http://www.youtube.com/burakapaydin
Ana von Rebeur kamuoyuna su asagidaki aciklamayi gonderdi. Bildiginiz gibi Ana von Rebeur FECO Arjantin uyesi ve Zapatos isimli karikaturu Turkiye’den bir kisa film yapimcisi Burak Apaydin tarafindan filme cekildi. Filmi seyrettigimde cok begendim ve bunu da Ana’ya yazmsitim. Ona ayrica karikturun zaten tek basina cok iyi derdini anlattigini, ama filmin baska bir sey oldugunu ve kendi basina basarili oldugunu soyledim.
Burak bey’e de ulasip filmi hakkindaki goruslerimi, ovgulerimi ilettim.
Ana von Rebeur’in asagidaki mektubu, Filmin hikayesi basligini iceriyor; icten ve guzel bir mektup. Ceviremedigim icin kusuruma bakmayin, ama yaptigi bir isi degerlendiren bir cizerin, filmi gerceklestirmis yonetmenle sohbeti olarak da algilayabilecegimiz bu yazi beni dusundurdu.
Mektuptaki tarihsel bakisi, katilanlarin karsilikli birbirlerine kapilar acmalarini, uluslarasi uzakliklarin asilmasi olgusunu, feedback denilen geriveri isleminin onemi uzerine dusundum. Yaptigi is zaten onaylanmis, odul almis ve bir de basarili olmus bir cizerin gecip gitmek yerine, urununden yola cikarak onu dusunsel olarak sahiplenmesi ve bunu yaparken bir cesit yolculuga cikmayi goze almasini, o yolculukta rastladigi cesitli ilisklerden soz etmesi ve basarinin da anaktarini sorgulama cabasini goruyoruz. Bu size ilginc ve onemli gelmiyor mu? Bildigim kadariyla cok az insan yaptigi uzerine olabildigince durustlukte boyle konusuyor, dusunce kirintilari sergiliyor; daha cok baskalarinin baskalarindan caldigi, esinlendigi vb. gibi ifsalara dair epey bir ”belge” var elimizde bildigim kadariyla, bir de ancak bir arkadasimiz bir yerde odul alirsa kutluyoruz; ama su an yapilana, neyi neden isteyerek urettildigine dair cok az soz ve sekillendirme, yani teorik calismaya rastlaniyor. Ana’nin usenmeden yaptigi bu is dolayisiyla ayrica yonetmenin de ne kadar isabetli bir secim yaptigini da dusundum.
Hem Ana’yi hem Burak bey’i tekrar kutluyorum.
Bugun benim dogum gunum. Kendime yeni cini murekkebi hediye aldim.
Hepinize guzel bir Agustos gunu diliyorum.
Firuz Kutal
——————————————————————————————————————————————
Not: Ana von Rebeur’un yazisi:
The story of Zapatos, the Turkish film inspired by an Argentinian cartoon
By Ana von Rebeur
When we are kids, we make a lot of funny questions about life. If later we remember them, we turn them into cartoons. Maybe a cartoonist is the person who is still able to reason like a child.
In year 2001, while living one of the biggest economical crisis in Argentina, I sent to a cartoon contest one cartoon inspired by one of this particular thought I had as a child . And I got an award , showing Freud was right when he wrote – in “ The joke and its relation with subconscient” – that laughter and humor is a human phenomenon which happens when we allow our inner selves to be children again, not knowing nothing about solemnity.
During year 2001, one not only was left jobless, but also your editors would call you to ask you for a job . Thousand of Argentineans migrated to other countries. A friend of mine offered me a job in the
When I read the regulations of Turkish Aydin Dogan Foundation International Cartoon Contest, I checked on a file of old cartoons based on thoughts I had on my childhood. And I saw this one legged man in black and white. I felt it was a little naïve , but I decided to re made it watercolors because I was sure the idea was original : I é never seen something similar before. And the worst thing cartoonists can do is do cartoons using ideas already used by another colleague.
I made the work and my kitchen table, preparing my children to leave to school. I took it to the Post Office thinking it will never arrive in time. But it did.
Some weeks later I got the news that it had been awarded at Aydin Dogan Foundation. I was invited to
When I arrived to
In the year 2006, I got an mail from the young Turkish filmmaker Burak Apaydin saying a friend of him has sent him my cartoon Zapatos, and that he wanted to make a film about it. I asked him what kind of film, and he said “ I want to tell the store of what happened before” , filmed with actors, being my cartoon the final scene . Out of sheer curiosity I said yes, as long as he sent me the film when it was finished. He told me he spent months before figuring out who was the author of the cartoon. He had a low resolution version and he couldn´t read my signature well. Burak told me later that when he told his crew that I said yes to the project “they had their heads in the ceiling “ , meaning they were very happy .
