Sinemalı Pazartesiler/ Cinema Mondays- Annie Leibovitz:Life Through a Lens

Daha önce dediğim gibi tesadüfen Ada Müzik'te 'Annie Leibovitz: Life Through a Lens" belgeselini bulunca tabii ki hemen oturup izledim.

Like I said before, when I found by coincidence the documentary 'Annie Leibovitz: Life Through a Lens", of course I immediately set down and watched it.

Annie Leibovitz: Life Through a Lens

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Film, Annie'nin kardeşi Barbara Leibovitz tarafından yönetilmiş, teknik ve tarz açısından çok iyi bir film diyemem, televizyonda gördüğümüz klasik ünlü portrelerinin ötesinde bir şey yok, ama yine de Annie Leibovitz gibi dünyanın en ünlü fotoğrafçılarından birinin hikayesini dinlemek yine de etkileyici. Özellikle, benim Cuma günkü yazımda es geçtiğim ilk dönem gazeteci/ belgeselci tarzda fotoğraflarını görmek, fotoğraflarını çektiği ünlülerle olan ilişkilerini incelemek ve Susan Sontag'la olan ilişkisini daha iyi öğrenmek ilgimi çekti.

The documentary is directed by Annie's sister Barbara Leibovitz, although I cannot say it to be a good film in terms of style and technique, rather it's the classical t.v. documentary of celebrities, but still watching the story of one of the biggest photographers today was very interesting. Especially, her first period of documentary/journalistic style photographs that I unfortunately skipped in my post Friday, to see her relation with the celebrities she photographed and to know more about her relationship with Susan Sontag were the most interesting parts of the film for me.

 Susan Sontag

Fotoğrafçılık ise belgeselin ana noktası. Filmde en önemli fotoğraflarının çekim aşamasını ve o fotoğrafı çekmeye Leibovitz'in neyi ittiğini, hatta kompozisyonu nasıl kurduğu dahil ciddi incelemeler Leibovitz ve dergi editörleri/eleştirmenler tarafından inceleniyor, bu herhalde filmin en keyifli noktası.

Photography is the key element of the documentary. It tells the story of her most famoust photos, what drove Leibovitz to portray them as such even why she used such compositions are given in detail by Leibovitz herself and magazine editors and critics, which is the highlight of the film for me.

Annie Leibovitz

Filmin beni en şaşırtan yanı ise, Annie Leibovitz'in hayatını tamamen fotoğrafa adaması ve gerçekten hayatı fotoğraf lensinden algılaması. Üst üste yaşadığı babasının ve sevgilisi Susan Sontag'ın ölümlerini bütün süreciyle fotoğraflaması beni gerçekten çok etkiledi. Kendi ölümünü de fotoğraflamak istemesi de beni duygulandırdı. Zaman zaman bana da olan bir şey bu, fotoğraf ya da video çekerken birden fark ediyorum ki ,aslında ben kenarda kalıp bir lensten olan biteni seyretmeyi, olayların içinde olmaya tercih ediyorum. Aslında bu üzerine çok düşündüğüm bir konu, çünkü ne kadar iyi bir yön olduğundan hiç de emin değilim.

The thing that surprised me the most about her is how she integrated photography into her life and how she really sees the life though a lens. The losts of her father and her lover Susan Sontag that was very close in time, and how she photographed every part of their illness effected me a lot. She wants to photograph her own death too, which is possible a rather morbid idea for most, but an understandable one for a photographer. The same thing happens to me too from time to time, either when I shoot a photograph or a video, I often find myself preferring to stay out and observe everything through a lens, than to participate the life, which scares me.

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Aslında belgeseli çekenin Annie Leibovitz'in kardeşi olduğu düşünüldüğünde, çok daha içten ve özel bir film çıkmasını beklerdim, ama bu filmde yönetmen olayın dışında kalmaya çalışmış, bu da iki kardeş arasındaki o özel ilişkiden yararlanmasını engellemiş. Oysa ki Annie Leibovitz'i diğer fotoğrafçılardan ayıran ve filmde sürekli tekrar edilen yöntemi, fotoğrafını çekeceği insanların günlük hayatının bir parçası haline gelerek, kamera karşısında poz vermeye mahal bırakmadan fotoğraf çekmesi. Keşke belgesel de böyle bir yol izleseydi...

When I learned that the director is Annie Leibovitz's sister, I was expecting a more sincere film, but she tried to stay in a neutral-observer position which is I think a very unfortunate thing, because their close relation with one another would make such a better film. And in fact that Annie's difference in her style is the time she spends with the people she will portray in order to enter their ordinary daily life and take spontaneous portraits, so if this film would have followed a similar road it would be so much better...

