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'''Yılmaz Güney''', (born Yılmaz Pütün, 1 April 1937 &ndash; 9 September 1984) was a [[Zaza people|Zaza]]<ref>[http://arama.hurriyet.com.tr/arsivnews.aspx?id=-137888]</ref> and [[Kurdish people|Kurdish]]<ref>Suad Joseph, Afsaneh Najmabadi, ''Encyclopedia of Women & Islamic Cultures: Family, law, and politics'', Brill, 2005, ISBN 9789004128187, [http://books.google.com.tr/books?id=4Uyypm6T7ZsC&pg=PA361&dq=%22Y%C4%B1lmaz+G%C3%BCney%22++Marxist+director&hl=tr&ei=W8PATNjXJYaWvAO6sKyqCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCcQ6AEwAA#v=snippet&q=Marxist%20director&f=false p. 361.]</ref><ref>Joost Jongerden, ''The settlement issue in Turkey and the Kurds: an analysis of spatial policies, modernity and war'', Brill, 2007, ISBN 9789004155572, [http://books.google.com.tr/books?id=ME5oLvCd088C&pg=PA31&dq=Y%C4%B1lmaz+G%C3%BCney+%22director+of+the+film+Yol%22&hl=tr&ei=yMTATMTLOoeEvAOQwMWhCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCsQ6AEwAA#v=onepage&q=Y%C4%B1lmaz%20G%C3%BCney%20%22director%20of%20the%20film%20Yol%22&f=false p. 31.]</ref> [[film director]], [[Screenwriter|scenarist]], [[novelist]] and [[actor]] from [[Turkey]].<ref>Pope, Hugh and Nicole Pope, ''Turkey Unveiled: A History of Modern Turkey'', (Overlook TP, 2000), 254.</ref> Many of his works are devoted to the plight of ordinary, [[working class]] people in [[Turkey]].
'''Yılmaz Güney''', (born Yılmaz Pütün, 1 April 1937 &ndash; 9 September 1984) was a [[Kurdish people|Kurdish]]<ref>Suad Joseph, Afsaneh Najmabadi, ''Encyclopedia of Women & Islamic Cultures: Family, law, and politics'', Brill, 2005, ISBN 9789004128187, [http://books.google.com.tr/books?id=4Uyypm6T7ZsC&pg=PA361&dq=%22Y%C4%B1lmaz+G%C3%BCney%22++Marxist+director&hl=tr&ei=W8PATNjXJYaWvAO6sKyqCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCcQ6AEwAA#v=snippet&q=Marxist%20director&f=false p. 361.]</ref><ref>Joost Jongerden, ''The settlement issue in Turkey and the Kurds: an analysis of spatial policies, modernity and war'', Brill, 2007, ISBN 9789004155572, [http://books.google.com.tr/books?id=ME5oLvCd088C&pg=PA31&dq=Y%C4%B1lmaz+G%C3%BCney+%22director+of+the+film+Yol%22&hl=tr&ei=yMTATMTLOoeEvAOQwMWhCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCsQ6AEwAA#v=onepage&q=Y%C4%B1lmaz%20G%C3%BCney%20%22director%20of%20the%20film%20Yol%22&f=false p. 31.]</ref> [[film director]], [[Screenwriter|scenarist]], [[novelist]] and [[actor]] from [[Turkey]].<ref>Pope, Hugh and Nicole Pope, ''Turkey Unveiled: A History of Modern Turkey'', (Overlook TP, 2000), 254.</ref> Many of his works are devoted to the plight of ordinary, [[working class]] people in [[Turkey]].


