{"id":16082,"date":"2024-11-03T15:17:12","date_gmt":"2024-11-03T15:17:12","guid":{"rendered":"https:\/\/millitv.net\/?p=16082"},"modified":"2024-11-03T15:17:13","modified_gmt":"2024-11-03T15:17:13","slug":"o-qadin-deyil-el%C9%99c%C9%99-anadir-m%C9%99tb%C9%99xd%C9%99-cazib%C9%99sini-itir%C9%99n-h%C9%99mid%C9%99-xanim","status":"publish","type":"post","link":"https:\/\/millitv.net\/?p=16082","title":{"rendered":"O, qad\u0131n deyil, el\u0259c\u0259 anad\u0131r…\u00a0– M\u0259tb\u0259xd\u0259 cazib\u0259sini itir\u0259n H\u0259mid\u0259 xan\u0131m"},"content":{"rendered":"\n

Bu g\u00fcn Az\u0259rbaycan Respublikas\u0131n\u0131n Xalq artisti Elmira \u015eabanovan\u0131n do\u011fum g\u00fcn\u00fcd\u00fcr.<\/strong><\/p>\n\n\n\n

Kulis.az bu m\u00fcnasib\u0259tl\u0259 Sevda Sultanovan\u0131n \u201cKe\u00e7\u0259n ilin son gec\u0259si\u201d filminin t\u0259hlilini t\u0259qdim edir.<\/strong><\/p>\n\n\n\n

S\u00fcjet: Yeni ilin g\u0259li\u015fin\u0259 bir ne\u00e7\u0259 saat qal\u0131r. H\u0259mid\u0259 bayrama haz\u0131rl\u0131q g\u00f6r\u00fcr. Onun ki\u00e7ik o\u011flu Tofiq dostlar\u0131n\u0131 ev\u0259 d\u0259v\u0259t edib. Amma dostlarla evd\u0259 yeni ili qar\u015f\u0131lamaq al\u0131nm\u0131r. \u00c7\u00fcnki Tofiq dostlar\u0131na anas\u0131ndan ba\u015fqa evd\u0259 he\u00e7 k\u0259sin olmayaca\u011f\u0131na s\u00f6z verib. Amma bayram gec\u0259si bac\u0131s\u0131 Dilar\u0259 d\u0259, qarda\u015f\u0131 R\u00fcst\u0259m d\u0259 evd\u0259dir. H\u0259mid\u0259 is\u0259 b\u00fct\u00fcn ail\u0259nin evd\u0259 olmas\u0131ndan m\u0259mnundur. Tofiq v\u0259 dostlar\u0131 s\u0259rb\u0259st olmaq \u00fc\u00e7\u00fcn ba\u015fqa sinif yolda\u015f\u0131n\u0131n evind\u0259 topla\u015f\u0131rlar. R\u00fcst\u0259m ni\u015fanl\u0131s\u0131 il\u0259 k\u00fcsd\u00fcy\u00fcnd\u0259n, Dilar\u0259 is\u0259 m\u0259kt\u0259b t\u0259dbirin\u0259 d\u0259v\u0259t edilm\u0259diyind\u0259n evd\u0259 qal\u0131rlar. Az sonra H\u0259mid\u0259nin b\u00f6y\u00fck q\u0131z\u0131 G\u00fclar\u0259 \u0259ri v\u0259 o\u011flu il\u0259 g\u0259lir. Onlar\u0131n g\u0259li\u015find\u0259n sevin\u0259n H\u0259mid\u0259nin sevinci uzun s\u00fcrm\u00fcr. Onlar ba\u015fqa ziyaf\u0259t\u0259 d\u0259v\u0259t ald\u0131qlar\u0131n\u0131 deyir v\u0259 azya\u015fl\u0131 o\u011fullar\u0131n\u0131 onun yan\u0131nda qoyaraq m\u0259clis\u0259 t\u0259l\u0259sirl\u0259r. Dilar\u0259nin r\u0259fiq\u0259si g\u0259l\u0259r\u0259k direktorun onu \u015f\u0259nliy\u0259 \u00e7a\u011f\u0131rd\u0131\u011f\u0131n\u0131 deyir. Dilar\u0259 gedir v\u0259 H\u0259mid\u0259 R\u00fcst\u0259ml\u0259 t\u0259k qal\u0131r. O, o\u011fluna ni\u015fanl\u0131s\u0131 il\u0259 bar\u0131\u015fmas\u0131n\u0131 t\u0259kid edir. Ni\u015fanl\u0131s\u0131 il\u0259 bar\u0131\u015fan R\u00fcst\u0259m yeni ili onunla ke\u00e7irm\u0259k \u00fc\u00e7\u00fcn gedir. V\u0259 H\u0259mid\u0259 yeni il ax\u015fam\u0131 t\u0259k qal\u0131r. Az sonra qap\u0131n\u0131n z\u0259ngi \u00e7al\u0131n\u0131r, po\u00e7talyon \u0259rinin \u015fagirdind\u0259n g\u0259l\u0259n teleqram\u0131 g\u0259tirir. H\u0259mid\u0259 po\u00e7talyonu s\u00fcfr\u0259y\u0259 d\u0259v\u0259t edir. Po\u00e7talyon \u00f6vladlar\u0131n nax\u0259l\u0259fliyind\u0259n giley-g\u00fczar edir, H\u0259mid\u0259 is\u0259 onunla raz\u0131la\u015fm\u0131r. Az sonra o da gedir. T\u0259klikd\u0259n s\u0131x\u0131lan qad\u0131n \u0259rini xat\u0131rlay\u0131r. \u018frinin s\u0259si yaz\u0131lan kaseti dinl\u0259y\u0259r\u0259k t\u0259s\u0259lli tap\u0131r…<\/p>\n\n\n\n

