{"id":449,"date":"2026-08-01T08:00:00","date_gmt":"2026-08-01T05:00:00","guid":{"rendered":"https:\/\/ozgurcedergi.com\/?p=449"},"modified":"2026-08-01T10:01:37","modified_gmt":"2026-08-01T07:01:37","slug":"cezaevini-ve-mahpusu-anlamakkitaplar-ve-filmler","status":"publish","type":"post","link":"https:\/\/ozgurcedergi.com\/?p=449","title":{"rendered":"Cezaevini ve Mahpusu Anlamak:Kitaplar ve Filmler"},"content":{"rendered":"\n

Haz\u0131rlayan<\/strong>: Musa Melih DEM\u0130RBA\u015eCI<\/p>\n\n\n\n

\u00d6ZG\u00dcRCE Dergisinin bu say\u0131s\u0131nda, cezaevini ve cezaland\u0131rma y\u00f6ntemlerini ele al\u0131rken, hapsedilmenin felsefesine, politikas\u0131na ve insan ruhundaki derin izlerine odaklanan bir kitap ve film se\u00e7kisi sunuyoruz.<\/p>\n\n\n\n

Kitaplar<\/a><\/h1>\n\n\n\n

Hapishanenin Do\u011fu\u015fu \u2013 Michel Foucault<\/h2>\n\n\n
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Foucault\u2019nun bu \u015f\u00f6hretli kitab\u0131 modern cezaland\u0131rma sisteminin felsefi ve sosyolojik temellerini anlamak i\u00e7in bir giri\u015f kitab\u0131 ve ba\u015fucu eserdir. Yazar, cezaland\u0131rman\u0131n tarihsel s\u00fcre\u00e7te bedene fiziksel ac\u0131 vermekten (halka a\u00e7\u0131k kanl\u0131 infazlar), ruhu disipline etmeye (modern hapishaneler ve rehabilitasyon s\u00f6ylemi) nas\u0131l evrildi\u011fini dikkat \u00e7ekici bir \u00fcslupla aktar\u0131r. Foucault’ya g\u00f6re modern cezaevi, iktidar\u0131n insan do\u011fas\u0131n\u0131 kontrol alt\u0131na alma arzusunun kusursuz mimarisidir.<\/p>\n\n\n\n

Jeremy Bentham\u2019dan ald\u0131\u011f\u0131 “panoptikon” kavram\u0131yla, hapishaneyi sadece duvarlarla \u00e7evrili bir mek\u00e2n olmaktan \u00e7\u0131kar\u0131p, modern toplumun g\u00f6zetleme ve denetleme mekanizmalar\u0131n\u0131n metaforu haline getirir. Eser, su\u00e7lunun \u0131slah\u0131 arg\u00fcman\u0131n\u0131n ard\u0131ndaki as\u0131l amac\u0131n, “itaatk\u00e2r bedenler” olu\u015fturmak oldu\u011funu iddia ederek, ceza adaleti sistemine dair ezberlerimizi yeniden d\u00fc\u015f\u00fcnmeye sevk ediyor.<\/p>\n\n\n\n

1975 y\u0131l\u0131nda yay\u0131nlanan \u201cHapishanenin Do\u011fu\u015fu\u201d, zaman ge\u00e7tik\u00e7e eskimiyor, aksine s\u00fcrekli kendini yeniden hat\u0131rlat\u0131yor. <\/p>\n\n\n\n

Buna ek olarak Foucault\u2019nun bir konferans\u0131ndan ve bu konudaki m\u00fclakatlar\u0131ndan derlenen \u201cHapishaneye Alternatifler\u201d <\/em>eseri de okunabilir.<\/p>\n\n\n\n