== Biography ==
== Biography ==
Yılmaz Güney was born in 1937 in the Yenice county of [[Adana]]. His father was a [[Zaza]] from [[Siverek]], and his mother was a [[Kurmanci]]-[[Kurdish people|Kurd]] from [[Varto]], Turkey. He described himself as an "[[cultural assimilation|assimilated]] [[Kurd]]".<ref>http://www.chris-kutschera.com/A/Yilmaz%20Guney.htm</ref>　His parents migrated to Adana to work as cotton field laborers. As a result of his family background young Yılmaz grew among the working class poor, which formed a strong background for his future works which generally focused on a realistic portrayal of down and out people in Turkey. Güney studied law and economics at the universities in [[Ankara]] and [[Istanbul]], but by the age of 21 he found himself actively involved in film-making. As [[Yeşilçam]], the Turkish studio system, grew in strength, a handful of directors, including [[Atıf Yılmaz]], began to use the cinema as a means of addressing the problems of the people. Mostly, state-sanctioned melodramas, war films and play adaptations had previously played in Turkish theaters, but these new filmmakers began to fill the screens with more artistic, personal and relevant pictures of Turkish/Kurdish life. Yılmaz Güney was the most popular name to emerge from the Young Turkish Cinema, a gruff-looking young actor who earned the moniker "Çirkin Kral," ("the Ugly King") or (pasha nashrin) in [[Kurdish language|Kurdish]]. After working as an apprentice screenwriter for and assistant to Atıf Yılmaz, Güney soon began appearing in as many as 20 films a year and became Turkey's most popular actor.
Yılmaz Güney was born in 1937 in the Yenice county of [[Adana]]. His father was a [[Zaza]] from [[Siverek]], and his mother was a [[Kurmanci]]-[[Kurdish people|Kurd]] from [[Varto]], Turkey. He described himself as an "[[cultural assimilation|assimilated]] [[Kurdish people|Kurd]]".<ref>http://www.chris-kutschera.com/A/Yilmaz%20Guney.htm</ref> His parents migrated to Adana to work as cotton field laborers. As a result of his family background young Yılmaz grew among the working class poor, which formed a strong background for his future works which generally focused on a realistic portrayal of down and out people in Turkey. Güney studied law and economics at the universities in [[Ankara]] and [[Istanbul]], but by the age of 21 he found himself actively involved in film-making. As [[Yeşilçam]], the Turkish studio system, grew in strength, a handful of directors, including [[Atıf Yılmaz]], began to use the cinema as a means of addressing the problems of the people. Mostly, state-sanctioned melodramas, war films and play adaptations had previously played in Turkish theaters, but these new filmmakers began to fill the screens with more artistic, personal and relevant pictures of Turkish/Kurdish life. Yılmaz Güney was the most popular name to emerge from the Young Turkish Cinema, a gruff-looking young actor who earned the moniker "Çirkin Kral," ("the Ugly King") or (pasha nashrin) in [[Kurdish language|Kurdish]]. After working as an apprentice screenwriter for and assistant to Atıf Yılmaz, Güney soon began appearing in as many as 20 films a year and became Turkey's most popular actor.


Although the early 1960s brought problems for freedom to Turkey, Güney was imprisoned in 1961 for 18 months for publishing a "[[communist]]" novel. The country's political situation and Güney's relationship with the authorities only became more tense in the ensuing years. Not content with his star status atop the Turkey's film industry, Güney began directing his own pictures in 1965. By 1968 he had formed his own production company, Güney Filmcilik. Over the next few years, the titles of his films mirrored the feelings of the people of Turkey: ''[[Umut]]'' (''Hope'', 1970); ''[[Ağıt]]'' (''Elegy'', 1972); ''[[Acı]]'' (''Pain'', 1971); ''[[The Hopeless]]'' (1971).
Although the early 1960s brought problems for freedom to Turkey, Güney was imprisoned in 1961 for 18 months for publishing a "[[communist]]" novel. The country's political situation and Güney's relationship with the authorities only became more tense in the ensuing years. Not content with his star status atop the Turkey's film industry, Güney began directing his own pictures in 1965. By 1968 he had formed his own production company, Güney Filmcilik. Over the next few years, the titles of his films mirrored the feelings of the people of Turkey: ''[[Umut]]'' (''Hope'', 1970); ''[[Ağıt]]'' (''Elegy'', 1972); ''[[Acı]]'' (''Pain'', 1971); ''[[The Hopeless]]'' (1971).

Revision as of 21:41, 4 May 2012

Yılmaz Güney
Born(1937-04-01)1 April 1937
Adana, Turkey
Died9 September 1984(1984-09-09) (aged 47)
Paris, France
Occupation(s)Film director
Screenwriter
Actor
Years active1958 - 1983

Yılmaz Güney, (born Yılmaz Pütün, 1 April 1937 – 9 September 1984) was a Kurdish[1][2] film director, scenarist, novelist and actor from Turkey.[3] Many of his works are devoted to the plight of ordinary, working class people in Turkey.

Biography

Yılmaz Güney was born in 1937 in the Yenice county of Adana. His father was a Zaza from Siverek, and his mother was a Kurmanci-Kurd from Varto, Turkey. He described himself as an "assimilated Kurd".[4] His parents migrated to Adana to work as cotton field laborers. As a result of his family background young Yılmaz grew among the working class poor, which formed a strong background for his future works which generally focused on a realistic portrayal of down and out people in Turkey. Güney studied law and economics at the universities in Ankara and Istanbul, but by the age of 21 he found himself actively involved in film-making. As Yeşilçam, the Turkish studio system, grew in strength, a handful of directors, including Atıf Yılmaz, began to use the cinema as a means of addressing the problems of the people. Mostly, state-sanctioned melodramas, war films and play adaptations had previously played in Turkish theaters, but these new filmmakers began to fill the screens with more artistic, personal and relevant pictures of Turkish/Kurdish life. Yılmaz Güney was the most popular name to emerge from the Young Turkish Cinema, a gruff-looking young actor who earned the moniker "Çirkin Kral," ("the Ugly King") or (pasha nashrin) in Kurdish. After working as an apprentice screenwriter for and assistant to Atıf Yılmaz, Güney soon began appearing in as many as 20 films a year and became Turkey's most popular actor.

