DISSERTATION
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ARTICLES
Altyazı Fasikül: Özgür Sinema, 2023
2000 Sonrası Türkiye’de Sinema Sansürü yazısının ikinci bölümünde Sonay Ban, Altın Portakal’ın “m... more 2000 Sonrası Türkiye’de Sinema Sansürü yazısının ikinci bölümünde Sonay Ban, Altın Portakal’ın “malum filmi”ni, politik atmosfer bahanesiyle festivallere alınmayan “sakıncalı filmleri” ve Kurak Günler’e uygulanan “finansal sansür”ü ele alıyor.
Yayın tarihi: 11 Ekim 2023
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Altyazı Fasikül: Özgür Sinema, 2023
Son dönem Türkiye’de filmlere uygulanan sansürün çeşitlerini ve mekanizmalarını nasıl anlayabilir... more Son dönem Türkiye’de filmlere uygulanan sansürün çeşitlerini ve mekanizmalarını nasıl anlayabiliriz? Devlet-dışı aktörlerin sansürün uygulayıcısı olduğu vakalar neye işaret ediyor? Konu hakkında akademik çalışmalar yapan Sonay Ban, iki bölümlük yazı dizisine Altın Portakal’ın Kanun Hükmü sansürüyle başlıyor.
Yayın tarihi: 28 Eylül 2023
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Visual Anthropology Review, 2023
I explore how film censorship has increasingly shaped film production and circulation at film fes... more I explore how film censorship has increasingly shaped film production and circulation at film festivals, public screenings, and theatrical releases in post-2000 Turkey. I argue that film censorship in Turkey now works through two levels. First, through direct intervention, whereby state institutions continue to censor film production. Although the renaming of control commissions from previous decades via the 2004 "Cinema Law" creates the illusion that censorship boards have been abolished, fieldwork data proves otherwise. Secondly, state institutions designate various non-state actors as proxies of the state and grant them well-calculated power to employ on their behalf when necessary. I draw upon fieldwork data and case studies to analyze how the political climate in Turkey has suppressed cultural production, freedom of expression, and political resistance to the Justice and Development Party (AKP) government both through bans on artistic expression and processes of delegitimization, targeting, threats, and violence.
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American Anthropologist, Apr 26, 2019
This collection of short essays is adapted from a panel at the 2018 AES/SVA conference organized ... more This collection of short essays is adapted from a panel at the 2018 AES/SVA conference organized around the theme of “Resemblance.” The authors are grappling with long-term dissertation and research projects that wade in the waters of images, technologies, and rumors, and their debris. Engaging in “varying processes of knowledge production that often lead to multiple outcomes,” the authors invite their readers to stand with them in the midst of their thinking, to walk with them in a Bhutanese art gallery, to look sideways at a censored film in Turkey, to hold a book made of repurposed rubbish in Chile (Collins, Durington, and Gill 2017, 143).
The collection draws attention to the role of conference presentations as a key mode in the production of anthropological knowledge—in particular, the serendipity of finding and making unexpected connections through the practice of attending and presenting at conferences. Reading the collection below raises questions about what each piece gains from being part of the whole that the authors may not have had in mind while conducting their fieldwork and, more broadly, the comparative project at the heart of the production of anthropological knowledge. Embracing the spirit of multimodal anthropology, this collection welcomes readers to the messiness and excitement of ideas and images in motion both in the world and as anthropologists interpret them. Recognizing the historical emergence of technologies that make the infrastructures and effects of media ever more invisible (Kittler 1996), the authors of this multimodal collection reflect on how control over representation serves as a conduit for power and as a tool for redirection in response to power. Representations are inseparable from the media through which they circulate, and the essays here ground their analyses in the examination of specific media: cardboard, speech, film, digital images, and paint. The various ethnographic examples help elucidate the material and tangible way power works through representations and the media that facilitate them.