\u018fs\u0259r (1966-67) rejissor G\u00fclb\u0259niz \u018fzimzad\u0259 t\u0259r\u0259find\u0259n 1983-c\u00fc ild\u0259 ekranla\u015fd\u0131r\u0131l\u0131b. G\u00fclb\u0259niz \u018fzimzad\u0259ni milli kinematoqrafiyam\u0131zda u\u011furlu rejissor h\u0259yat\u0131 olan yegan\u0259 qad\u0131n saymaq olar. N\u0259 ilk qad\u0131n rejissorumuz Q\u0259m\u0259r Salamzad\u0259, n\u0259 Zeyn\u0259b Kaz\u0131mova bel\u0259 bir u\u011furu qazana bilm\u0259dil\u0259r, onlar\u0131n filmoqrafiyas\u0131nda t\u0259\u0259ss\u00fcf ki, ancaq bir ne\u00e7\u0259 b\u0259dii film var.<\/p>\n\n\n\n

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Yaz\u0131lar\u0131mdan birind\u0259 qeyd etdiyim kimi, Az\u0259rbaycan kinosunda qad\u0131n dramlar\u0131n\u0131 t\u0259svir ed\u0259n filml\u0259r, qad\u0131n kinosu anlay\u0131\u015f\u0131 yox s\u0259viyy\u0259sind\u0259dir. Qad\u0131n m\u00f6vzusu daha \u00e7ox XX \u0259srin \u0259vv\u0259ll\u0259rind\u0259, 1920-30-cu ill\u0259rd\u0259 prioritet idi, s\u0259b\u0259bi d\u0259 o d\u00f6vrd\u0259 qad\u0131n\u0131n c\u0259miyy\u0259td\u0259ki m\u00f6vqeyinin aktualla\u015fd\u0131r\u0131lmas\u0131, onun h\u00fcquqlar\u0131n\u0131n t\u0259bli\u011fi il\u0259 ba\u011fl\u0131yd\u0131.<\/p>\n\n\n\n

\u018fslind\u0259, qad\u0131n t\u0259bi\u0259ti haqda \u0259n yax\u015f\u0131 filml\u0259ri ki\u015fi rejissorlar \u00e7\u0259kibl\u0259r. Bununla bel\u0259 maraql\u0131, m\u00fcr\u0259kk\u0259b, d\u0259rin qad\u0131n obrazlar\u0131, qad\u0131n \u0259hvalatlar\u0131 yaradan qad\u0131n rejissorlar sayca az da olsa var. Misal\u00e7\u00fcn, Kira Muratova (“Uzun vidala\u015fma”), Ceyn Kempion (“Pianino”), \u015eantal Akerman (“Janna Dilman”) filml\u0259ri.<\/p>\n\n\n\n

