Şakir Sırmalı’s Influence on Discourse About Film in the 1950s
Revisiting the Abbas Kiarostami’s Şirin in Context of the Cinema, the Audience, and the Possibilities of Cinematography
March , 2010
Primary Language tr
Subjects Art
Journal Section Features

Author: Tunç YILDIRIM (Primary Author)
Institution: Université Paris 1 Panthéon-Sorbonne Institut d’art et d’archéologie
Country: France

Dates Publication Date : May 10, 2019

This article examines the history of Turkish cinema from a cultural perspective. By drawing on articles written by the director Şakir Sırmalı and certain polemical responses to them, it evaluates his impact on film circles in Turkey in the 1950s. Sırmalı was excluded from professional and critical circles while attempting to raise awareness of problems within the Turkish film industry. His professional career as a director and producer ended abruptly, because his distinctive film-making style did not suit the cultural, social, and economic conditions of the film industry at the time.

Şakir Sırmalı, Falih Rıfkı Atay, Adnan Ufuk (Nijat Özön), Yılmaz Gruda, Semih Tuğrul, Halit Refiğ, Metin Erksan, Lütfi Akad, Burhan Arpad, Unutulan Sır (Forgotten Secret, 1947), Efelerin Efesi (The King of Social Bandits, 1952), Vahşi İntikam (Violent Revenge, 1955), Kamelyalı Kadın (The Lady of the Camellias, 1957), official (Ankara) censorship, tax reduction, Association of Turkish Film Friends