Y\u0131ld\u0131r\u0131m B\u00f6lge Kad\u0131nlar Ko\u011fu\u015fu \u2013 Sevgi Soysal<\/h2>\n\n\n
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12 Mart muht\u0131ras\u0131 sonras\u0131 tutuklanan yazar Sevgi Soysal\u2019\u0131n bizzat kendi deneyimlerinden s\u00fcz\u00fclen bu an\u0131-roman, T\u00fcrkiye’nin siyasi cezaland\u0131rma prati\u011fine kad\u0131nlar\u0131n g\u00f6z\u00fcnden bakar. 1976 y\u0131l\u0131nda Politika gazetesinde tefrika olarak yay\u0131nlanan eser, cezaevini sadece eziyet \u00e7ekilen karanl\u0131k bir zindan olarak resmetme kolayc\u0131l\u0131\u011f\u0131na ka\u00e7maz; aksine i\u00e7eride kurulan ya\u015fam\u0131, direni\u015fi, zaaflar\u0131 ve devletin militarist y\u00fcz\u00fcn\u00fc son derece canl\u0131, ironik ve insani bir dille aktar\u0131r.<\/p>\n\n\n\n

12 Mart d\u00f6neminin simge yazarlar\u0131ndan olan, Prof. Dr. M\u00fcmtaz Soysal\u2019la evlili\u011fini dahi hapishanede yapan Sevgi Soysal’\u0131n kalemi, mahpus olman\u0131n getirdi\u011fi trajedinin i\u00e7indeki abs\u00fcrtl\u00fckleri g\u00f6sterir. Devlet otoritesinin g\u00fcl\u00fcn\u00e7l\u00fc\u011f\u00fcn\u00fc, farkl\u0131 s\u0131n\u0131flardan ve ideolojilerden gelen kad\u0131nlar\u0131n ko\u011fu\u015f i\u00e7indeki zorunlu beraberliklerinden do\u011fan \u00e7at\u0131\u015fmalar\u0131 ve dayan\u0131\u015fmay\u0131 ustal\u0131kla i\u015fler. Siyasi tahakk\u00fcme kar\u015f\u0131 mizah\u0131 ve ya\u015fama sevincini bir kalkan olarak kullanan e\u015fsiz bir metindir.<\/p>\n\n\n\n

\u00d6l\u00fcler Evinden Notlar \u2013 Fyodor Dostoyevski<\/h2>\n\n\n
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D\u00fcnya edebiyat\u0131n\u0131n en b\u00fcy\u00fck yazarlar\u0131ndan Dostoyevski’nin siyasi nedenlerle s\u00fcr\u00fcld\u00fc\u011f\u00fc Sibirya’daki k\u00fcrek mahk\u00fbmiyeti y\u0131llar\u0131ndan ilhamla yaz\u0131lm\u0131\u015f bu roman\u0131n konusu, toprak sahibi bir ailenin o\u011flu olan Aleksandr Petrovi\u00e7 Goryan\u00e7ikov’in k\u0131skan\u00e7l\u0131k nedeniyle kar\u0131s\u0131n\u0131 \u00f6ld\u00fcr\u00fcp k\u00fcrek cezas\u0131na \u00e7arpt\u0131r\u0131lmas\u0131 ve Sibirya’da on y\u0131ll\u0131k cezas\u0131n\u0131 \u00e7ekerken ya\u015fad\u0131klar\u0131d\u0131r. Yazar, sadece mahk\u00fbmlar\u0131n \u00e7ekti\u011fi fiziksel \u00e7ileyi de\u011fil, hapsedilmenin insan onurunda ve zihninde a\u00e7t\u0131\u011f\u0131 onar\u0131lmaz yaralar\u0131 analiz eder.<\/p>\n\n\n\n

Cezaland\u0131rman\u0131n insan\u0131 “\u0131slah etmedi\u011fini”, aksine onu nas\u0131l topluma yabanc\u0131la\u015ft\u0131rd\u0131\u011f\u0131n\u0131 ve yaln\u0131zla\u015ft\u0131rd\u0131\u011f\u0131n\u0131, kendi i\u00e7ine kapatt\u0131\u011f\u0131n\u0131 g\u00f6sterir. Mahk\u00fbmlar\u0131n ruh halleri, umut k\u0131r\u0131nt\u0131lar\u0131, anlams\u0131z angaryalar kar\u015f\u0131s\u0131ndaki isyanlar\u0131 \u00fczerinden insan\u0131n \u00f6zg\u00fcrl\u00fc\u011fe duydu\u011fu a\u00e7l\u0131\u011f\u0131n anatomisini \u00e7\u0131kar\u0131r.<\/p>\n\n\n\n