In July 2007 Burak contacted me again saying the film was finally done, participated in festivals, and was show non Turkish TV with great success. But he hasd some financial problems and couldn’t send me a video by regular post. So, I suggested him to post in You Tube. He did, and I was I saw the film, I was so moved that sent the link to all my friend and colleagues . They sent me lots of congratulations and letters telling me this idea was wonderful, and they sent the link to their contacts. I got letters >from
The 1st August. Clarín newspaper of Argentina made an article on this film, titled “From argentine cartoon to Turkish film: a filmmaker posted it in New Tube and in five days it got 2000 visits” http://www.clarin.com/diario/2007/08/01/sociedad/s-04102.htm A lot of collegues wrote me saying they were seeing a new kind of art here the combination of cartoon and film.. A week after being posted in You Tube, the film had 2400 visits and was favorited 30 times. The director is being invited to show it in films festival, like the one in
Reasons of its success
The filming of Zapatos is very well done. It took Burak one month to find the ideal actor, until yhey found Fehmi Zubeyir Suzen, an actor who lost one limb in the Turkish Army, and is in the present a basketball player in a handicapped league. A crew of 13 people worked during a week on the film, and Burka wants to thank the participation Harun Halici and Didem Acar in it. ”We worked very hard but enjoyed every minute of it “he says. When they finished the film, they went to a concert of famous classic and jazz pianist and compositor, Gulden Goksen. They told her they wanted her to make the music, and she said she would do it if she liked the film. She liked it and said yes. Gulden is a well known artist, a soloist in several orchestras of different countries ,a Prokofiev and jazz interpreter who won several awards for composing original music for films. The moving quality of her music is what gave extra strength to the film, from the mischievous climate of intrigue of the beginning to the poetry and compassion of the end. Burak and I are thankful and honoured for her work. ( her website http://www.guldengoksen.net/index_content.html” http://www.guldengoksen.net/index_content.html – email “mailto:guldencaz@guldengoksen.com.tr” guldencaz@guldengoksen.com.tr)
The film was shot in
“My previous works are very dark compared to Zapatos “says the director “I loved being able to say something about the world in this film. In my previous films I filmed about politics and the situation in
The film gets around 200 new extra viewers per day, and was posted in websites of
Let´s hope the attention got by Zapatos makes Burak stimulated to go on filming and may inspire more cartoonists to use the irresistible power of You Tube, based on the fact that nobody resist the invitation to look a short, nice film. Maybe this is the beginning of a new form of art combining cartoons and filming based on the simple idea of telling a cartoon backwards. If not the case , it shows once more that cartoons have no frontiers, sensibility has no nationality and all that moves one person, moves everybody in the same way
Bravo Burak, for having an idea as simple as it is great.
Sevgili Karayel merhaba…
dosyalari karistirirken yillar önce bir genel kurulda sevgili Cem Kenan Öngü’nün
çizdigi portremle karsilastim ve çok duygulandim,
Cem’in bu çalismasini ve bir maske karikatürümü sana gönderiyorum…
selam ve sevgiler…
Halis Dokgöz
DON QUICHOTTE ARJANTÝN TEMSÝLCÝMÝZ ANA VON REBEUR, SON GÜNLERDE “ZAPATOS” ADLI KARÝKATÜRÜNÜN BURAK APAYDIN TARAFINDAN KISA FÝLM YAPILMASI ÝLE GÜNDEMDE.. BURAK APAYDIN’IN GEÇTÝÐÝMÝZ GÜNLERDE ÝNTERNET ORTAMINDA YAYINLANAN YAZILARININ BÝZDEN BÝR TÜRKÇE ÖZETÝNÝ RÝCA ETTÝ. BÝZ DE SEVE SEVE BU ÝSTEÐÝNÝ YERÝNE GETÝRDÝK. ARDINDAN SEVGÝLÝ FÝRUZ KUTAL BU KONUDA GÜZEL BÝR YAZI YAZDI (O YAZIYA DA SÝTEDE YER VERECEÐÝZ). DÜNYANIN BÝR DÝÐER UCUNDAN ÇÝZGÝLER ARACILIÐIYLA KONTAKT KURAN VE BUNU SANATLARINA YANSITAN “DAHA NÝCE ÖRNEKLERE” DÝYELÝM…
ANA VON REBEUR, “ROBERTO FONTANARROSA”NIN SÝTESÝNÝ TANITIYOR BÝZLERE..
Roberto Fontanarrosa told that he studied his genealogical tree and that he found that Christopher Columbus mother had his same surname. So, he claimed to be a direct descendant of
His major credit was to create the comic strip done with delirious humor and a touch of poetry and domestic philosophy, all full of hilarious phrases and crazy comparisons. An admirer of Woody Allen, he used parody as his main style, copying in a very funny ways the stories of superheroes, courageous gauchos ( Argentinean cowboys) and heartless mafia men , as his famous character “ Oily Boogie” parodying the “Dirty Harry” played by Clint Eastwood, and turning all of it to the absolute humor, up to a point where you guessed he had a lot of fun doing it .
