YILMAZ GÜNEY'S "CONCERN" AND "HOPE" MOVIES IN THE THIRD CINEMA PARALLEL

Abstract

From the second World War to the 1960 years, the ever-growing political wind has rapidly influenced countries and communities. Starting on the axis of the Cuban and Chinese revolutions, the struggle for independence and the Algerian revolution, which continued in Vietnam, accelerated the "anti-imperialist" struggle, and nations fought in every field within themselves. This movement, which has been established in the Third World countries, has spread rapidly to Latin America and Europe. One of the areas affected by this movement was cinema. In the struggle against capitalism and imperialism, the cinema also sought a form of transformation that would encourage people to act against this struggle. Fernando Solanas and Octavio Gettino argued that films should be antiperyalists and anticapitalists with an article/manifesto titled toward a Third Cinema (Towards a Third Cinema), which they published in 1969. The third cinema has also begun to take effect in our country's cinema with the 1960. in 1960 and 1980, the coup d'écor showed its influence in cinema. One of the directors who produced films that were described as a Third Cinema film in Turkey with political rhetoric included in his films is Yılmaz Güney. In this study, the Umut (1970) and Endişe (1974) films of Yılmaz Güney, Solanas, Gettino and other Third Cinema theorist Paul Willemen have been examined in the context of the third cinema criteria, and it has been concluded that anxiety and hope films are examined by descriptive analysis, one of the methods of research in social sciences, and that they are examples of Third Cinema.