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Bir \u0130dam Mahk\u00fbmunun Son G\u00fcn\u00fc \u2013 Victor Hugo<\/h2>\n\n\n
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\u00d6l\u00fcm cezas\u0131n\u0131n ele\u015ftiren alt metne sahip en erken edebi eserlerden biri olan bu k\u0131sa roman, idam edilmeyi bekleyen isimsiz bir mahk\u00fbmun son haftalar\u0131ndaki zihinsel hezeyanlar\u0131n\u0131 ve korkular\u0131n\u0131 i\u00e7 monologlarla aktar\u0131r. Yazar kitapta mahk\u00fbmun i\u015fledi\u011fi su\u00e7tan bahsetmez. Okurun oda\u011f\u0131n\u0131 mahk\u00fbmun i\u015fledi\u011fi su\u00e7tan uzakla\u015ft\u0131r\u0131p devlet eliyle bir ki\u015finin \u00f6ld\u00fcr\u00fclmesi eylemine dikkat \u00e7eker.<\/p>\n\n\n\n

\u00d6l\u00fcm h\u00fccresindeki psikolojik i\u015fkenceyi, saatlerin ve dakikalar\u0131n nas\u0131l birer canavara d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc g\u00f6stererek okuru do\u011frudan sistemin ve cezaland\u0131rman\u0131n ahlaki temellerini sorgulamaya \u00e7a\u011f\u0131r\u0131r.<\/p>\n\n\n\n

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\u0130hlal Sanat\u0131 \u2013 Sibel Bekiro\u011flu<\/h2>\n\n\n
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Sosyolog Dr. Sibel Bekiro\u011flu’nun bu y\u0131l\u0131n nisan ay\u0131nda \u00e7\u0131kan “\u0130hlal Sanat\u0131 – F-Tipi Hapishanelerde G\u00fcndelik Hayat” kitab\u0131 hapsedilmenin felsefesini ve sosyolojisini \u00e7ok katmanl\u0131 bir zeminde tart\u0131\u015f\u0131yor. Yaln\u0131zca bununla da kalmay\u0131p T\u00fcrkiye\u2019de kaotik d\u00fczenden mutlak tecrit d\u00f6nemine ve F tiplerine giden serencam\u0131 anlat\u0131yor.<\/p>\n\n\n\n

Yazar\u0131n 2016 y\u0131l\u0131nda sundu\u011fu y\u00fcksek lisans tezi \u201cT\u00fcrkiye\u2019nin F-Tipi Hapishanelerinde G\u00fcndelik Hayat ve Direni\u015f Pratikleri\u201dni referans alan kitap, yaln\u0131zca F tiplerindeki ihlalleri de\u011fil bu ihlallere kar\u015f\u0131 direnmenin sanat\u0131n\u0131 da bize sunuyor. <\/p>\n\n\n\n

Bekiro\u011flu son s\u00f6z olaraksa, tecritin yeni mimar\u0131 bulu\u015fu kuyu tipi hapishanelere de\u011finiyor. <\/p>\n\n\n\n

Hapishane Defterleri (Antonio Gramsci) ve \u00d6zg\u00fcrl\u00fc\u011fe Ka\u00e7\u0131\u015f\u0131m (Aliya \u0130zzetbegovi\u00e7)\u00a0<\/h2>\n\n\n\n

Do\u011frudan hapishaneye ili\u015fkin g\u00f6r\u00fc\u015fleri anlatmayan bu iki kitap iki \u00f6nemli d\u00fc\u015f\u00fcn\u00fcr\u00fcn hapishane ko\u015fullar\u0131nda dahi d\u00fc\u015f\u00fcn faaliyetinin engellenemedi\u011fini g\u00f6steren \u00f6rneklerdir. \u0130talyan fa\u015fist rejimi taraf\u0131ndan hapse at\u0131ld\u0131\u011f\u0131nda, savc\u0131n\u0131n “Bu beynin \u00e7al\u0131\u015fmas\u0131n\u0131 yirmi y\u0131l durdurmal\u0131y\u0131z”<\/em>diyerek cezaland\u0131rd\u0131\u011f\u0131 Antonio Gramsci, tam aksini yaparak 11 y\u0131l kald\u0131\u011f\u0131 cezaevinde 20. y\u00fczy\u0131l\u0131n en \u00f6nemli siyaset felsefesi metinlerinden birini \u00fcretmi\u015ftir.<\/p>\n\n\n\n