In this way, the authors of this collection participate in a number of key scholarly conversations. The authors follow in Alfred Gell’s (1998, 6) theoretical lineage of attending to the distributed agency of the material, considering various media in terms of a “system of action, intended to change the world rather than encode symbolic propositions about it.” Like Gell, scholars Dilip Gaonkar and Elizabeth Povinelli (2003, 396) have argued that focusing on the circulation of forms in public culture “orients . . . analysis toward the calibration of vectors of power” instead of focusing on “meaning.” So, too, the discussion below recalls W. J. T. Mitchell’s (1996, 82) proposal that images be “seen as complex individuals occupying multiple subject positions and identities” and “not merely a by-product of social reality but actively constitutive of it.” Many of the works examine how socially shared representations or “images” can often turn or be turned to ends other than originally intended.
Providing a series of unique glimpses of media circulation from Uganda, Bhutan, Turkey, Chile, and Thailand, the authors’ contributions illustrate the way that political power, especially local nationalisms, effectively constrains and enables various forms of local media circulation. Sonay Ban’s work argues for reconsidering how we choose to represent censorship, drawing attention to the less direct and more dispersed forms of control over film in recent decades in Turkey. Cecilia Salvi considers how publishers of cartoneras editoriales in Chile turn cardboard, a material seen as worthless or garbage, into a medium for a local literary culture informed by ideas of democracy. Vaia Sigounas’s essay addresses how the image of success in Uganda gets subverted through rumor and what this may say about resistance, inequality, and uncertainty during an election. Bronwyn Isaacs analyzes how various aesthetic regimes of celebrity, Buddhism, and monarchy come to inform each other in the construction of the Thai national imaginary. Jason Hopper’s work describes how Bhutanese artists repurpose national imagery to reconcile their pursuit of free expression with the high value placed on cultural preservation and social harmony.
Media circulation in the late twentieth and early twenty-first centuries is sometimes described as moving along open vectors of distribution according to a political vision “that takes the world rather than the nation as its political space” (Ignatieff 1998, 21). The authors of this multimodal collection attend to local visions of power and the “foreclosures, inhibitions or even ‘stickiness’ that may shape and hinder movement in a world of seemingly open digital vectors” (Spyer and Steedly 2013, 23). Finding unique appropriations and movements of photos, newspapers, paintings, films, cardboard, speech, and other materials, the authors in this collection insist on the ongoing importance of grounded ethnography and attention to local political concerns in the study of contemporary forms of media and representation. At the same time, this diverse group of studies shows how representations continue to circulate and take on new significance through scholarship itself.
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BOOKS
History of documentary cinema in Turkey, in collaboration with Can Candan (MFA) [in Turkish]
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BOOK CHAPTERS (IN TURKISH)
Türkiye Film Araştırmalarında Yeni Yönelimler Sinema Dizisi 15, 2016
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CONFERENCE PRESENTATIONS
Presented at AAA, San Jose, CA.
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THESIS
This study aims to trace the documentary representations of the process of urban transformation c... more This study aims to trace the documentary representations of the process of urban transformation conducted under the AKP government during the 2000s. It examines how different modes of oppositional politics that engage in a critique of neoliberal urban policies of the AKP government are articulated in “urban activism documentaries”. The study entails textual analysis of films as well as interviews with the directors involved in the process of filmmaking. The thesis aims to contribute to the existing literature in urban studies by exploring the area of intersection between urban politics and the politics of representation. It investigates to what extent documentary films can serve as alternative channels of opposition against dominant discourses and practices of urban transformation in Turkey.
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VIDEOS - PODCASTS - INTERVIEWS - INVITED TALKS
Türkiye Sinemasında Sansür ve Otosansür
Mekân: Köşk Etkinlik Salonu
Konuşmacılar: Can Candan, ... more Türkiye Sinemasında Sansür ve Otosansür
Mekân: Köşk Etkinlik Salonu
Konuşmacılar: Can Candan, Sonay Ban
Moderatör: Onur Sefer
1 Haziran 2024 Cumartesi
11.30-12.45
Panelde Türkiye’de filmlere yapılan sansürlerin yanı sıra siyasi baskılar nedeniyle sinemacılar tarafından gittikçe normal kabul edilir olan ve içselleştirilen otosansürün Türkiye sineması üzerine etkileri konuşulacaktır.