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Annie Leibovitz hakkında yapılan en güzel betimleme: "Barbara Streisand'ın elinde fotoğraf makinesi tutanı"- Grayton Carter, Vanity Fair editörü

The best description about Annie Leibovitz: "Barbara Streisand with a camera"- Grayton Carter, her boss at Vanity Fair

Haftanın İzlenimleri/Weekly Impressions- 23-30 May '10

1. Annie Leibovitz:

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Bu hafta önce  'Fotoğraflı Cumalar'da, bugün de belgeseli 'Annie Leibovitz: Life Through a Lens"le bu haftamın sonuna damga vurdu...

She was dominant at the end of my week, first by 'Photography Fridays' and then today with her documentary 'Annie Leibovitz: Life Through a Lens'...

2. 1910'lardan eski fotoğraflar/ Old Photos from the 1910's:

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Bu hafta internette sürekli karşıma eski fotoğraflar çıktı ne hikmetse...

 

All week long, I saw old photos on the net either in blogs or someplace else...

 

3. Eurovizyon /Eurovision:

 

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Bu yıl da bir gazla Eurovizyon izlendi, Manga'daki dansçıya hayran kalındı, "Almanya'daki kız iyi değildi ki neden kazandı" denildi, "Neydi o Ermeni apladaki memeler yavvv" denildi, İspanya sahnedeyken sahneye atlayan adama bolca gülündü, garip bir şekilde en çok Moldova'yla Ukrayna beğenildi, Ermeniler keşke duduk'u iç etmeseymiş diye hayıflanıldı, sunucunun "acayip tiplere benziysen" şarkıcıyı Zeki Müren'e benzetmesi kınandı ve bize neredeyse küfreden Ermenilere Türkiye'den nasıl 6 puan çıktı diye bayağı bir şaşıldı.

 

Eurovision will not mean much to you if you're outside of Europe (it may not mean that much even if you're from Europe), but in Turkey it's a huge huge deal. This year, I loved Manga's (Turkish band) dancer, in fact I'm truly in love, I wonder why the German chick won, I was hypnotized by the Armenian chick's breasts, laughed at the guy who got on stage during Spain's performance, loved Moldova and Ukraine the most, was sorry that the Armenians undervalued a great duduk player and was very surprised that Turkey gave Armenia 6 points after a song like that!

 

4. Chocolat

 

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'Chocolat' filmini bugüne kadar izlemediğime inanabiliyor musunuz? Film çikolotayla ilgili, Fransa'da geçiyor, kıyafetler enfes, ben de kendime inanamıyorum, ama diyetteki bünyeme ne kadar iyi geldi ondan emin değilim. Juliette Binoche'un kıyafetlerine hasta oldum o ayrı...

 

Can you believe that I didn't watch 'Chocolat' until today? I, who love chocolate, France and the 50's! I cannot believe it myself, and I'm not sure if I've done a good thing watching it on a diet, but Juliette Binoche's wardrobe was amazing!

 

5. Lost

 

 

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Ve son olarak Lost'un dandik finali, 6 yılımı yedin a Lost, kör olasın emi!

 

And finally, the crappy finale of Lost, how could you do it to me after 6 years Lost! How could you!

 

Bu hafta, fark etmişsinizdir, çok da matah bir hafta değildi, umarım haftaya size aktaracak daha iyi izlenimlerim olur.

 

This week wasn't so glamorous as you can see, I hope to have better impressions to share next week.  

Turkish Ordeal- Halide Edib Adıvar

 Daha önce şu yazıda yazmıştım Halide Edib'in 'Turkish Ordeal'ı hakkında. Amerika'da yaşadığı yıllarda yazdığı anılarının ikinci kısmı olan 'Turkish Ordeal', tekrar altını çizerek söylüyorum ki, bir çok insanın sandığı gibi Ateşten Gömlek'in İngilizcesi değil, 'Ateşten Gömlek'ten önce İngilizce yazılmış bir kitap. Adıvar daha sonra Türkiye'ye döndüğünde önce Mor Salkımlı Ev, ardından da 'Ateşten Gömlek'i yazıyor, ama bunlar 'Memoirs' ve 'Turkish Ordeal'ın Türkçe çevirileri değil, yeniden yazılmışlar. 'Turkish Ordeal' sanıyorum ki özellikle Atatürk'le ilgili ifadeleri nedeniyle bir süre Türkiye'de yasaklanmış, şu anda da bir baskısı yok.

I wrote before about Halide Edib Adıvar's Turkish Ordeal here.It's the further memoirs of Halide Edib and contrary to the general belief, it is not the translation of 'The Shirt of Flame', and is originally written in English, 'The Shirt of Flame' is written after she returned to Turkey and it's not a translation into Turkish. (A bit confusing I know, in short she wrote two sets of memoirs, one in English, one in Turkish). 'Turkish Ordeal' is considered to be harsher in tone about Ataturk and was banend from Turkey for sometime. As the publishing house was closed, there is no copy of the book today, neither in U.S.A. or in Turkey.