Although the early 1960s brought problems for freedom to Turkey, Güney was imprisoned in 1961 for 18 months for publishing a "communist" novel. The country's political situation and Güney's relationship with the authorities only became more tense in the ensuing years. Not content with his star status atop the Turkey's film industry, Güney began directing his own pictures in 1965. By 1968 he had formed his own production company, Güney Filmcilik. Over the next few years, the titles of his films mirrored the feelings of the people of Turkey: Umut (Hope, 1970); Ağıt (Elegy, 1972); Acı (Pain, 1971); The Hopeless (1971).

After 1972, however, Güney would spend most of his life in prison. Arrested for harboring anarchist students, Güney was jailed during preproduction of Zavallılar (The Miserable, 1975), and before completing Endişe (Worry, 1974), which was finished in 1974 by Güney's assistant, Şerif Gören. This was a cherished role that Gören would repeat over the next dozen years, directing several scripts that Güney wrote laboriously while behind bars.

Released from prison in 1974 as part of a general amnesty, Güney was re-arrested that same year for shooting a judge Sefa Mutlu, the public prosecutor of Yumurtalık district in Adana Province, to death in a night club as a result of a drunken row[5] and given a prison sentence of 19 years. During this stretch of incarceration, his most successful screenplays were Sürü (The Herd, 1978) and Düşman (The Enemy, 1979), both directed by Zeki Ökten. Düşman won an Honourable Mention at the 30th Berlin International Film Festival in 1980.[6]

"The Herd, in fact, is the history of the Kurdish people, but I could not even use the Kurdish language in this film; if we had used Kurdish, all those who took part in this film would have been sent to jail..." Güney said in his last interview with journalist Chris Kutschera.

After escaping from prison in 1981 and fleeing to France, Güney won the Palme d'Or at the 1982 Cannes Film Festival for his film Yol, whose director in the field was once again Şerif Gören. It was not until 1983 that Güney resumed directing, telling a brutal tale of imprisoned children in his final film, Duvar (The Wall, 1983), made in France with the cooperation of the French government.

Exile and death

Yılmaz Güney died of gastric cancer in 1984, in Paris, France.

Filmography

See also: List of Turkish films

Actor

Template:Multicol

  • Zavallılar (1975)
  • Arkadaş/' (1974)
  • Endişe (1974)
  • Ağıt (1972)
  • Sahtekar (1972)
  • Baba (1971)
  • Çirkin ve Cesur (1971)
  • İbret (1971)
  • Kaçaklar (1971)
  • Namus ve Silah (1971)
  • Umutsuzlar (1971)
  • Vurguncular (1971)
  • Canlı Hedef (1970)
  • Çifte Yürekli (1970)
  • İmzam Kanla Yazılır (1970)
  • Kanımın Son Damlasına Kadar (1970)
  • Onu Allah Affetsin (1970)
  • Piyade Osman (1970)
  • Sevgili Muhafızım (1970)
  • Şeytan Kayaları (1970)
  • Son Kızgın Adam (1970)
  • Umut (1970)
  • Yedi Belalılar (1970)
  • Zeyno (1970)
  • Aç Kurtlar (1969)
  • Belanın Yedi Türlüsü (1969)
  • Bin Defa Ölürüm (1969)
  • Bir Çirkin Adam (1969)
  • Çifte Tabancalı Kabadayı (1969)
  • Güney Ölüm Saçıyor (1969)
  • Kan Su Gibi Akacak (1969)
  • Kurşunların Kanunu (1969)
  • Aslan Bey(1968)
  • Azrail Benim (1968)
  • Beyoğlu Canavarı (1968)
  • Can Pazarı (1968)

