A panorama of Ersan Kuneri or Yesilsam

The series is the story of former sex film director Erson Kuneri, who, after his release from prison in 1981, was not deceived by his friends’ sexual urges at Yesilkam, and decided to take a different direction in his film career, shooting different genres.

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Murat Tirpan

Caution, this article may contain spoilers.

Recently, there has been a desire to “see the big picture” of the Turkish TV series, drawing a panorama of the country, their multi-character stories, attempts to talk about many things and their fragmented structure. Of course, this enthusiasm is not a bad thing, it is also important that our country’s cinema, which has become narrow and minimal, tends towards multi-part and multi-structured work. Of course, there may be a concern that viewers may not see the details from a wide angle, but this method, which we will illustrate in a snap with the TV series It Is Ginger and the ghost of the movie, shows us when a good study can penetrate into the big details. .

Of course when the movie discovered Wide Angle, it was considered a revolution, it could be said, but let’s go further back. When the British travel portrait painter Henry Aston Barker (1774-1856) came to Istanbul in 1799 and drew views of Istanbul from different angles from the Galata Tower, he probably did not know that his work would make a big difference. Later, the large-sized Istanbul Panorama, which was made by combining these drawings, copies of which you can find in many tourist shops in Galata, will be on display in London between 1801-1802. Of course, the works did not stop with the work of Barker, who is regarded as the inventor of the panorama, the term “creating a panorama” appeared and after that, not only cities, but also many historical events or war panoramas were created. . As Holbin’s ambassadors played with his perspective on the history of painting, it was about “looking crookedly”, so Barker’s panorama was worth a wide view. All of these paintings by Barker provide a structural idea of ​​what cities (and historical events) are like, creating a starting point for understanding the opposite of “close-up” obscenity.

As you can see, I’m trying to connect the panoramic with Cem Yılmaz’s TV series Ersan Kuneri released this week. Excluding everything related to the series, what Yılmaz has done is to create a Yeşilçam panorama, considering that the format of the series is also very suitable for “pan”. Ersan Kuneri’s life and works give a glimpse of that time, as one might expect from a biography. Of course, this is a very entertaining panorama, not as irresistible as might be expected. In this sense, the series bears a resemblance to the Yesilcom movie poster exhibitions that are often seen in halls and galleries. Cem Yılmaz travels all genres like melodrama, detective, arabesque, fantastic, religious and social films that we see standing side by side in these hand drawn posters to recreate one in each episode. In this sense, it gives more material to a generation that has grown up with Yesilcom than the Z generation and is familiar with all its clichs.

The series is the story of former sex film director Erson Kuneri, who, after his release from prison in 1981, was not deceived by his friends’ sexual urges at Yesilkam, and decided to take a different direction in his film career, shooting different genres. Of course, Kuneri doesn’t think about being a Hammet Asilkan (film director of unforgettable love), he doesn’t have high artistic concerns, all he wants is to close old notebooks and try new things and make money. Of course, he knows they won’t give him an award like he said, but the decent films that do well are a success for “Kunery Film.” Throughout the eight episodes, we see Kuneri’s chronological life story, the transformation of art and, of course, the films he shot. These movies, which are included in each episode, can be seen even from their own I would love that Kuneri’s personal stories, conflicts, what’s going on in the industry and the solutions to all of these are written more completely in the series, this is the biggest hurdle in the series, if any. , Just as Barker is not avoiding the details of the Istanbul or Waterloo wars. His strongest point is that he creates a kind of depth in the Yesilcom frame, just as he draws one by one. It’s okay not to be serious when doing this kind of “Yeşilçam archeology” If viewers have had fun with this laziest film over the years, we can do it now

Kuneri is certainly not the first time that Yesilsam has been parodied before. Activities such as the prostitute Byzantium or Arabica have at times brought humor to commercial Icylsum films, exaggerating the irrational narrative structure of these songs. The difference between Cem Yılmaz’s work, of course, is that it brings a broader perspective, as we have mentioned, on the one hand, but on the other hand, there is an important innovation in the series in terms of the source of humor. Humor in Kuneri stems from “bringing the stereotype back to denotation”, in a sense, its direction. I apologize to the reader who is waiting for an article suitable for Kunery’s entertainment and try to open this issue.

The “funny” part of Cem Yılmaz’s movie, instead of the “black” part, has a basic humorous method on which it is based, where “Turkish” is combined with “foreign” in different contexts. Humor derived from observations of this Turkish state is the source of Yılmaz’s best jokes. It can be seen not only in movies like Gora, Arog, Yahsi Bati, but also in his latest work Karakamik Films. Of course, we should add humor that comes from the director’s references to Turkish and world cinema (or popular culture) or even his own filmography. In Ersan Kuneri, all the panoramic and entertaining references remain, but when the clich সম্পর্কেs about Yesilcom clear their meaning, the series becomes the funniest.