Yugoslavya\u2019daki kom\u00fcnist rejim taraf\u0131ndan hapse mahk\u00fbm edilen \u0130zzetbegovic, be\u015f y\u0131l kald\u0131\u011f\u0131 cezaevinde, hapisten sonra Bosna halk\u0131n\u0131n onuru i\u00e7in verdi\u011fi m\u00fccadelenin temelini burada olu\u015fturdu\u011fu g\u00f6r\u00fc\u015flerle atar.<\/p>\n\n\n\n

Duvar\u0131 A\u015fan S\u00f6zler (Cezaevinden Mektuplar)<\/h2>\n\n\n
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MAZLUMDER Cezaevi Komisyonu\u2019nun haz\u0131rlad\u0131\u011f\u0131 bu kitap 28 \u015eubat\u2019\u0131n brifingli yarg\u0131 kararlar\u0131yla 20 y\u0131ldan fazla cezaevinde kalan mahpuslar\u0131n mektuplar\u0131ndan olu\u015fuyor. Kitapta 18 mahpusun mektubu ve Hasan Ayc\u0131n\u2019\u0131n \u00e7izimleri de yer al\u0131yor. <\/p>\n\n\n\n

Mahpuslar\u0131n cezaevine giri\u015f s\u00fcre\u00e7lerinden orada ya\u015fad\u0131klar\u0131 olaylara, anlaml\u0131 ya da trajikomik an\u0131lardan mahpuslu\u011fun manas\u0131na, ne yapmal\u0131dan nas\u0131l yapmal\u0131ya, kimi zaman d\u00fc\u015f\u00fcnd\u00fcr\u00fcc\u00fc kimi zaman a\u011f\u0131rl\u0131\u011f\u0131na ra\u011fmen g\u00fcld\u00fcren mektuplar kitapta yer al\u0131yor. Kitab\u0131 bitiren okuyucunun cezaevine ve mahpusa bak\u0131\u015f\u0131 art\u0131k ayn\u0131 kalmayacakt\u0131r.<\/strong><\/p>\n\n\n\n

Filmler<\/a><\/h1>\n\n\n\n

Deney \/ Das Experiment (Y\u00f6netmen: Oliver Hirschbiegel, 2001) <\/h2>\n\n\n
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Psikoloji tarihinin en \u00fcnl\u00fc ve en tart\u0131\u015fmal\u0131 \u00e7al\u0131\u015fmalar\u0131ndan biri olan 1971 tarihli Stanford Hapishane Deneyi’nden ilham alan film, cezaland\u0131rma ve otorite kavramlar\u0131n\u0131 do\u011frudan insan do\u011fas\u0131 \u00fczerinden sorgular. Bir \u00fcniversitenin bodrum kat\u0131na kurulan sahte bir hapishanede, para kar\u015f\u0131l\u0131\u011f\u0131 denek olan 20 s\u0131radan erkek, rastgele “gardiyanlar” ve “mahk\u00fbmlar” olarak ikiye ayr\u0131l\u0131r.<\/p>\n\n\n\n

\u00c7ok ge\u00e7meden, oyun olarak ba\u015flayan bu deney, iktidar\u0131n ve otoritenin s\u0131radan insanlar\u0131 nas\u0131l sadist ceza infazc\u0131lar\u0131na d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fcn\u00fc g\u00f6steren bir kabusa evrilir. Film, hapishanelerdeki \u015fiddetin ve insan haklar\u0131 ihlallerinin sadece k\u00f6t\u00fc niyetli bireylerden de\u011fil, “kapat\u0131lma ve mutlak g\u00fc\u00e7” \u00fczerine kurulan sistemin yap\u0131sal do\u011fas\u0131ndan kaynakland\u0131\u011f\u0131n\u0131 kan\u0131tlar. C\u00fczi bir yetki verilen insan\u0131n, kar\u015f\u0131s\u0131ndakini “su\u00e7lu” veya “mahk\u00fbm” etiketi alt\u0131nda nas\u0131l kolayca insanl\u0131ktan \u00e7\u0131karabildi\u011fini g\u00f6steren t\u00fcyler \u00fcrpertici bir psikolojik gerilimdir.<\/p>\n\n\n\n