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1-11 Mayıs 2024 arası gerçekleşecek 19. Uluslararası İşçi Filmleri Festivali kapsamında, 3 Mayıs ... more 1-11 Mayıs 2024 arası gerçekleşecek 19. Uluslararası İşçi Filmleri Festivali kapsamında, 3 Mayıs 2024 Cuma Saat 17.00'de Kanun Hükmü belgeselinin gösterimi sonrası "Festivallerde Sansür" paneli
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Film censorship in Turkey has been an ongoing practice, just as in many countries around the worl... more Film censorship in Turkey has been an ongoing practice, just as in many countries around the world, since the arrival of cinema at the turn of the 20th century. While the Western approaches to censorship theories from the 1980s onwards prioritize the withdrawal of the state as the primary agency for censorship, practices and mechanisms in Turkey draw a different picture: On one level, film censorship still operates mainly and effectively through state institutions such as the General Directorate of Cinema (GDC) under the Ministry of Culture and Tourism (MoCT). On another level, state institutions simultaneously grant well-calculated power to its designated non-state actors, acting as “proxies of the state” to effectively perform censorship on state’s behalf when needed. They range from festival organizers to nongovernmental organizations (NGOs) tied to large corporations, from art institutions to trade and cinema unions. This talk will provide recent examples from contemporary practices through case studies and display how various financial, cultural, and bureaucratic webs of coalitions, as well as agreements between state institutions and their proxies, pave the way for redefining and maintaining often nonpublic censorship mechanisms and practices as well as overt ones.
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Hyperallergic, 2022
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Aposto , 2022
"Oluşturabileceğimiz her türlü destek ağının, dayanışmaya dair atılacak her türlü adımın üst üste... more "Oluşturabileceğimiz her türlü destek ağının, dayanışmaya dair atılacak her türlü adımın üst üste konulduğunda hepimizi yükselteceğine ve böylelikle umudumuzu kaybetmemize izin vermeyeceğine inanıyoruz."
Susma Platformu’ndan Sumru Tamer ve Dr. Sonay Ban ile platformun çıkıÎ noktası ve ele alınan vakalardaki ortak yönlerin yanı sıra yayıncılıkta yalnızlaÎtırma süreçlerini ve çözüm yollarını konuÎtuk.
Yazar: Dilara H. Kaya
Katılımcılar: Sumru Tamer ve Dr. Sonay Ban
Yayın tarihi: 4 Aralık 2022
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biamag, 2021
Susma Platformu, ifade özgürlüğü ihlallerinin bir çeşidi olan sansür ve otosansür üzerine spesifi... more Susma Platformu, ifade özgürlüğü ihlallerinin bir çeşidi olan sansür ve otosansür üzerine spesifik olarak çalışma fikri sonucu ortaya çıktı. Susma Platformu’nu, platformun çalışmalarını ve sansür uygulamalarını Sumru Tamer ve Sonay Ban ile konuştuk. (Yayın tarihi: 25 Eylül 2021)
Link: https://bianet.org/biamag/ifade-ozgurlugu/250765-sansure-karsi-bir-direnis-susma-plaftormu
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"Bellek ve Belgesel" başlıklı serimiz kapsamında, 30 Haziran 2022'de İstanbul Edebiyat Evi'nde bu... more "Bellek ve Belgesel" başlıklı serimiz kapsamında, 30 Haziran 2022'de İstanbul Edebiyat Evi'nde buluşup "Yollara Düştük" belgeselini izledik. Ardından, yönetmeni Deniz Yeşil ve Sansüre ve Otosansüre Karşı Susma Platformu'nun editörlerinden Sonay Ban ile Mustafa Ünlü'nün moderatörlüğünde sohbet ettik.
O buluşmanın kaydını burada yayınlıyoruz. Yollara Düştük belgeselini ise şu linkte izleyebilirsiniz. https://youtu.be/8axHCQRqjU0
Sinema emekçileri 1977'de yeni sansür tüzüğü ve sosyal hakları nedeniyle yürüyüş kararı aldılar. Sinemanın 60 yılı aşan suskunluğuna da bir son verilecekti. Oyunculardan, set işçileri ve yönetmenlere kadar 400'ü aşkın sinemacı 5 Kasım günü Ankara'ya kadar üç gün sürecek bir yürüyüş başlattı. Halkın şaşkın bakışları ve desteği altında yürüdüler. Bu belgesel, 100 yılı aşan sinema tarihimizin en onurlu anlarından biri olan bu yürüyüşün hikâyesidir.
