Cinematografic presentation of political thinking in Turkey from 1960 to present

The Republic of Turkey has begun to costruct modern nation-state with wars and revolutions in Twentieth Century of political struggle was progressing in an agitated and painful manner. Though founder leader M.Kemal Ataturk?s and one of the republic?s leading figures? named Kazim Karabekir concern and dealing with cinema, the seventh art could not step forward while the other progressions in the country would take into account. However attempts were undertaken, beyond state apparatus cinema films were produced by private producers. During those years political approach the cinema was realized as ?didactic? resembling single-party politics and as seen in socialist block. In this era by means of documentary films cinema?s power of propaganda was emphasized. In addition during this period deal was made with USSR over films? interchange which has composed of propaganda. But by entering the year of 1946 Turkey which percipated in Western block during Cold War both entered in multi-party regime and canalized into American style in cinema. Remarkable improvements by the Fifties were polyphony in cinema and changing of leading theatral perception during single-party time by film makers.Turkey?s efforts for producing universal values in cinema and overemphasizing of politics in films were realized in atmosphere of freedom occured by 27 May 1960?s military intervention and its 1961 law constitution. With new social atmosphere by new law constitution and in paralel with ideologically boiling world Turkish nation was politicised. This condition?s counterpart in aspect of cinema was realized as politicised cinema trends: Socialist realism by films such as The Wakened in Darkness and Endless Road in effort to ?devoting law constitution to public?, Nationalist Cinema which is claiming to be in nationalist left side by films such as ?I Fell in Love With A Turk?, revolutionist cinema aiming to change both political and cinema order with a more radical counteraction and nationalist cinema(Islamic) made by the producers aiming a religionist change in the society. But by this period the most important figure by films such as Hope, Friend, Herd who succeeded to reflect politics to cinema both political and also current aspect was Yilmaz Guney. This era which all publical issues were politicised was interrupted by 12th September 1980?s military intervention and Kemalism which came by republic?s foundation ideology was replaced by economically liberal and culturally Turkish-Islamic political trend. Shocking transformations of this military intervention which totally changed and depoliticised the community had reflections on Turkish cinema politically, but era of ideologically founded trends ended likewise between 1960 and 1980, several films such as, Road, Road To Sun, Toss Up came forward in consequence of igniting the individual instead of communal from 1980?s to current time.Beginning from first years of The Republic it is understood that political thoughts were not represented enouhg in Turkish Cinema. While beginning years of The Republic, Kemalism was not significant in cinema, however this political thought has begun to take place in poltical films by prior politics? withdrawal from Kemalism. Likewise political Islam and its cinema, always in the counteraction of republic?s ideology, transported its political thought to masses by means of numerous examples in cinema till 2000?s the omnipotency of this political trend. After being dominant power it was underrepresented in cinema. Finally, cinematographic presentation of political trend in Turkey was constructed mainly by counteracting political trends, however prefered cinematographic presentations for this purpose could not gather enough attention from Turkish nation which understands cinema as ?entertainment? and thus could not lead a communal improvement.