A\u00e7l\u0131k \/ Hunger (Y\u00f6netmen: Steve McQueen, 2008)<\/h2>\n\n\n
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Kuzey \u0130rlanda\u2019daki Maze Hapishanesi’nde 1981 y\u0131l\u0131nda siyasi mahk\u00fbm stat\u00fcs\u00fc talebiyle a\u00e7l\u0131k grevine giren IRA \u00fcyesi Bobby Sands\u2019in son 66 g\u00fcn\u00fcn\u00fc anlat\u0131r. Film, geleneksel diyalog a\u011f\u0131rl\u0131kl\u0131 sineman\u0131n d\u0131\u015f\u0131na \u00e7\u0131karak, hapsedilmeyi ve iktidar sava\u015f\u0131n\u0131 do\u011frudan “beden” \u00fczerinden okur.<\/p>\n\n\n\n

Devletin cezaland\u0131rma y\u00f6ntemi olarak fiziksel mek\u00e2n\u0131 ve bedeni teslim alma \u00e7abas\u0131na kar\u015f\u0131, bireyin kendi bedenini bir direni\u015f silah\u0131na ve nihai bir \u00f6zg\u00fcrl\u00fck alan\u0131na d\u00f6n\u00fc\u015ft\u00fcrmesini i\u015fler. Y\u00f6netmen McQueen, \u015fiddeti ve \u00e7\u00fcr\u00fcmeyi adeta bir tablo esteti\u011fiyle sunarken, inanc\u0131n s\u0131n\u0131rlar\u0131n\u0131n bedenin s\u0131n\u0131rlar\u0131n\u0131 nas\u0131l a\u015ft\u0131\u011f\u0131n\u0131 sars\u0131c\u0131 bir g\u00f6rsellikle kan\u0131tlar.<\/p>\n\n\n\n

\u00d6zellikle \u0130ngiltere\u2019de \u00e7ok tart\u0131\u015f\u0131lan, Venedik, Cannes ve Toronto Film Festivallerinden \u00f6d\u00fclle d\u00f6nen filmde Micheal Fassbander oyunculu\u011fuyla g\u00f6z dolduruyor.<\/p>\n\n\n\n

Duvar (Y\u00f6netmen: Y\u0131lmaz G\u00fcney, 1983)<\/h2>\n\n\n
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Politik sinemam\u0131z\u0131n \u00f6nemli y\u00f6netmenlerinden Y\u0131lmaz G\u00fcney\u2019in son filmi olan ve Paris\u2019teki s\u00fcrg\u00fcn hayat\u0131nda \u00e7ekti\u011fi Duvar, Ankara Merkez Kapal\u0131 Cezaevi’nde 1976 y\u0131l\u0131nda \u00e7ocuk mahk\u00fbmlar\u0131n ba\u015flatt\u0131\u011f\u0131 isyan\u0131 merkeze al\u0131r. Ancak film sadece bir hapishane isyan\u0131 hikayesi de\u011fildir; cezaevini, militarist ve bask\u0131c\u0131 devlet ayg\u0131t\u0131n\u0131n, d\u0131\u015far\u0131daki toplumun ve s\u00f6m\u00fcr\u00fc d\u00fczeninin \u00e7\u0131plak ve minyat\u00fcr bir modeli olarak resmeder.<\/p>\n\n\n\n

\u00c7ocuk ko\u011fu\u015funda ya\u015fanan tecav\u00fczler, \u015fiddet, sefalet ve idarenin yozla\u015fm\u0131\u015fl\u0131\u011f\u0131, sistemin en savunmas\u0131z olanlar\u0131 nas\u0131l \u00f6\u011f\u00fctt\u00fc\u011f\u00fcn\u00fcn bir kan\u0131t\u0131d\u0131r. Film, estetik bir kayg\u0131 g\u00fctmekten ziyade, belgeselvari bir sertlikle izleyiciyi rahats\u0131z etmeyi, y\u00fczle\u015ftirmeyi ve kurumsalla\u015fm\u0131\u015f \u015fiddetin boyutlar\u0131n\u0131 g\u00f6stermeyi ama\u00e7lar.<\/p>\n\n\n\n

\u0130lk olarak Cannes Film Festivali\u2019nde g\u00f6sterilen filmin ba\u015frol\u00fcnde Tuncel Kurtiz var.<\/p>\n\n\n\n