Yönetmeni Deniz Yeşil, Yollara Düştük için şunları söylüyor: "Türkiye sinemasının bütün tarihi boyunca gerçekleşen en özel anlarından birini anlattım. 1977 yılında sinemanın yükünü değişik sıfatlarla sırtlamış herkesin 'sinema emekçileri' adı altında birleşmiş olması ve tarihimizde bir daha rastlanmamış olan bir mücadele içine girmiş olması çok değerli... Bu film o deneyimin unutulmamasına ve sinema tarihindeki eşsiz yerini almasına bir katkı sunmayı amaçlıyor."
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Eşit Haklar İçin İzleme Derneği [The Association for Monitoring Equal Rights], 2022
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Uploads
Yayın tarihi: 11 Ekim 2023
Yayın tarihi: 28 Eylül 2023
The collection draws attention to the role of conference presentations as a key mode in the production of anthropological knowledge—in particular, the serendipity of finding and making unexpected connections through the practice of attending and presenting at conferences. Reading the collection below raises questions about what each piece gains from being part of the whole that the authors may not have had in mind while conducting their fieldwork and, more broadly, the comparative project at the heart of the production of anthropological knowledge. Embracing the spirit of multimodal anthropology, this collection welcomes readers to the messiness and excitement of ideas and images in motion both in the world and as anthropologists interpret them. Recognizing the historical emergence of technologies that make the infrastructures and effects of media ever more invisible (Kittler 1996), the authors of this multimodal collection reflect on how control over representation serves as a conduit for power and as a tool for redirection in response to power. Representations are inseparable from the media through which they circulate, and the essays here ground their analyses in the examination of specific media: cardboard, speech, film, digital images, and paint. The various ethnographic examples help elucidate the material and tangible way power works through representations and the media that facilitate them.
In this way, the authors of this collection participate in a number of key scholarly conversations. The authors follow in Alfred Gell’s (1998, 6) theoretical lineage of attending to the distributed agency of the material, considering various media in terms of a “system of action, intended to change the world rather than encode symbolic propositions about it.” Like Gell, scholars Dilip Gaonkar and Elizabeth Povinelli (2003, 396) have argued that focusing on the circulation of forms in public culture “orients . . . analysis toward the calibration of vectors of power” instead of focusing on “meaning.” So, too, the discussion below recalls W. J. T. Mitchell’s (1996, 82) proposal that images be “seen as complex individuals occupying multiple subject positions and identities” and “not merely a by-product of social reality but actively constitutive of it.” Many of the works examine how socially shared representations or “images” can often turn or be turned to ends other than originally intended.
Providing a series of unique glimpses of media circulation from Uganda, Bhutan, Turkey, Chile, and Thailand, the authors’ contributions illustrate the way that political power, especially local nationalisms, effectively constrains and enables various forms of local media circulation. Sonay Ban’s work argues for reconsidering how we choose to represent censorship, drawing attention to the less direct and more dispersed forms of control over film in recent decades in Turkey. Cecilia Salvi considers how publishers of cartoneras editoriales in Chile turn cardboard, a material seen as worthless or garbage, into a medium for a local literary culture informed by ideas of democracy. Vaia Sigounas’s essay addresses how the image of success in Uganda gets subverted through rumor and what this may say about resistance, inequality, and uncertainty during an election. Bronwyn Isaacs analyzes how various aesthetic regimes of celebrity, Buddhism, and monarchy come to inform each other in the construction of the Thai national imaginary. Jason Hopper’s work describes how Bhutanese artists repurpose national imagery to reconcile their pursuit of free expression with the high value placed on cultural preservation and social harmony.
Media circulation in the late twentieth and early twenty-first centuries is sometimes described as moving along open vectors of distribution according to a political vision “that takes the world rather than the nation as its political space” (Ignatieff 1998, 21). The authors of this multimodal collection attend to local visions of power and the “foreclosures, inhibitions or even ‘stickiness’ that may shape and hinder movement in a world of seemingly open digital vectors” (Spyer and Steedly 2013, 23). Finding unique appropriations and movements of photos, newspapers, paintings, films, cardboard, speech, and other materials, the authors in this collection insist on the ongoing importance of grounded ethnography and attention to local political concerns in the study of contemporary forms of media and representation. At the same time, this diverse group of studies shows how representations continue to circulate and take on new significance through scholarship itself.