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Benim gibi Halide Edib'e hayran bir insan için onun anılarını okumak tabii ki etkileyici, özellikle Sultanahmet Mitingi'ne niye Halide Edib'in seçildiğini ve onun nasıl erkek hakim Osmanlı Devleti'nde önemli bir siyasi figür haline geldiğini bu kitapla daha net olarak öğrenebildim. Bunun yanında Atatürk dahil askerlerin ve siyasi figürlerin ona olan saygısı ve ona gösterdikleri özene hayran kaldım. Bu özen o kadar büyük ki, komutanlar meclisin ilk açıldığı yıllarda köpeği ölünce depresyona giren Halide Edib'e yeni bir köpek bulmak için yarışa girip kimin köpeğini seçeceğini bir onur meselesi haline getirmişler.

For a person who admires Halide Edib, reading her memoirs is of course amazing, especially to learn how she came to be the speaker in the Sultanahmet demonstration and how come she could become such an important political figure in a patriarchal Ottoman Empire. Beside that, the fact that Ataturk and all the soldiers respect her so much and take such a good care of her in the military was very interesting to read. This 'taking care' was done in such a delicate manner that she never felt as a weak woman, but rather almost a divine figure. In Ankara, the time when the first assembly was opened, Halide Edib was in depression because her dog died, and all the soldiers around raced to find her a new dog, for example.

Ama kitabın en önemli yönü Halide Edib'in Atatürk'ün kişiliğini, bugün Kemalizm'in bizi zorladığı ikonlaştırıcı şekilden uzak olarak öğrenme çabası, Atatürk'ün yanında olduğu süre boyunca onu gerçekten incelemiş ve işte bu incelemeler kitabın en önemli noktası. Halide Edib'in Atatürk'ünün en büyük özelliği kazanmak için herşeyi yapmaya hazır olması, bu Kemalist'lerin söyleyeceği gibi kendi hayatını bile feda etmeye hazır olması anlamına geliyor, ama aynı zamanda da kazanmak için kim olduğuna bakmadan herkesin ayağını kaydırabileceği ve herkesi kullanabileceği anlamına da geliyor. Halide Edib'i gerçekten endişelendiren başka bir nokta ise, Mustafa Kemal'in totaliterliği, evet Atatürk padişah, halifelik gibi güçler ve semboller peşinde değil, ama sıra karar vermeye gelince sözün tek kendisinde olmasını istiyor. Daha da kötüsü, alternatif görüşlere hiç tahammülü yok. Aşağıda zaten verdiğim alıntılarda Halide Edib'in bu çıkarımlarını okuyacaksınız.

But the most important part of the book is the way she tries to learn Ataturk's true personality, liberated from the iconic image that Kemalists. She observed him all the time she spent with him and these observations are the most interesting parts of the book. The biggest characteristic according to Halide Edib is that Ataturk can sacrifice everything for victory. And even though it means that he could sacrifice even his life, which a Kemalist would tell you, it also means that he can do every trick and ruse in order to succeed. Another part of his ideology that scares her the most is his totalitarian views. Yes, rejecting the Sultan and Chaliph (head of Muslims) titles he was not after power, but when it comes to making decisions, he wanted his to be the only-one. You can read more of these observations in the quotes that I took from the book below. 

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Halide Edib'le Atatürk'ün arasındaki en büyük fark, Halide Edib'in büyük bir hümanist olması ve adalet kavramına inancı, yine de Atatürk'le aralarında bir kaç konuşma geçse de, Atatürk'ün Halide Edib'e her zaman saygı ve sevgi gösterdiğini de burada belirtmek lazım. Ayrıca Halide Edib, Atatürk'ü anlatırken kesinlikle sadece kötü yanları ortaya koymuyor, iyi yönlerini övmekten hiç bir zaman çekinmiyor.Halide Edib'in anlattığı Atatürk bana daha mantıklı geliyor, çünkü dünyanın en büyük güçleri tarafından ele geçirilmiş bir ülkeyi kurtarmaya çalışan birinin, bize öğretildiği gibi sevecen ve duygusal biri değil, tam tersine büyük bir egosu olan ve neredeyse mekanik bir insan olması gerekir. Ya da ben böyle düşünüyorum...

The biggest difference between Ataturk and Halide Edib is her humanism and her belief of justice that she mentioned all the time in her speeches and in the book, but despite some quarrels, Ataturk was always very respectful of her. Also, Halide Edib doesn't always criticize Ataturk, but puts his qualities in focus too, so this book really does a good job in portraying a really important man of the history. For me, the Ataturk that Halide Edib makes more sense, because for someone to uprise against all the powerful forces of Europe in a enslaved fallen empire, he has to be with a big ego and almost a mechanic person, rather than an emotional and affectionate person like the Kemalist says him to be.

Gelelim alıntılara, alıntılar sadece Atatürk'le ilgili değil, kitabın en sevdiğim parçaları sadece (Türkçe'ye çevirmiyorum, ama İngilizcesini anlayamayan biri olursa söylesin çevireyim):

Here are my favorite passages from the book:

 page 80:

"Life is not so very different from the cinema after all. The only difference is that one gets more excited at the movies."