Pardon (Y\u00f6netmen: Mert Baykal, 2005)<\/h2>\n\n\n
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Ferhan \u015eensoy\u2019un ger\u00e7ek bir olaydan esinlenerek yazd\u0131\u011f\u0131 \u00c7ok Tuhaf Soru\u015fturma adl\u0131 oyunundan sinemaya uyarlanan bu k\u00fclt yap\u0131m, T\u00fcrkiye’deki adalet sisteminin ve kolluk kuvvetlerinin i\u015fleyi\u015fine dair \u00e7ekilmi\u015f en sars\u0131c\u0131 kara mizah \u00f6rneklerinden biridir. Asker ka\u00e7a\u011f\u0131 bir arkada\u015f\u0131n ihbar edilmesi korkusuyla ba\u015flayan s\u0131radan bir gece, polis sorgusundaki i\u015fkencelerle, haks\u0131z tutuklamalarla ve y\u0131llar s\u00fcren abs\u00fcrt bir hapis hayat\u0131yla sonu\u00e7lan\u0131r.<\/p>\n\n\n\n

Film, devletin adalet ayg\u0131t\u0131n\u0131n, su\u00e7u bulmaktan ziyade “su\u00e7lu yaratmak” \u00fczerine nas\u0131l i\u015fleyebildi\u011fini trajikomik bir dille g\u00f6sterir. \u0130\u015fkence alt\u0131nda al\u0131nan sahte ifadelerin insan hayat\u0131n\u0131 nas\u0131l geri d\u00f6n\u00fclmez bir karanl\u0131\u011fa s\u00fcr\u00fckledi\u011fi ger\u00e7e\u011fi, izleyiciye mizah\u0131n ard\u0131na gizlenmi\u015f sert bir tokat gibi \u00e7arpar.<\/p>\n\n\n\n

Y\u0131llar s\u00fcren haks\u0131z mahk\u00fbmiyetin ard\u0131ndan kahramanlar\u0131m\u0131za devletin sundu\u011fu tek telafinin basit bir “Pardon” kelimesi olmas\u0131, cezaland\u0131rma sisteminin insan hayat\u0131n\u0131 nas\u0131l de\u011fersizle\u015ftirdi\u011finin en ac\u0131 \u00f6zetidir. Cezaevini, hukukun bitti\u011fi yerde ba\u015flayan bir keyfilik mek\u00e2n\u0131 olarak resmeden \u015faheser niteli\u011finde bir sistem ele\u015ftirisidir.<\/p>\n\n\n\n

H\u00fccre 211 \/ Celda 211 (Y\u00f6netmen: Daniel Monz\u00f3n, 2009) <\/h2>\n\n\n
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\"\"<\/figure>\n<\/div>\n\n\n

\u0130\u015fe yeni ba\u015flayan bir gardiyan\u0131n, hapishaneyi tan\u0131mak i\u00e7in geldi\u011fi ilk g\u00fcn patlak veren b\u00fcy\u00fck bir isyan\u0131n ortas\u0131nda kalmas\u0131n\u0131 ve hayatta kalmak i\u00e7in mahk\u00fbm rol\u00fc yapmak zorunda kal\u0131\u015f\u0131n\u0131 anlatan y\u00fcksek tempolu bir \u0130spanyol filmidir.<\/p>\n\n\n\n

Ancak film basit bir gerilimden \u00f6te, “gardiyan” ve “mahk\u00fbm” rollerinin nas\u0131l kurgusal ve yer de\u011fi\u015ftirebilir oldu\u011funa dikkat \u00e7eker. Karakterin i\u00e7erideki adaletsizli\u011fi, devletin yozla\u015fm\u0131\u015fl\u0131\u011f\u0131n\u0131 ve mahk\u00fbmlar\u0131n kendi i\u00e7indeki adalet aray\u0131\u015f\u0131n\u0131 deneyimlemesiyle taraf de\u011fi\u015ftirmesi, cezaevi sisteminin ve d\u0131\u015far\u0131daki s\u00f6zde hukukun ikiy\u00fczl\u00fcl\u00fc\u011f\u00fcn\u00fc \u00e7arp\u0131c\u0131 bir bi\u00e7imde y\u00fcz\u00fcm\u00fcze vurur.<\/p>\n\n\n\n

