Seksizle31 About Turkısh cınema

Art is isolated from the socio-cultural and political context," veteran filmmaker who directed the text Erksan criminals among us (1964) for elaborate narrative of sophisticated style and a solid history of crime. Ekrem Bora, Belgin Doruk, Leyla Sayar movie starring Tamer Yiğit, blackmail and theft, living the life of mistress vamp stereotype (typification), jazz music, the women who frequent strip clubs, a wide-lens shots, and the slums created by the contradictions of modern life in Istanbul , a black film (film noir) that kapılmamızı feeling watching some of the dominant cinematic elements. Text Erksan, the oppositions between social classes taking advantage of the stunning reflections of different classes of crime are discussed. Film lerindekini Hollywood style reminiscent of the classic era of crime and criminal pathology, so expertly processed. Dry Summer (1964), snakes Avenge (1962), Love Time (1965), Shaft (1968) as we have seen in films such as the masterful director in this film, has incorporated sexual imagery and fetish objects, has signed one of the masterpieces of Turkish cinema.

The central issue in jazz music flowed generic class contradiction Aramızda'da Criminals. Text Erksan "property trilogy," the name given contains a total of phenomena can be dealt with in this film looks at issues. Respectively; snakes Avenge (1962), Dry Summer (1964) and Kuyu'da (1968) in various indicators of the phenomenon of property overlooking the auteur here, too, have tried to reflect the class contradiction problematize the bourgeoisie. Hayat in 1962, the unequal living conditions and suffering of the 1960s, signed by the director in many  films-which  focuses on the contradictions of class this semester, she will accept that the most successful period in the cinematic sense-has chosen to repeat similar themes in terms of different phenomena and foundations , as will a auteur'ün pratize ...

Laz wealthy upstart Halis Bey (Captain Citation) spoiled and arrogant son, Mumtaz (Ekrem Bora), wife of proletarian origin Demet'i (Belgin peak) together with loving, seductive and attractive as a mistress, "has" (Leyla Sayar Nükhet role ). "Has" because it used to buy a spoiled bourgeois. At the same time dominate the relationship with the secretary. A secretary appeared on stage with him on the table after the emergence emrettikten, skull, full of hitting passes between her legs and garters pulling her legs, kissing, stroking, says: "Do not worry, I get forty-two ..."

Yes. These are the last words of Mümtaz. Even in death Mümtaz "Vanity's favorite sin." Erksan Mümtaz'a söyletmesi the above words, a great class to take criticism from people, is an indication of interest made ​​against the so-called bourgeoisie. Psychology and related diseases Tunc Basaran, Big Kin (1967) in the movie's theme. Rich (Reha Yurdakul), his father provided him everything, but psychotic young man who showed no interest and affection (Yildirim Gencer) dropped a serious existential emptiness and anger accumulated in a proletarian (Ayhan Isik) throw up the murder of his family with his friends. This young man has similar characteristics, and nearly Mümtaz mood. Wealth, luxury, tranquility getirmeyeceği thesis in Turkish cinema , as in the classical period of American cinema temalardandır repeatedly committed. Angel Preminger'ın Face'ini Otto (1952, ambitious Spirits / Angel Face), or Lewis Milestone The Strange Love of Martha Ivers'ını (1946, Strange Love of Martha Ivers'ın) You can refer to in this context.

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