 Her first impression from the first time she saw Atatürk, page 90:

"His mind is two-sided, like a light lantern. Sometimes it flashes and shows you what it wants you to see with almost blinding clearness; sometimes it wanders and gets itself lost in the dark."

Edhem, the most important leader of the irregular forces wanted a death sentence on someone who the Turkish Army sworn to protect in return of his helps to one of the Turkish soldiers. Halide Edib and İsmet Pasha wanted him protected as promised, but Atatürk wanted to grant Edhem's wish in order to honor him, page 111:

"He openly avowed that in our condition there was no place for mercy, pity, and sentimental morality; that scruples about breaking a promise were a sign of weakness; that any who indulged in such considerations were bound never to succeed. Once we got hold of our enemies, there was one thing to do, promise or no promise, and that was to kill them; dead men can’t cause trouble."

"It is only now that I realize how significant his words were, and how they symbolized the government he then meant to set up and which he has since succeeded in establishing. But even then I could not help seeing how much like Edhem he was, and how ruthless and primitively practical are these men of destiny who upset old dispensations and impose their own order on a nation. And although Mustafa Kemal Pasha’s ideas, which still dominate his administration, have numberless supporters all over the world, I still believe that they represent only a short-sighted, expediency which, though it may make for immediate success, in the long run will make men feel so unsafe that they will rebel against it for the sake of security if not for the sake of morality."

page 118:

"Mustafa Kemal Pasha during all those first months, and during those brief periods of crisis when I worked near him in later years, was never other than sober and correct in his person. And entirely occupied dealing with the situation at hand. But a student of human nature observing him then, or in his present mode of life, is obliged to admit that he must be considered as one of those human beings who are abnormal morally. Immoral he certainly was not; he was merely amoral. He never accepted the current standard of human morality, or saw its necessity. Those people who professed moral ideals or claimed to adhere to austere standards were to him either hypocrites like the hodjas or, if there were a few who were genuine and consistent, them they were just fools."

"But perhaps the most characteristic element in Mustafa Kemal Pasha’s make-up was his complete lack of heart. At that time it gave him an ascendancy, for he could work out his plans untroubled by human weaknesses. And pity, affection, sacrifice were to him useless weaknesses. Intelligence and self-interest were what mattered in the intricate scheme of human life. Nothing spiritual, nothing which could not be explained by the everyday intelligence, was worth considering. The intelligent man uses other people who have these weaknesses, but he himself remains an absolute materialist and a heartless one at that. But here again a paradox. Mustafa Kemal Pasha was superstitious. He was deeply affected by omens. I remember a green cloth of Arabic inscriptions of magic a clairvoyant sent him which he had hung against the wall behind the desk. And he was constantly telling of the dreams of his followers. And his followers always managed to have good dreams, dreams which foretold his success."

On Communism, page 126:

"...that hey seemed to divide all men into those who were Communists or likely to become Communists and those who were not, and that they had a different standard of judgment for each. Here was a new class division, a new judgment, a new barrier: not one of race or religion, perhaps, but still a barrier all the same.

One passage that will make the Kemalists very angry, page 129:

"In terms of vitality, he wasn’t. And it was this alone that made him the dominant figure. Take any man from the street who is shrewd, selfish, and utterly unscrupulous, give him the insistence and histrionics of a hysterical woman who is willing to employ any wile to satisfy her inexhaustible desires, then view him through the largest magnifying glass you can find – and you’ll see Mustafa Kemal Pasha."

Their first quarrel, page 130:

Then he was dazzlingly clear that I remember vividly not only the sense of what he said but the very words that he used. For once his life-motive was apparent without concealment, and he said what he really meant with the utmost simplicity.
cause?”
“What I mean is this: I want everyone to do as I wish and command.” “Have they not done so already in everything that is fundamental and for the good of the Turkish
He swept my question aside and continued in the same brutally frank manner.
“I don’t want any consideration, criticism, or advice. I will have only my own way. All shall do as I command.”
“Me too, Pasham?” “You too.” His absolute sincerity deserved a reciprocal frankness. “I will obey you and do as you wish as long as I believe that you are serving the cause.” “You shall obey me and do as I wish,” he repeated, ignoring the condition. “Is that a threat, Pasham?” I asked quietly but firmly. “I am sorry,” he said; “I would not threaten you.”

page 217:

"Mustafa Kemal Pasha, though a blindingly brilliant perpetual motion of intelligence, had drawbacks in his character and temperament which might have proved fatal to our cause if Ismet Pasha and Fevzi Pasha had not been there to counterbalance them. Mustafa Kemal Pasha was harsh and extremely jealous of personal distinctions. Like most men of destiny, he hated to see any one in the public eye, even in a sphere which did not touch his: this feeling became with him a fierce resentment which took the shape of persecution the moment he felt himself strong enough."