29. Uluslararas\u0131 \u0130stanbul Film Festivali’nin \u201cSinemada \u0130nsan Haklar\u0131\u201d b\u00f6l\u00fcm\u00fcnde g\u00f6sterilen film pek \u00e7ok \u00f6d\u00fcle lay\u0131k g\u00f6r\u00fclm\u00fc\u015ft\u00fc.<\/p>\n\n\n\n

Sonbahar (Y\u00f6netmen: \u00d6zcan Alper, 2008)<\/h2>\n\n\n
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\"\"<\/figure>\n<\/div>\n\n\n

1990’lar\u0131n a\u011f\u0131r siyasi atmosferinde hapse giren, \u00f6l\u00fcm oru\u00e7lar\u0131 sonras\u0131 sa\u011fl\u0131\u011f\u0131 bozularak Wernicke-Korsakoff sendromuyla tahliye edilen Yusuf\u2019un Karadeniz’deki k\u00f6y\u00fcne d\u00f6n\u00fc\u015f\u00fcn\u00fc anlat\u0131r. Film, cezaevi filmlerinin aksine olaylara mahpuslu\u011fun sonras\u0131ndan bakar.<\/p>\n\n\n\n

Yusuf\u2019un bedeni tahliye olmu\u015ftur ama ruhu, kaybedilmi\u015f idealler, i\u00e7eride kalan yolda\u015flar ve a\u011f\u0131r travmalarla dolu bir hapishanede ya\u015famaya devam etmektedir. Sistem, muhalif bir bedeni sadece i\u00e7eride tutarak de\u011fil, tahrip edip d\u0131\u015far\u0131 salarak da cezaland\u0131rma prati\u011fini s\u00fcrd\u00fcr\u00fcr. Karadeniz yaylalar\u0131nda melankolik, sessiz ve derinden bir politik y\u00fczle\u015fmenin hikayesini izleriz.<\/p>\n\n\n\n

<\/p>\n\n\n\n

U\u00e7urtmay\u0131 Vurmas\u0131nlar (Y\u00f6netmen: Tun\u00e7 Ba\u015faran, 1989) <\/h2>\n\n\n
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\"\"<\/figure>\n<\/div>\n\n\n

Feride \u00c7i\u00e7eko\u011flu’nun kendi cezaevi an\u0131lar\u0131ndan yola \u00e7\u0131karak yazd\u0131\u011f\u0131 ayn\u0131 adl\u0131 roman\u0131ndan uyarlanan film, cezaevi ger\u00e7ekli\u011fine e\u015fine az rastlan\u0131r bir pencereden, annesiyle birlikte hapishanede ya\u015famak zorunda kalan be\u015f ya\u015f\u0131ndaki Bar\u0131\u015f’\u0131n g\u00f6z\u00fcnden bakar. 12 Eyl\u00fcl sonras\u0131 bir kad\u0131nlar hapishanesinde ge\u00e7en hik\u00e2ye, siyasi mahk\u00fbmlar\u0131n d\u00fcnyas\u0131n\u0131, dayan\u0131\u015fmas\u0131n\u0131 ve devletin so\u011fuk y\u00fcz\u00fcn\u00fc bir \u00e7ocu\u011fun masumiyetiyle \u00e7arp\u0131\u015ft\u0131r\u0131r.<\/p>\n\n\n\n

Bar\u0131\u015f i\u00e7in cezaevi avlusu, tel \u00f6rg\u00fcler ve duvarlar, ke\u015ffedilmesi gereken bir oyun alan\u0131d\u0131r; ancak kurallar devletin kat\u0131 disiplini taraf\u0131ndan belirlenir. Film, \u00f6zg\u00fcrl\u00fc\u011f\u00fcn ne anlama geldi\u011fini g\u00f6ky\u00fcz\u00fcnde u\u00e7an bir u\u00e7urtma metaforu \u00fczerinden tart\u0131\u015f\u0131rken, yeti\u015fkinlerin d\u00fcnyas\u0131ndaki ideolojik cezaland\u0131rma pratiklerinin bir \u00e7ocu\u011fun ruhunda a\u00e7t\u0131\u011f\u0131 yaralar\u0131 usulca izleyiciye aktar\u0131r. Kapat\u0131lman\u0131n sadece bedeni de\u011fil, umudu ve hayal g\u00fcc\u00fcn\u00fc de hapsetme \u00e7abas\u0131 oldu\u011funu anlatan, T\u00fcrk sinemas\u0131n\u0131n en naif ama en etkili insan haklar\u0131 filmlerinden biridir.<\/p>\n\n\n\n

