikinci sinema”
kişisel sinemadır. “Üçüncü sinema” ise politik sinema olmalıdır. Sinemanın halkı
etkileme yetisi vardır ve bunu halkı aydınlatmak ve harekete geçirmek için
kullanmalıdır. Latin Amerika’da 1960’lardaki muhalif sinema hareketlerinin hepsi
“üçüncü sinema” kavramının içine sokulur. Günümüz sineması ise tematik olarak
1960’larla benzerlikler barındırmasına rağmen “üçüncü sinema”nın devamı
niteliğinde değildir.
204
ABSTRACT
The cinema of Latin America is important for the history of world cinema.
The origins of this importance are coming from the opposing cinema movements of
1960s. 1960s were the peak point of political radicalism in cinema. After the ending
of opposing cinema movements by the force of politics, there is a new cinema
starting to establish after the year 1995. There are lots of similarities and differences
of this new cinema and the historical cinema movements.
The cinema of Latin America is a social cinema. The facts affect society like,
colonialism, hybridism, underdevelopment, guerilla movements, dictatorships and
societal pressure also make cinema to choose its path. These facts are important for
production and also the cinema takes its subject from its society. States are the first
determining factor in film production and alternative cinema movements may
establish in the times when the state involvement decrease.
“Third cinema” is a term coming from Latin America. For Fernando Solanas
and Octavio Getino “first cinema” is commercial, “second cinema” is personal and
“third cinema” must be political. Cinema has the power of influencing people and
has to use this power for enlightening people. All of the opposing cinema movements
of 1960s can be situated in “third cinema”. However, the cinema of today is not the
continuation of “third cinema”.
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