Mekân: Köşk Etkinlik Salonu
Konuşmacılar: Can Candan, Sonay Ban
Moderatör: Onur Sefer
1 Haziran 2024 Cumartesi
11.30-12.45
Panelde Türkiye’de filmlere yapılan sansürlerin yanı sıra siyasi baskılar nedeniyle sinemacılar tarafından gittikçe normal kabul edilir olan ve içselleştirilen otosansürün Türkiye sineması üzerine etkileri konuşulacaktır.
News article by Jennifer Hattam, published on December 20, 2022
Link: https://hyperallergic.com/788811/turkey-targets-film-deemed-lgbt-propaganda-kurak-gunler/
Susma Platformu’ndan Sumru Tamer ve Dr. Sonay Ban ile platformun çıkıÎ noktası ve ele alınan vakalardaki ortak yönlerin yanı sıra yayıncılıkta yalnızlaÎtırma süreçlerini ve çözüm yollarını konuÎtuk.
Yazar: Dilara H. Kaya
Katılımcılar: Sumru Tamer ve Dr. Sonay Ban
Yayın tarihi: 4 Aralık 2022
Link: https://bianet.org/biamag/ifade-ozgurlugu/250765-sansure-karsi-bir-direnis-susma-plaftormu
O buluşmanın kaydını burada yayınlıyoruz. Yollara Düştük belgeselini ise şu linkte izleyebilirsiniz. https://youtu.be/8axHCQRqjU0
Sinema emekçileri 1977'de yeni sansür tüzüğü ve sosyal hakları nedeniyle yürüyüş kararı aldılar. Sinemanın 60 yılı aşan suskunluğuna da bir son verilecekti. Oyunculardan, set işçileri ve yönetmenlere kadar 400'ü aşkın sinemacı 5 Kasım günü Ankara'ya kadar üç gün sürecek bir yürüyüş başlattı. Halkın şaşkın bakışları ve desteği altında yürüdüler. Bu belgesel, 100 yılı aşan sinema tarihimizin en onurlu anlarından biri olan bu yürüyüşün hikâyesidir.
Yönetmeni Deniz Yeşil, Yollara Düştük için şunları söylüyor: "Türkiye sinemasının bütün tarihi boyunca gerçekleşen en özel anlarından birini anlattım. 1977 yılında sinemanın yükünü değişik sıfatlarla sırtlamış herkesin 'sinema emekçileri' adı altında birleşmiş olması ve tarihimizde bir daha rastlanmamış olan bir mücadele içine girmiş olması çok değerli... Bu film o deneyimin unutulmamasına ve sinema tarihindeki eşsiz yerini almasına bir katkı sunmayı amaçlıyor."
Podcast yayın tarihi: 27 Mayıs 2022
Link: https://www.esithaklar.org/2022/05/podcast-yasaksiz-meydan-32-yasaklarin-anatomisi-once-hedef-goster-sonra-yasakla/
Yayın tarihi: 11 Ekim 2023
Yayın tarihi: 28 Eylül 2023
The collection draws attention to the role of conference presentations as a key mode in the production of anthropological knowledge—in particular, the serendipity of finding and making unexpected connections through the practice of attending and presenting at conferences. Reading the collection below raises questions about what each piece gains from being part of the whole that the authors may not have had in mind while conducting their fieldwork and, more broadly, the comparative project at the heart of the production of anthropological knowledge. Embracing the spirit of multimodal anthropology, this collection welcomes readers to the messiness and excitement of ideas and images in motion both in the world and as anthropologists interpret them. Recognizing the historical emergence of technologies that make the infrastructures and effects of media ever more invisible (Kittler 1996), the authors of this multimodal collection reflect on how control over representation serves as a conduit for power and as a tool for redirection in response to power. Representations are inseparable from the media through which they circulate, and the essays here ground their analyses in the examination of specific media: cardboard, speech, film, digital images, and paint. The various ethnographic examples help elucidate the material and tangible way power works through representations and the media that facilitate them.