\u00d6l\u00fcm Yolunda \/ Dead Man Walking (Y\u00f6netmen: Tim Robbins, 1995)<\/h2>\n\n\n
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Rahibe Helen Prejean’\u0131n ger\u00e7ek deneyimlerine dayanan film, idam cezas\u0131 kar\u015f\u0131t\u0131 d\u00fc\u015f\u00fcncenin sinemadaki \u00f6nemli \u00f6rneklerinden biridir. Gen\u00e7 bir \u00e7ifti \u00f6ld\u00fcrmek ve tecav\u00fcz etmekten su\u00e7lu bulunan bir mahk\u00fbmun idam g\u00fcn\u00fcne kadar ge\u00e7en s\u00fcrecinde ona manevi rehberlik eden rahibenin hikayesi \u00fczerinden, sistemin adalet anlay\u0131\u015f\u0131 sorgulan\u0131r.<\/p>\n\n\n\n

Film, mahk\u00fbmu masumla\u015ft\u0131rmadan, i\u015fledi\u011fi su\u00e7u hafifletmeden idam cezas\u0131n\u0131 ve uygulanma bi\u00e7imini sorguluyor. \u0130dam mahk\u00fbmu karaktere herkes\u00e7e k\u00f6t\u00fc g\u00f6r\u00fclecek bir su\u00e7 y\u00fckleyerek \u00e7izgiyi Victor Hugo\u2019nun \u00e7\u0131kard\u0131\u011f\u0131 yerin de \u00fczerine \u00e7\u0131kar\u0131yor. Kurbanlar\u0131n yak\u0131nlar\u0131n\u0131n ac\u0131s\u0131 ile devletin cezaland\u0131rma y\u00f6ntemi aras\u0131na ince ve etik bir \u00e7izgi \u00e7ekerek izleyiciyi zor bir ahlaki ikilemle ba\u015f ba\u015fa b\u0131rak\u0131yor.Rahibe Helen karakterinde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz Susan Sarandon\u2019un En \u0130yi Kad\u0131n Oyuncu Oscar\u2019\u0131n\u0131 ald\u0131\u011f\u0131 filmde idam mahk\u00fbmunu oynayan isim Sean Penn.<\/p>\n","protected":false},"excerpt":{"rendered":"

Haz\u0131rlayan: Musa Melih DEM\u0130RBA\u015eCI \u00d6ZG\u00dcRCE Dergisinin bu say\u0131s\u0131nda, cezaevini ve cezaland\u0131rma y\u00f6ntemlerini ele al\u0131rken, hapsedilmenin felsefesine, politikas\u0131na ve insan ruhundaki derin izlerine odaklanan bir kitap ve film se\u00e7kisi sunuyoruz. Kitaplar Hapishanenin Do\u011fu\u015fu \u2013 Michel Foucault Foucault\u2019nun bu \u015f\u00f6hretli kitab\u0131 modern cezaland\u0131rma sisteminin felsefi ve sosyolojik temellerini anlamak i\u00e7in bir giri\u015f kitab\u0131 ve ba\u015fucu eserdir. Yazar, […]<\/p>\n","protected":false},"author":1,"featured_media":138,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[76],"tags":[74],"issue":[75],"class_list":["post-449","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-202608_1","tag-musa-melih-demirbasci","issue-agustos-2026"],"_links":{"self":[{"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=\/wp\/v2\/posts\/449","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=449"}],"version-history":[{"count":1,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=\/wp\/v2\/posts\/449\/revisions"}],"predecessor-version":[{"id":464,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=\/wp\/v2\/posts\/449\/revisions\/464"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=\/wp\/v2\/media\/138"}],"wp:attachment":[{"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=449"},{"taxonomy":"issue","embeddable":true,"href":"https:\/\/ozgurcedergi.com\/index.php?rest_route=%2Fwp%2Fv2%2Fissue&post=449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}