On the war field, page 223:

"Through the field-glass I was seeing the game of war as it is played, and the beast in me was enjoying it as much as the rest, forgetting what its results would look like in the hospitals later on. I could see men coming nearer and nearer, and even the fall of the men in the front line, leaving it indented and broken; and the final onslaught with bayonets. Thus the ants take their exercises around the small yellow mounds of their nests. Until I realized that those who could not rise after the smoke had cleared away had had their eyes opened to reality and were scorning this clumsy, stupid game of death, I was feeling sorry for them for not having been able to continue." 

In the war-front, a major bragging to journalists about having a woman transport, and the woman's feelings- one of my favorite passages from the book, page 241-242:

"Through the field-glass I was seeing the game of war as it is played, and the beast in me was enjoying it as much as the rest, forgetting what its results would look like in the hospitals later on. I could see men coming nearer and nearer, and even the fall of the men in the front line, leaving it indented and broken; and the final onslaught with bayonets. Thus the ants take their exercises around the small yellow mounds of their nests. Until I realized that those who could not rise after the smoke had cleared away had had their eyes opened to reality and were scorning this clumsy, stupid game of death, I was feeling sorry for them for not having been able to continue."

“Oh, daughter,” she said, “I hate guns. I tremble like a leaf when I touch one. What have I to do with guns? I love the soldiers and I want to serve them. Why should they take my picture with it? I am trembling all the time anyway, my child: whenever the commander speaks, my knees give way . . . .”
“Is he unkind to you, Mother?”
“No, no, but he shows me to every passing visitor as if I were an amusement [show]. I am more afraid of the old man with the baggy white beard, the commander’s second. He shouts when he speaks, he carries a whip and strikes the soldiers with it. They do flog the deserters so badly . . . the poor lambs; my heart weeps blood for them. Nothing is done by beauty [kindness]. When do you think Seughud will be cleared? There is nothing but fear in this camp. I have to bear it for the sake of the soldiers and for my blind lad.”

page 261:

"The sultans had divine power—it was rotten: we will create the legend of the powerful man, the man who rules by might, not by heredity. We are naturally drifting toward a kind of government such as we see in the South American republics—unstable and only dependent on strong men: ‘General X. is on the throne, hence General Z. must be on the mountains’ sort of thing. The sultans have passed away, long live the pashas.”

After the Smyrna victory, page 270-271:

Thinking of all that he had gone through in the hard days, it was almost touching to see Mustafa Kemal Pasha’s exuberant joy.
“After you take Smyrna, Pasha, you will rest, you have struggled so hard.” “Rest; what rest? After the Greeks we will fight each other, we will eat each other.”
“Why should we?” I said. “There will be an enormous amount to do in the way of reconstruction.”
“What about the men who have opposed me?” “Well, it was natural in a National Assembly.” He had been talking in a bantering tone, but now his eyes sparkled dangerously as he mentioned
the names of two men1 from the second group (the name of the opposition party in those days). “I will have those lynched by the people. No, we will not rest, we will kill each other.”

"These words are the key to his temperament. There must be something doing—he must be on the stage, a unique actor perpetually astonishing the world—a dangerous kind of actor, but dangerous for others and safe for himself. He must be exacting all that the spectators can give—fear, wonder, adoration. And he would have only shadows on the stage, shadows called or sent back at his will, simply to make the show showy—no more. Perhaps he was not so very different from the other men of destiny whose specialty was thrones, power, rather than intellectual achievement. He made me think strangely at this moment of Isaiah’s description of God, a God who will not bear any uplifting of heads, be they of men, trees or mountains "

After the Smyrna victory, on Anatolian women who want the Turkish soldier to harrass the Christian women in Turkish lands, like Greeks has done to Turkish, page 276:

"I felt that their wounds would never be healed with time; they would brood over them, they would probe them ever in the same passionate way. Yes, this mood was absolutely Western in its fixedness and its vindictiveness; it lacked the mellowness, the subtle understanding and forgiveness of the real Eastern soul. These women had learned the lesson of ugly hatred which the West had been trying so hard to teach the East."

**Kitabın tümünü buradan indirebilirsiniz.

**You can download the whole book in here.

Günün hazineleri/ Today's Scavenger Hunt

Bugün kitap almak için Ada Müziğime gittiğimde sadece (cüssesine göre) ucuz ve orijinal (yani İngilizce) Ulysses'i bulmakla kalmadım, aynı zamanda, tam da bugün ki yazının üstüne Annie Leibovitz belgeseli Life Through a Lens'i buldum, hem de 4 liraya! Öyle indirimdeki DVD'lerin en üst en görünen köşesinden bana göz kırpıyordu, bu kesin kader olmalı! (Ya da ben çok dramatik bir insanım). Bu arada Ada Müziği ne kadar çok sevdiğimden bahsetmiş miydim daha önce? Evet, evet bahsetmiştim...