V\u0259 G\u00fclb\u0259niz \u018fzimzad\u0259nin “\u00d6t\u0259n ilin son gec\u0259si” iki aspektd\u0259n daha \u00e7ox maraql\u0131d\u0131r. Birincisi, \u0259hvalatda H\u0259mid\u0259nin daha \u00e7ox qad\u0131n kimliyinin, qad\u0131n ya\u015fant\u0131lar\u0131n\u0131n \u00f6n\u0259 \u00e7\u0131xar\u0131lmas\u0131. Yeri g\u0259lmi\u015fk\u0259n, pyes \u0259sas\u0131nda, daha \u00f6nc\u0259, 1978-ci ild\u0259 maraql\u0131 televiziya tama\u015falar\u0131na qurulu\u015f ver\u0259n Ramiz H\u0259s\u0259no\u011flu teletama\u015fa qurub. Amma R. H\u0259s\u0259no\u011flu traktovkas\u0131nda H\u0259mid\u0259nin ana kimliyin\u0259 fokuslan\u0131r, tama\u015fan\u0131 psixoloji t\u0259r\u0259fd\u0259n \u00e7ox sentimental, duy\u011fusal qatda i\u015fl\u0259yir.<\/p>\n\n\n\n

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Filmin \u0259h\u0259miyy\u0259tli olan dig\u0259r aspekti onun Yeni il bayram\u0131 il\u0259 ba\u011fl\u0131l\u0131\u011f\u0131d\u0131r. \u00c7\u00fcnki milli kinomuzda bel\u0259 bir \u0259lam\u0259tdar hadis\u0259 il\u0259 ba\u011fl\u0131 film dem\u0259k olar ki, yoxdur.<\/p>\n\n\n\n

“\u00d6t\u0259n ilin son gec\u0259si”nin kinematoqrafik keyfiyy\u0259tl\u0259ri haqda daha \u0259trafl\u0131 az sonra dan\u0131\u015faca\u011f\u0131q. \u018fvv\u0259lc\u0259, G\u00fclb\u0259niz \u018fzimzad\u0259nin rejissor f\u0259aliyy\u0259ti haqda bir ne\u00e7\u0259 qeydi z\u0259ruri say\u0131ram. 1974-c\u00fc ild\u0259 lent\u0259 al\u0131nan “\u00d6mr\u00fcn s\u0259hif\u0259l\u0259ri” almanax\u0131na daxil olan “N\u0259\u011fm\u0259 d\u0259rsi” q\u0131sametrajl\u0131 filmi onun rejissor kimi ilk i\u015fidir. Rejissor, eyni zamanda, m\u0259\u015fhur b\u0259dii m\u0259tnl\u0259rin ekranla\u015fd\u0131r\u0131lmas\u0131 il\u0259 diqq\u0259ti \u00e7\u0259kir: “Dantenin yubileyi”, “\u0130mtahan” (\u015eahmar \u018fl\u0259kb\u0259rovla birg\u0259) v\u0259 “Q\u0259tl g\u00fcn\u00fc”.<\/p>\n\n\n\n

\u00c7e\u015fidli janrlarda v\u0259 temalarda i\u015fl\u0259y\u0259n G\u00fclb\u0259niz \u018fzimzad\u0259nin yarad\u0131c\u0131l\u0131\u011f\u0131nda u\u015faq m\u00f6vzusu da m\u00fch\u00fcm yer tutur. O, u\u015faqlar\u0131n h\u0259yat\u0131 tan\u0131mas\u0131 prosesini, \u0259trafla \u00fcnsiyy\u0259tl\u0259rind\u0259ki ilk \u00e7\u0259tinlikl\u0259ri ekrana g\u0259tir\u0259n filml\u0259rin m\u00fc\u0259llifidir: “T\u0259kc\u0259 adan\u0131 \u00f6z\u00fcnl\u0259 apara bilm\u0259zs\u0259n”, “Qaladan tap\u0131lan m\u00fccr\u00fc”, “Avqust g\u0259l\u0259nd\u0259”.<\/p>\n\n\n\n