Template:Multicol-break

  • Kardeşim Benim (1968)
  • Kargacı Halil (1968)
  • Marmara Hasan (1968)
  • Öldürmek Hakkımdır (1968)
  • Pire Nuri (1968)
  • Seyyit Han (1968)
  • At hırsızı Banus (1967)
  • Balatlı Arif (1967)
  • Bana Kurşun İşlemez (1967)
  • Benim Adım Kerim (1967)
  • Büyük Cellatlar (1967)
  • Çirkin Kral Affetmez (1967)
  • Eşkiya Celladı (1967)
  • İnce Cumali (1967)
  • Kızılırmak-Karakoyun (1967)
  • Kozanoğlu (1967)
  • Kuduz Recep (1967)
  • Kurbanlık Katil (1967)
  • Şeytanın Oğlu (1967)
  • Anası Yiğit Doğurmuş (1966)
  • Arslanların Dönüşü (1966)
  • At Avrat Silah (1966)
  • Bomba Kemal (1966)
  • Çirkin Kral (1966)
  • Esrefpaşalı (1966)
  • Hudutların Kanunu (1966)
  • Kibar Haydut (1966)
  • Kovboy Ali (1966)
  • Silahların Kanunu (1966
  • Tilki Selim (1966)
  • Ve Silahlara Veda (1966)
  • Yedi Dağın Aslanı (1966)
  • Yiğit Yaralı ÖlÜr (1966)
  • Ben Öldükçe Yaşarım (1965)
  • Beyaz Atlı Adam (1965)
  • Dağların Oğlu (1965)
  • Davudo (1965)

Template:Multicol-break

  • Gönül Kuşu (1965)
  • Haracıma Dokunma (1965)
  • Kahreden Kurşun (1965)
  • Kan Gövdeyi Götürdü (1965)
  • Kanlı Buğday (1965)
  • Kasımpaşalı (1965)
  • Kasımpaşalı Recep (1965)
  • Konyakçı (1965)
  • Korkusuzlar (1965)
  • Krallar Kralı (1965)
  • Sayılı Kabadayılar (1965)
  • Silaha Yeminliydim (1965)
  • Sokakta Kan Vardı (1965)
  • Tehlikeli Adam (1965)
  • Torpido Yılmaz (1965)
  • Üçünüzü de Mıhlarım (1965)
  • Yaralı Kartal (1965)
  • Halime'den Mektup Var (1964)
  • Her Gün Ölmektense (1964)
  • Kamalı Zeybek (1964)
  • Kara Şahin (1964)
  • Kocaoğlan (1964)
  • Koçero (1964)
  • Mor Defter (1964)
  • On korkusuz Adam (1964)
  • Prangasız Mahkumlar (1964)
  • Zımba Gibi Delikanlı (1964)
  • İkisi de Cesurdu (1963)
  • Dolandırıcılar Şahı (1961)
  • Tatlı Bela (1961)
  • Tütün Zamanı (1959)
  • Alageyik (1958)
  • Bu Vatanın Çocukları (1958)

Template:Multicol-end

Director

Template:Multicol

Template:Multicol-break

  • Baba (1971) ([2])
  • İbret (1971)
  • Kaçaklar (1971)
  • Umutsuzlar (1971)
  • Vurguncular (1971)
  • Yarın Son Gündür (1971)
  • Canlı Hedef (1970)
  • Piyade Osman (1970)

Template:Multicol-break

  • Umut (1970)
  • Aç Kurtlar (1969)
  • Bir Çirkin Adam (1969)
  • Pire Nuri (1968)
  • Seyyit Han (1968)
  • Bana Kurşun İşlemez (1967)
  • Benim Adım Kerim (1967)
  • At Avrat Silah (1966)

Template:Multicol-end

See also

References

  1. ^ Suad Joseph, Afsaneh Najmabadi, Encyclopedia of Women & Islamic Cultures: Family, law, and politics, Brill, 2005, ISBN 9789004128187, p. 361.
  2. ^ Joost Jongerden, The settlement issue in Turkey and the Kurds: an analysis of spatial policies, modernity and war, Brill, 2007, ISBN 9789004155572, p. 31.
  3. ^ Pope, Hugh and Nicole Pope, Turkey Unveiled: A History of Modern Turkey, (Overlook TP, 2000), 254.
  4. ^ http://www.chris-kutschera.com/A/Yilmaz%20Guney.htm
  5. ^ Turkish Dailiy Hürriyet Account of the eye witness Mehmet Uyulhas
  6. ^ "Berlinale 1980: Prize Winners". berlinale.de. Retrieved 2010-08-17.
Awards
Preceded by Golden Orange Award
for Best Actor
1967
for Hudutların Kanunu 		Succeeded by
Preceded by
newly established
 Golden Boll Award
for Best Actor
1969
for Seyyit Han

1970
for Umut
1971
for Ağıt

Succeeded by
Preceded by Golden Boll Award
for Best Screenplay
1970
for Umut

1971
for Ağıt

Succeeded by
not awarded
Preceded by Golden Orange Award
for Best Actor
1970
for Bir Çirkin Adam 		Succeeded by
Preceded by Golden Boll Award
for Best Director
1971
for Ağıt 		Succeeded by
Preceded by Golden Orange Award
for Best Screenplay
1975
for Endişe 		Succeeded by

Template:Persondata

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