Today when I went to buy a book to read to one of my favorite bookshops, not that I only found a cheap (considering its volume) original (meaning in English) copy of Ulysses, I also found Annie Leibovitz' documentary 'Life Through a Lens' just after my post today and for 2 Euros! It was sitting on the top and the most eye-cacthing corner of the on sale DVD pile, it was like fate (or I am totally a drama queen). Well, lucky me!

Fotoğraflı Cumalar- Photography Friday-Annie Leibovitz

1949 Amerika doğumlu Annie Leibovitz, Rolling Stone ve Vanity Fair gibi dergilerde çalıştı, özellikle John Lennon'ın vurulmasından çok kısa önce Rolling Stone için Lennon ve Yoko Ono'yu yatakta çektiği fotoğrafla tanınır. Bunun dışında onu, Vanity Fair için çektiği hamile Demi Moore'un çıplak fotoğrafından da tanıyabilirsiniz.

Annie Lebovitz, born in 1949 in U.S.A. worked for magazines like Rolling Stone and Vanity Fair and is known especially for her photograph of a naked John Lennon and Yoko Ono in bed short before Lennon's assassination. Beside it, you probably know her photo of pregnant Demi Moore for the cover of Vanity Fair.

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Bazıları tarafından çok ticari bulunan Leibovitz, fotoğrafçılık hayatında ciddi tartışmalara yol açtı. İlk önce Demi Moore fotoğrafını parodi olarak kullanan Çıplak Silah 33 1/3'ü mahkemeye verdi. Mahkemenin parodilerin telif hakkı ihlali olmadığı yönündeki kararı ilerideki davalar için örnek oldu ve telif hakkı kavramında değişikliğe yol açtı.

Some find Leibovitz too commercial and this caused many debates on her value as a photographer. 'Naked Gun 33 1/3' which used Demi Moore's photo in a parody was sued by Leibowitz as copyright infringement. The court dropped the charges seeing parody as a part of 'free use' of copyrighted material, which states an example for future lawsuits and changed the view in copyright law. 

Benim en beğendiğim fotoğrafları, Kraliçe Elizabeth...

My favorite photos, of Queen Elizabeth...

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Uygun olup olmadığı yine ciddi tartışmalara yol açtıysa da, National Portrait Gallery'de bir retrospektif sergisi açıldı. 2009 yılında aldığı 15.5 milyon dolarlık krediyi ödeyemeyince bütün eserleri banka eline düşme tehlikesi yaşadı. Bu tehlikeden sonunda 2010'da başka bir bankayla yaptığı anlaşmayla kurtuldu. Dünyanın en çok kazanan fotoğrafçılarından biri olduğu düşünülürse, finansal durumu da bayağı tartışma konusu oldu.

Again with the debates if she is deserving or not, National Portait Gallery launched a retrospective on her. In 2009, it was discovered that Liebovitz's photographs were pawned by a bank, because she couldn't pay the 15.5 million loan that she took. In 2010, the issue was solved by another bank's program to pat the debt, but this again caused a lot of discussion as Leibovitz being one of the highest paid photographers.
 

"Killers Kill, Dead Men Die"- Vanity Fair

Dipnot olarak 1989'dan Susan Sonntag'ın ölümüne kadar (2004) Susan Sonntag'la bir ilişki yaşadığını da söylemek gerekir. Susan Sonntag kim derseniz, bu yüzyılın en önemli fotoğraf eleştirmeni, ayrıca romancı, politik aktivist vs. gibi bir sürü sıfat sayabiliriz.

As a final note, I must say that Leibovitz had a reationship with Susan Sonntag from 1989 until Sonntag's dead in 2004. If you're asking who Sonntag is, I can cite many things as one of the major photography critics, novelist, political activist...

Disney Dream Portrait Series 2007

Aşk-ı Memnu'nun bir ülke üzerine etkileri

Aşk-ı Memnu'nun finali yaklaşıp facebook'ta Nihal'le Behlül'ün düğünü, Bihter'in cenazesi "event"leri açılırken, ülke çocuklarına da bir şeyler oluyor...

Biraz önce bizzat kendi sokağımda şahit oldum, 5-6 13 yaşlarında kızlı erkekli grup sanırım "Aşk-ı Memnuculuk" oynuyorlardı (!). Şişko çirkin bir çocuk "ben Behlül olacam bana ne" diye tutturuyordu ben yanlarından geçerken, kendimi tutamadım valla bir kahkaha kopardım. Ayıp oldu çocuğa ama, oğlum olacak var olmayacak var sen nire Kıvanç Tatlıtuğ nere şimdi di mi?