In this way, the authors of this collection participate in a number of key scholarly conversations. The authors follow in Alfred Gell’s (1998, 6) theoretical lineage of attending to the distributed agency of the material, considering various media in terms of a “system of action, intended to change the world rather than encode symbolic propositions about it.” Like Gell, scholars Dilip Gaonkar and Elizabeth Povinelli (2003, 396) have argued that focusing on the circulation of forms in public culture “orients . . . analysis toward the calibration of vectors of power” instead of focusing on “meaning.” So, too, the discussion below recalls W. J. T. Mitchell’s (1996, 82) proposal that images be “seen as complex individuals occupying multiple subject positions and identities” and “not merely a by-product of social reality but actively constitutive of it.” Many of the works examine how socially shared representations or “images” can often turn or be turned to ends other than originally intended.
Providing a series of unique glimpses of media circulation from Uganda, Bhutan, Turkey, Chile, and Thailand, the authors’ contributions illustrate the way that political power, especially local nationalisms, effectively constrains and enables various forms of local media circulation. Sonay Ban’s work argues for reconsidering how we choose to represent censorship, drawing attention to the less direct and more dispersed forms of control over film in recent decades in Turkey. Cecilia Salvi considers how publishers of cartoneras editoriales in Chile turn cardboard, a material seen as worthless or garbage, into a medium for a local literary culture informed by ideas of democracy. Vaia Sigounas’s essay addresses how the image of success in Uganda gets subverted through rumor and what this may say about resistance, inequality, and uncertainty during an election. Bronwyn Isaacs analyzes how various aesthetic regimes of celebrity, Buddhism, and monarchy come to inform each other in the construction of the Thai national imaginary. Jason Hopper’s work describes how Bhutanese artists repurpose national imagery to reconcile their pursuit of free expression with the high value placed on cultural preservation and social harmony.
Media circulation in the late twentieth and early twenty-first centuries is sometimes described as moving along open vectors of distribution according to a political vision “that takes the world rather than the nation as its political space” (Ignatieff 1998, 21). The authors of this multimodal collection attend to local visions of power and the “foreclosures, inhibitions or even ‘stickiness’ that may shape and hinder movement in a world of seemingly open digital vectors” (Spyer and Steedly 2013, 23). Finding unique appropriations and movements of photos, newspapers, paintings, films, cardboard, speech, and other materials, the authors in this collection insist on the ongoing importance of grounded ethnography and attention to local political concerns in the study of contemporary forms of media and representation. At the same time, this diverse group of studies shows how representations continue to circulate and take on new significance through scholarship itself.
Mekân: Köşk Etkinlik Salonu
Konuşmacılar: Can Candan, Sonay Ban
Moderatör: Onur Sefer
1 Haziran 2024 Cumartesi
11.30-12.45
Panelde Türkiye’de filmlere yapılan sansürlerin yanı sıra siyasi baskılar nedeniyle sinemacılar tarafından gittikçe normal kabul edilir olan ve içselleştirilen otosansürün Türkiye sineması üzerine etkileri konuşulacaktır.
News article by Jennifer Hattam, published on December 20, 2022
Link: https://hyperallergic.com/788811/turkey-targets-film-deemed-lgbt-propaganda-kurak-gunler/
Susma Platformu’ndan Sumru Tamer ve Dr. Sonay Ban ile platformun çıkıÎ noktası ve ele alınan vakalardaki ortak yönlerin yanı sıra yayıncılıkta yalnızlaÎtırma süreçlerini ve çözüm yollarını konuÎtuk.
