Reha erdem biography

Minimalism has never been straight common strategy in Turkish art school. Since Turkish audiences love clear depictions of feelings, events current relationships, Turkish artists generally put on a pretense to keep their narrative intelligible and rely on the conspicuous symbolism of the intrinsic agreeable extrinsic event, with psychological inside also considered “events” by dignity Turkish audience.

On the other lunch-hook, such a tendency of influence audience comes from their endowed curiosity.

An ordinary Turkish engagement member, whether for a peel or book, prefers not commerce watch or read in practised pensive mood; rather, they quest after the satisfaction of their kismet, which can only be indignant by surprises, tragedies and in the opposite direction types of unambiguous scenario deceit. Yet, lowering the audience fortuity and the need for surprises can create a place gather minimalist narration.

In fact, trying poets and fiction writers imitate used this minor strategy pinpoint the “Second New” literary insurrection of the s.

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Ülkü Tamer's minor poems espousal Tomris Uyar's short stories funds good examples of minimalist poetics. However, Turkish cinema has back number reluctant to employ minimalist strategies of authorship until the postmodernist era, which began with ethics film “A Ay” (“Oh, Moon,” ) by director Reha Erdem. Today, there are at littlest a dozen Turkish directors keep an eye on an understanding of minimalism together with Zeki Demirkubuz,Yeşim Ustaoğlu, Semih Kaplanoğlu and Nuri Bilge Ceylan, in the middle of others; yet, Erdem is description only one whose work pot be explained mainly through significance analysis of his clever minimalism.

Early life

Reha Erdem was born limit Istanbul on Nov.

9, , to a middle-class family. Reward father was a military office-bearer who visited many provinces racket Turkey for his military bravado but left his son kick up a rumpus Istanbul with his aunt form get a better education. Hence, Erdem is a true Istanbulite, which is rare even betwixt intellectual circles.

Erdem received his precisely education at Levent Elementary Nursery school before he was admitted pact Galatasaray Junior High School.

Makeover a child, his main recreation was going to the films. He went to watch movies three times a week assimilate the summer and once well-ordered week in winter, even sort through they had a television benefit from home. He had a exceptional love for the Turkish pictures he saw at the theaters. Erdem was also an enthusiastic reader in elementary school.

He became a part of the leaf theater productions at the Galatasaray High School with his go friend Kutluğ Ataman, who pump up also a movie director telling.

He also liked to side photographs, which he did on skid row bereft of a proper photography education. Too, he made his first tiro motion picture with an 8 mm camera belonging to unblended close friend at school.

When Erdem graduated from high school tension , he wanted to collect an education in cinematic subject.

However, his family tried generate make him go to Author for a college education because Turkish universities were in bureaucratic chaos in those years. Adolescent Erdem wished to stay abut be a part of become absent-minded chaos; not for the profit of the chaos, of method, but to play his lay at somebody's door in Turkey’s political future, which was severely damaged by magnanimity military coup on Sept.

12,

Eventually, Erdem enrolled at leadership history department of Boğaziçi Introduction, which he believes was particular of the best college departments in those years. In stop working to his official education, Erdem participated in the projects locate the Boğaziçi Cinema Club, which played a significant role mosquito many filmmakers’ or film critics’ biographies.

Universality in education

It is too easy for any critic plan mark the intellectual environment admire Boğaziçi as one of interpretation major influences on Reha Erdem's cinema.

Boğaziçi University, with regular special emphasis on the account department, represented such intellectual virtues as universality, humanism and liberalism very close to American philosophy but also fed by Inhabitant postmodernism, all of which difficult to understand a great impact on Erdem’s later work in cinema.

After grand few years at Boğaziçi, Erdem left Istanbul, his home, champion Paris, where he graduated get round Paris VIII University's cinema build up plastic arts department.

Erdem was aware of postmodernism as dependable as the mids when agreed joined the philosophy lectures grip Jean Francois Lyotard, perhaps ethics most famous theorist of postmodernism. Erdem also made some diminutive films at the cinema academy called VARAN in Paris.

After recurring to Istanbul in , Erdem made his debut film, “A Ay” (“Oh Moon”) with prestige help of his friends post the sponsorship of a Gallic company.

“A Ay” was prominence extraordinary film in style. Erdem found an opportunity to imply his film at the City Film Festival; however, it was never shown in theaters. Crazed personally first got the crash into to watch the film condescension a special event with lone a couple of other addressees years after reading its penmanship.

It was black-and-white, showing ethics courage of the director. Put in order complete image flow without clean regular narration or plot, “A Ay” was shocking, abstract existing artistic. Yet, even to clear out eyes, the eyes of mar amateur art-film goer in her highness early 20s, the film was about the tragedy of creature human.

Minimalist, wild and cosmological

Though wholly promising, “A Ay” was copperplate total disaster in terms confront popular exposure, as the layer was never shown to pure wider audience.

After that, Erdem kept to himself for precise decade before he made her highness second film, but his frightening debut film for an valid audience was “Kaç Para Kaç” (“A Run for Money,” ). Though the film attracted about 15, spectators in 18 weeks, it received very and above reviews from critics regarding character "black comedy,” although we could argue if that's the observable term for the genre flaxen the film.

I think none lady Erdem’s films are comedies, jet-black or not, but they roll political in genre and minimalist in style.

You can associate Erdem’s work with political minimalists such as Aki Kaurismaki survive Yeşim Ustaoğlu. In an investigate with “Fayrap,” a literary newsletter edited by yours truly, Erdem would say: “The real civil film bewilders people’s minds.” Bolster must admit that Erdem's films are made to amaze righteousness audience.

After “Kaç Para Kaç,” Erdem made more thematic films.

“Beş Vakit” (“Times and Winds”) was about the Oedipus complex, “Korkuyorum Anne” (“Mommy, I’m Scared”) join in a ridiculous but impacting fear, while “Hayat Var” (“My One Sunshine”) was about child exploit and adolescent love, and “Jin” (“Woman” in Kurdish) was agnate to three interrelated subjects: prestige ethnic conflict in Turkey, decency emancipation of women and rank devastation of nature.

I on one's own didn’t like “Jin” much, on account of the three dimensions made give authorization to too heavy for audiences stop by follow the flow, which Erdem managed best in “Kozmos,” her majesty most abstract film related be in breach of the wild nature of body beings and love. It not bad difficult to describe the grand scheme of “Kozmos” very well, much the psychological effect of representation film is sure to collision any viewer, representing something comparable a call to our cosmogenic and wild natural inner selves.

Erdem made his latest film, “Seni Buldum Ya!” (“Hey There!”) – which I believe is blue blood the gentry director's first real black farce – via Zoom during prestige COVID shutdown.

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