Bunu sırf eğlenin diye anlattım, yoksa Aşk-ı Memnu Türk aile yapısını, değerlerini bozuyor diye çık çık dil şaklatacaklardan değilim, çocuklarının seksi Aşk-ı Memnu'dan öğrendiğini sanan ana-babalar çok naifler, ve bu dil şaklatanların hepsi gizlice Aşk-ı Memnu izliyor zaten ben biliyorum. Aşk-ı Memnu hakkında diyeceğim tek şey Halid Ziya Uşaklıgil'in ne büyük bir eser yazmış olduğu, hem yazıldığı tarihte, hem 1975'de çekilen dizide, hem de günümüzde büyük olay yaratıyor. Neden, özellikle de doğuda, hiç mi böyle şeyler olmuyor sanıyorsunuz, bizim evde geçenlerde dönen bir dedikoduda sülalede benzer durumlar bile ortaya çıktı, araştırın sizin sülalede de çıkar. Bunlar hiçbir zaman konuşulmadığı için yok sanılıyor, Uşaklıgil sadece bu noktaya değiniyor, eminim bundan 100 yıl sonra da yine aynı tepkileri alacak, rahatlıkla bizim Madame Bovary'miz denebilir, tabii diziyi izlemek yetmez kitabı da okumak lazım.

Bir de son olarak (ay ne uzattım, çene çene) yıllar önce tiyatrosuna gitmiştim Aşk-ı Memnu'nun, Firdevs'i Betül Arım oynuyordu, ay o ne oyun o ne divalıklar, Nebahat Çehre'ye bin basar valla.

Gaga Week on Glee!

Bu bölümün ne zaman geleceğini bekliyordum, bu hafta geldi, işte karşımızda Glee'de Lagy Gaga haftası! İddia ediyorum Glee'nin en güzel bölümü ve Finn süperdi, Kurt tabii her zamanki gibi! Biraz önce twitter'dan Gaga ablamız da GLEE WAS SO AMAZING! AH!!!! şeklinde buyurdu.

I was waiting for an episode like this, and it finally came, this week is Lady Gaga week is on Glee! I claim it the best Glee episode ever and Finn was super duper at the end, Kurt of course was as cool as always! Just after I finished watching Glee, Lady Gaga twitted this: GLEE WAS SO AMAZING! AH!!!!

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Dizi modası/ Tv Series Fashion

Dün, çok büyük uğraştan sonra gardrobumu yeniden düzenledim, baştan aşağıya hem de. İlginç sonuçlara vardım, en başta biliyorum ki desenli olayını bayağıııı bir abarttım, ayrıca tam 7 tane siyah elbisem var, bunların 3'ü bildiğiniz "little black dress", toplamda 35 elbisem ve (çüüüş, oha, yuh, o ne be!) 22 tane, evet yanlış duymadınız 22 tane eteğim var. İşin vahim tarafı, bu eteklerin 18'i desenli, ve şansa bakınız ki, benim üstlerimin %90'ı da desenli. E şimdi, akıllı hatun, sen bu kadar deseni neyle kombinleyeceksin de diyeceksin, di mi? Bence de, şaşırdım kaldım, sadece 4 tane tek renk atletim var, onlar da mavi, siyah, kahve, e peki o çok sevdiğin pembe etekle ne giycen a akıllım? İşte ben bu düşüncelerle boğuşurken aklıma bu yazıyı yazmak geldi. Alın bakalım size televizyon modası yazısı:

I re-organized my wardrobe from inside out last night and reached interested conclusions about the way I dress. First of all, I know that I'm obsessed and probably exaggerated the printed stuff, also I have not one, not two but 7 black dresses, 3 of them being just the "little black dress"es, in total I have 13 dresses, and (woa, what? really?) 22 skirts! The bad things is that 18 of them are also prints and 90% of my tops are also prints. Umm, Houston we have a problem, how am I going to combine all these prints? And I only have 4 single color tops and 2 of them are black, but what am I going to wear with my favorite pink dotted skirt? Well, when I was bothering myself with all these stupid things I decided to write this post. Here is the t.v. fashion guide of mine (a very personal one, mind you):

Biliyorum, moda için izlenecek "it" dizi Gossip Girl, iyi güzel de peki benim gibi aylık alışveriş masrafı Gossip Girl'deki bir kızın çorap parasından az olan sıradan faniler ne yapacak, Gossip Girl'ü izleyip izleyip hayıflanacaklar mı? Hayır, gidip daha sıradan insanları anlatan dizileri izleyecek, ondan ilham alacaklar.

I know that if you would talk about t.v. fashion, Gossip Girl is the "it" show nowadays, but what the ordinary boring people who can't even afford the girls' socks on Gossip Girl would do, what Gossip Girl and got depressed? No, they have to find other shows to follow and get inspired from.

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Şaka bir yana, geçen gün "How I Met Your Mother" izlerken fark ettim ki (5 sezon sonra fark etmedin tabii, de kafama birden dank etti), televizyonda benim tarzıma en yakın giyinen insan, Lily Aldrin. Canım, bir tanem, kalbimin Willow'u Alyson Hannigan'ın dünyanın en şeker insanı olması da, buna katkıda bulunuyor olabilir bilmiyorum.

Well, enough with the joke, in fact I want to talk about Lily Aldrin's fashion sense from How I Met Your Mother in this post. I realized that she has a style closest to mine on t.v. (well, I realized that a long time ago, but just writing now). The fact that she is played by my love, my sugar honey Willow Alyson Hannigan is just another plus. 