Basically, when the literal meaning of a gesture or expression turns into a clich, it becomes a social and functional action. The handshake, for example, which literally conveys the message “I want to show you that I don’t have a gun,” has become a clich সময়ের over time, meaning “I’m open to a social contract with you.” In this context, story clich মতোs like Yesilcom consist of repetitions that have moved away from their literal meaning and acquired other social meanings. For example, a blind woman’s clich line, “I see!” Far from revealing being able to see again, it has another meaning and it has been repeated, it shows that the power of love can conquer all. Here at Irsan Kuneri, Cem Yılmaz often makes comedy by bringing Clichy back to the literal level, which is very successful.

For example, the idea that Arabic music hurts people turns into the fact that the music played in the movie “Doyamam” really makes the audience sick. Bad Male, the commissioner’s complaint that people who “don’t drink, the joke” can get direct answers from people, “we don’t drink,” says Kuru Murad, since Byzantium is mostly in Thrace. , Or in one of the funniest examples, the blue box technology really turns into a simple blue plywood box. “Did anyone like Ayhan Ishik come?” Co-gestures, while being a Yesilcom clich, suddenly become fun when they go straight and they become exaggerated like a huge walkie-talkie of bad stuff.

Of course, one of the most important features of irrational humor is the stripping and direction (redundancy) of this meaning. While the use of metaphors, similes, and finally the creation of clichs is considered clever by viewers, the irrational seems obscene and inspiring. This type of humor works backwards, returning established descriptive techniques to simple meanings. This is actually a very clever case of beating up the middlemen. Because clich হল is about the design-narrative fields that have found an effective common language in the post-modernist world and its repetition in a sure way. The work of art protects itself with this language, which is sure to work (and sell). Yesilcom’s commercial films also repeat the same language in terms of the work art of the time, the clichs always work. On the other hand, it interferes and plays with this post-modern language, temporarily and structurally disrupting the chronology. Similarly, the biggest component of irrational humor is this static money structure. That’s what Ersan Kuneri does.

In Cem Yılmaz, Ersan, ‘The humor he created by comparing the locals to a Turk, a foreigner, one day in Europe, is very much evident in Ersan. This is why we can’t see a movie that we’ve been waiting for since blonde, like Moon Lover. Moreover, he does it without using the dark and gloomy aspects of his dark-comic movie (which is actually quite powerful). Therefore, although Ersan Kuneri seems too old for Sem Ilmaz’s movie, it is the opposite.

In this sense, let’s reverse Yılmaz’s joke that “a Turk is in a foreign land”. Ersan is interesting as a series that foreigners do not understand Turkish. For those who don’t know the clich, the opposite doesn’t make much sense to a foreign audience. All of this may sound bad to “Global Netflix” viewers, but not to us This time, we’re laughing badly, underestimating the stereotypes we used to laugh (and cry).
I don’t end without opening another word. Erson Kuneri’s “pan” movement often turned into an issue of masculinity as a performance. At this point, I would like to comment that this is a broad topic that would suffice to confirm another article, but I would like to emphasize that most of the men in Kuneri’s films were victims of the places where they were “sent.” Kuru Murad is unhappy in Byzantium, where he was sent by his father, to the house of a woman chosen by the consul of the planet Superhero Erman Croton for him in the world, and to educate people in the village where the cooperative Kamal was sent. . Other non-apostle men actually have the same situation. The series often deals with the grievances and complaints of male characters as well as the difficulties and grievances of Erson’s experience as a director in the industry. At this point the “black” part of Ilmaz appears and we are confronted with a “melodramatic masculinity” like the Hokkaido comedian or the ferryboat of Black Funny Films. We see that men with “five ton fists” like Erman, Murad or Kamal, who should be strong, suffer. However, this performance doesn’t make much sense on planet Earth, much like the “Oriental Service to the Universe,” where a dog’s tail is mixed with a horse’s tail. Cem Yılmaz leaves all the men in the series in a “dry” state with mostly dirty language and style. I would like to see this attitude as something like withdrawing masculinity from a functional thing in the case of sex, just as it has been withdrawn from the literal meaning of clich. After all, sexual intercourse is also a performance, and it is significant that men have such problems in the new career of a former sex movie director. Although Kuneri cannot achieve this on her own and continues to do custom-made work stuck in the wheel of art in order not to fall prey, her characters are either rebellious or give up.

In Ersan Kuneri, you can see a lot about Yesilcom and its protagonists, just as we can see a lot of details when we zoom in on Barker’s panoramas. You may even miss them a lot at first sight. Of course, the language used, its abstract structure and sometimes the knot of scale can be criticized, but the viewer can easily understand that Ilmaz is also making fun of this kind of criticism, which can come as a person. Familiar with this. Erson Kuneri is a panorama of Yesilcom with stereotypes, genres, troubled men and women, songs and places, clever and quite funny.

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