He had the same quality as a cartoonist, as a comic autor, and as a writer of short stories and novels. His production was amazingly big, but the biggest delight was to meet him in person. In his conferences and lectures he showed such a fast mind and wit , together with the ability to take all solemnity out of the situation , that every lecture of him was full of people laughing out loud . Adults and children were fans of him alike. And he had the inner peace of the performer who knows the play, word by word , and who knows he had the audience in his hand, knowing when exactly to say the most effective joke of the night, the one that will leave the audience at his feet , begging for more . People adored him, grateful of having someone so full of witty ideas . He was the only one who could speak about cursing and the word “shit” during his lecture on the Spanish Language Congress, full of philologist and serious professors who couldn’t stop laughing. His mere presence made everybody laugh. And he was no clown, and he didn’t laugh himself. He just was amazingly natural and smart at the same time.
He wrote 33 humor books, (not counting the one where he participated as illustrator), created a lot of comic strips for different magazines, was cartoonists and writer for Clarín newspaper and a creative collaborator of Les Luthiers comic musical group. His shorts stories had been turned into playwrights for theatre and TV, and were always successful. In 2002 he was member of the jury in Aydin Dogan Foundation International Cartoon Festival in
In the last two years he got a lot of recognition and awards, both in
Fontanarrosa was a great writer, a witty humorist, an impressive artist, a simple, direct, funny man and a football fan who t always preserved his accessible and familiar style , letting everybody feel identified with him. No wonder we are missing him a lot.
Hello dear Er,
below is the English translation of Nizar Outhman’s article that appeared on Assafir.
I did this little “cartoon montage” to illustrate it.
Sincerely,
Ben
(Portraits: Carlos Latuff by B. Heine,
David Baldinger by Carlos Latuff,
Banksy by Banksy,
B. Heine by Carlos Latuff)
A Tribute To Their Brush…
By Nizar Outhman (*)
Translated by Adib S. Kawar
‘What astonishes me all the time is the apparent and deep ignorance among my fellow citizens in relation to other cultures and the history of other nations. I am a strong believer that they think that the United States is the greatest place on the surface of the earth, and they are completely unaware of the imperialistic nature of the United States…”
This paragraph was quoted from the dialogue with the cartoonist David Baldinger (link), published by the Iran Cartoon website on the Internet. The point of view of this American artist summarizes the points of view of many other Western caricature artists who oppose the policies of the U.S. Administration put into effect concerning the Middle East.
We are afraid that it shall not be possible to write in detail about all these artists, their cultural backgrounds, their thoughts or their nationalities, or even their effect on their surroundings, but it would be worth focusing on one point that had a great effect on many of them. That point drove them to give up their stance of neutrality towards the line of confrontation against what they considered an unjustified duality that subdued public opinion standards in the West. This was represented by the incident of the Danish caricature drawings, which was met with unprecedented Western support on one side, and the “Holocaust” contest sponsored by the Iranian paper “Hamshari” and the Western condemnation and disapproval on the other side.
The works of those artists is concentrated on this duality, and their mechanisms vary starting with caricature drawings through other activities aimed at criticizing the practiced policies by the United States and Israel in Iraq and Palestine in particular, and in the Middle East in general.
The Belgian artist, Ben Heine, took a personal initiative aimed at focusing the spotlight on Arab causes within caricature circles by organizing dialogue among outstanding cartoonists of the world, concentrating on the paradox that the principle of (freedom of expression) in the West is subdued with, and on the duality of standards that controls this principle.
As for the famous British artist, Banksy (link), well known for his huge murals that transformed the mammoth, racist, apartheid cement wall in occupied Palestine to an exhibition that changed it to a painted language mixing between the beauties of creativity and exposing the sway of occupation, and the extent of the suffering the Palestinian Arabs live under.
The Brazilian artist, Carlos Latuff (link), who won second prize in the Holocaust contest, was subjected to a ferocious propaganda campaign lead by partisans and supporters of the Zionist Israeli “Likud” party. This went to the extent of threatening him with death, because of his drawings that criticized the Zionist war arsenal used in the July 2006 war on Lebanon. In spite of this, Latuff displayed several months ago his caricature drawings in an exhibition organized by Palestinian activists in Amman, Jordan.
One cannot overlook the importance of the positive role played by the Internet, focusing light on these artists and giving them daily political assistance with detailed current affairs. The Internet participated by building bridges between them and Arab caricature artists. In the same framework, one cannot deny the important role played by Arab caricature Internet sites, although proportionally few in number, in giving them space to display their works and promoting their most important activities.
It is unfortunate that many of those world famous artists who enjoy great fame in the international caricature circles, and a high standard of artistic-cultural potentials, are still in general unknown in our Arab circles. Their activities, taken by their own personal efforts, are centered on defending the Arab image. These efforts do not have support or patronage by any Arab organization, institution or society. We do not have to remind any body that they are messengers of civilization that made use of the art of caricature for defending just human causes, among which are Arab causes. They did all possible to defend and demonstrate their justice and weight in Western societies, not caring for the threats that they could be exposed to or the cost they could suffer as a result.
—————————–
(*) Nizar Outhman is a Syrian cartoonist and journalist, born in Lebanon in 1974. he publishes his work in Assafir, Albalad, Al Nida, Manasheer, Josor, Al Safeer… You can see some of his cartoons on these links : [link 1] , [link 2] , [link 3] , [link 4] and reach him at : nizar_outhman@yahoo.com
--> The article originally appeared on Assafir