Bir yerde Lily Aldrin'in tarzına "decadent luxe" demişler, benim de aklıma "bohemian chic" geliyor, ne mi bu kızın olayı, %90 desenli giyiyor, genellikle bunlar elbise olsa da, bazen kot üstüne tunik şeklinde de oluyorlar, en ilginç tarafıysa, son fotoğrafta olduğu gibi çok alakasız desenleri bir arada giyiyor, çok da güzel oluyor. Benim gibi düz renk kıyafet kıtlığı çeken biri için iyi yöntem, deneyelim bakalım. Bir de çok tatlı takılar kullanıyor ve giydiği her şeyi siz de alıp her gün kullanabilirsiniz, yani Gossip Girl'deki gibi bir davete çağrılmayı beklemeniz gerekmiyor.

Someone called her style "decadent luxe", I'll say more like "bohemian chic". If you're asking, well OK but what is her deal, the first thing is that she wears a lot of prints (coincidence, nah uh), mostly there are dresses, but she sometimes also wears tunic tops with jeans, and the most interesting part about her is that she mixed irrelevant prints together (like in the last photo). Well that's a good idea for someone like me, I'll give it a chance. Another thing I love is the cute jewelry she wears and the fact that the dresses you see on the show is the dresses you can wear everyday, so you don't have to wait to be called to a big event like in Gossip Girl.

Slapsgiving'deki bu elbiseye hasta oldum!

I'm in love with this dress in the episode 'Slapsgiving 2'

Buna çok benzer bir tuniğim var benim de...

I have a very similar tunic like that...

Puantiye, puantiye ,puantiyeeee

dots dots dotssss

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Gelelim ikinci ismimize, Bones'un Dr. Brennan'ı Emily Deschanel. Gördüğüm kadarıyla kendi hayatında da benzer bir tarzı var, ama bu dizi için bulunan takılara dizinin ilk bölümünden beri hastayım. Hatunumuz antropolog ya, etnik muhteşem kolye ve küpeler takıyor, toprak renkleri gözlerine o kadar yakışıyor ki! Buyrun bakalım Bones takıları:

The second gal whose style I love on t.v. is Bones' Dr. Brennan Emily Deschanel. As far as I can she, she has a similar style on real life, but the jewelry they find for the show is making me fall in love with them since the first episode. Since she is an anthropologist, they find ethnic pieces and her eyes are so gorgeous with the earth tone necklaces! Here are some examples:

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David Boreanaz da yakışıklı mıdır nedir? Böyle Angel'la Willow'un bu yazıda pişti olması tamamen tesadüf, yoksa, yoksa Buffy tanrıları otur tüm diziyi yeni baştan mı izle diyor? Bir dinleyeyim bakayım onları...

Well, hello mister honey David Boreanaz. And is it really a coincidence that Willow and Angel to meet again in this post or are the Gods of Buffy trying to say something to me?

 

Bir de Gossip Girl demişken, yok ben ordaki hiç bir çocuğu sevmiyorum, hepsi çoluk çocuk da, Chuck nedir ya? Hayatımda böyle iğrenç bir tip az gördüm, var mıdır hakikaten bu çocuğu beğenen? Varsa aranızda bir açıklayın bana sevabına...

While we are on the topic Gossip Girl, I don't like any boy in Gossip Girl as they are just little boys, but what is the deal with Chuck? I rarely see someone more obnoxious than him, is there really someone who likes him? Do you think he is cute, if so, can you please explain me why?

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Müzikli Çarşambalar/ Musical Wednesday- Udi Hrant Kenkulian

Bu sabah psikopatim sayesinde tanıştığım dejeneratör'e beni Udi Hrant'la tanıştırdığı için teşekkürlerimi yollar, selam çakarım. Bu kadar hoş bir ses olur mu ya? Hele sözler....

Panahi Özgür!

İranlı yönetmene özgürlük

İran, 1 Mart’tan beri cezaevinde bulunan İranlı yönetmen Cafer Panahi'nin kefaletle serbest bırakılmasına karar verdi.

İlişkili fotoğrafları göster

TAHRAN - Isna Ajansı'nın haberine göre, Tahran Başsavcısı Abbas Caferi Dolatabadi, Panahi ile Perşembe Evin Cezaevi'nde yapılan görüşmede, duruşma öncesi serbest bırakılma talebinin incelendiğini ve kabul edildiğini belirtti.

Panahi'nin kefaletle serbest bırakılmasına karar verildiğini söyleyen başsavcı, ünlü sinemacının serbest kalması için adli ve idari girişimlerin sürdüğünü kaydetti.

Fransa'nın Cannes kentinde dün sona eren film festivaline jüri üyesi olarak katılacak yönetmen Panahi, serbest bırakılması için 10 gündür açlık grevi yürütüyordu.