Yazar: Dilara H. Kaya
Katılımcılar: Sumru Tamer ve Dr. Sonay Ban
Yayın tarihi: 4 Aralık 2022
Link: https://bianet.org/biamag/ifade-ozgurlugu/250765-sansure-karsi-bir-direnis-susma-plaftormu
O buluşmanın kaydını burada yayınlıyoruz. Yollara Düştük belgeselini ise şu linkte izleyebilirsiniz. https://youtu.be/8axHCQRqjU0
Sinema emekçileri 1977'de yeni sansür tüzüğü ve sosyal hakları nedeniyle yürüyüş kararı aldılar. Sinemanın 60 yılı aşan suskunluğuna da bir son verilecekti. Oyunculardan, set işçileri ve yönetmenlere kadar 400'ü aşkın sinemacı 5 Kasım günü Ankara'ya kadar üç gün sürecek bir yürüyüş başlattı. Halkın şaşkın bakışları ve desteği altında yürüdüler. Bu belgesel, 100 yılı aşan sinema tarihimizin en onurlu anlarından biri olan bu yürüyüşün hikâyesidir.
Yönetmeni Deniz Yeşil, Yollara Düştük için şunları söylüyor: "Türkiye sinemasının bütün tarihi boyunca gerçekleşen en özel anlarından birini anlattım. 1977 yılında sinemanın yükünü değişik sıfatlarla sırtlamış herkesin 'sinema emekçileri' adı altında birleşmiş olması ve tarihimizde bir daha rastlanmamış olan bir mücadele içine girmiş olması çok değerli... Bu film o deneyimin unutulmamasına ve sinema tarihindeki eşsiz yerini almasına bir katkı sunmayı amaçlıyor."
Podcast yayın tarihi: 27 Mayıs 2022
Link: https://www.esithaklar.org/2022/05/podcast-yasaksiz-meydan-32-yasaklarin-anatomisi-once-hedef-goster-sonra-yasakla/
Geçtiğimiz haftalarda yayınlanan 2021 raporunun giriş bölümünde yer alan Avukat Figen A. Çalıkuşu’nun şerh yazısında belirtildiği gibi “ temel hak ve özgürlükler açısından değişen bir şey yok… Ha 2020, ha 2021… Tek yumurta ikizleri gibiler…” diyebilsek de; bu çok kıymetli çalışmanın demokratif kamuoyu açısından kıymetinden de hiç şüphemiz yok.
Açık Dergi'de her yıl olduğu gibi Platform'a bağlanıyor 2021 yılının sansür gündemini, süregiden baskıları ve kültürel alanda uygulanan yeni tahakküm biçimlerini konuşuyoruz."
Podcast kaydı: 23 Şubat 2022
Link: https://acikradyo.com.tr/acik-dergi/suregiden-baski-ve-yeni-tahakkum-bicimleri/
Link: https://www.youtube.com/watch?v=jB_bXz5C1Nc
Fırat Yücel ve Ekrem Buğra Büte’nin hazırladığı Fasikül, her ayın son çarşambası Açık Radyo’da yayında.
Susma Platformu’nun faaliyetlerini takip etmek için: https://susma24.com/"
Podcast'in tüm deşifresine buradan ulaşılabilir: https://fasikul.altyazi.net/soylesi/zamansalligin-onemi-susma-platformu-ile-sinemada-sansur-ve-otosansur-uzerine
Podcast kaydı: 29 Temmuz 2021
Link: https://acikradyo.com.tr/fasikul/susma-platformuyla-sansur-ve-otosansur-uzerine
This conference is sponsored by the International Herbert Marcuse Society. The conference took place between June 22 and 24, 2022, and was hosted by the Departments of Political Science and International Relations, Sociology, and Philosophy at Boğaziçi University (Istanbul, Turkey).
Bu raporda geçen vakalara konu olmuş kişilere, kurumlara ve topluluklara bize verdikleri bilgiler için; rapora katkıda bulunanlara yaptıkları önemli değerlendirmeler için; Susma Platformu’nun bu sene 120 oluşumu geçen katılımcı ağına, sansür ve otosansüre karşı bir arada durdukları için; kamuoyuna da çalışmalarımızın önemini her gün tekrar hatırlamamıza sebep olarak platformumuzun çalışmalarını takip ettikleri için teşekkür ederiz.
We would like to extend our gratitude to the individuals, institutions and
organizations mentioned in the cases covered by this report for the information they have provided us; to our contributors for their valuable assessments; to the network of participants of the Speak Up Platform, currently more than 120 organizations, for standing together against censorship and self-censorship, and to members of the public who have followed our work, for reminding us the importance of our daily efforts.