Onun \u0259hvalatlar\u0131nda \u0259sas konfliktoloji n\u00f6qt\u0259l\u0259r – u\u015faqlar\u0131n b\u00f6y\u00fckl\u0259rl\u0259 anla\u015f\u0131lmazl\u0131\u011f\u0131, b\u00f6y\u00fckl\u0259rin b\u0259z\u0259n onlar\u0131n d\u00fcnyas\u0131na daxil ola bilm\u0259m\u0259si, \u00f6z\u00fcn\u0259 qalib g\u0259lm\u0259k, qorxu hissini m\u0259\u011flub etm\u0259k c\u0259hdl\u0259ri v\u0259 sairdir.<\/p>\n\n\n\n

H\u0259r\u00e7\u0259nd, bu da faktd\u0131r ki, G\u00fclb\u0259niz \u018fzimzad\u0259nin u\u015faq filml\u0259ri, m\u0259s\u0259l\u0259n, \u018flis\u0259ttar Ataki\u015fiyevin “Sehrli xalat”, “Bir qalan\u0131n sirri” v\u0259 ya \u015eamil Mahmudb\u0259yovun “\u015e\u0259rikli \u00e7\u00f6r\u0259k” ekran \u0259s\u0259rl\u0259ri kimi kult statusu almad\u0131.<\/p>\n\n\n\n

G\u00f6r\u00fcn\u00fcr, s\u0259b\u0259bl\u0259rd\u0259n biri \u018fzimzad\u0259nin u\u015faq filml\u0259rini a\u00e7\u0131q tekstl\u0259 didaktik intonasiyada i\u015fl\u0259m\u0259si, onlardan \u00e7ox b\u00f6y\u00fckl\u0259rin d\u00fcnyas\u0131na, probleml\u0259rin\u0259 konsentr\u0259si, m\u00f6vzuya do\u011fru yana\u015fma tapa bilm\u0259m\u0259sind\u0259dir. \u00d6rn\u0259yi, rejissorun 1982-ci ild\u0259 lent\u0259 ald\u0131\u011f\u0131 “Qaladan tap\u0131lan m\u00fccr\u00fc” \u0259s\u0259rind\u0259 u\u015faq xarakterl\u0259ri detektiv x\u0259ttin i\u00e7ind\u0259 itir-bat\u0131r. H\u0259r\u00e7\u0259nd, bu filml\u0259rin ideya-problematikas\u0131 g\u00fcn\u00fcm\u00fczd\u0259 d\u0259 aktuall\u0131\u011f\u0131n\u0131 itirm\u0259yib.<\/p>\n\n\n\n

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G\u00fclb\u0259niz \u018fzimzad\u0259 “\u00d6t\u0259n ilin son gec\u0259si” lenti il\u0259 t\u0259sdiql\u0259di ki, qad\u0131n kinosu anlay\u0131\u015f\u0131n\u0131 yenid\u0259n aktualla\u015fd\u0131ra v\u0259 maraql\u0131 qad\u0131n filml\u0259rinin yarad\u0131c\u0131s\u0131 ola bil\u0259rdi. Sonluq istisna olmaqla pyesin s\u00fcjeti dem\u0259k olar ki, oldu\u011fu kimi saxlan\u0131l\u0131b. Lakin m\u00fc\u0259llif \u0259s\u0259ri psixoloji qad\u0131n dram\u0131 kimi i\u015fl\u0259yib. G\u00fclb\u0259niz \u018fzimzad\u0259 daha \u00e7ox H\u0259mid\u0259nin (Elmira \u015eabanova) qad\u0131n kimliyin\u0259, qad\u0131n t\u0259nhal\u0131\u011f\u0131na vur\u011fular edir. Misal\u00e7\u00fcn, o, bir epizodda g\u00fczg\u00fcn\u00fcn qar\u015f\u0131s\u0131nda dayanaraq \u00fcz-g\u00f6z\u00fcn\u0259 \u0259l g\u0259zdirir, \u00f6t\u00fcb ke\u00e7mi\u015f g\u0259ncliyin\u0259, ild\u0259n-il\u0259 solan cazib\u0259sin\u0259 xiff\u0259t duyur. O, art\u0131q qad\u0131n kimi yox, sad\u0259c\u0259, ana kimi m\u00f6vcudlu\u011funun f\u0259rqind\u0259dir.<\/p>\n\n\n\n

\u018fhvalat\u0131n sonlar\u0131na yax\u0131n, evd\u0259 \u00f6z\u00fcyl\u0259 t\u0259k qalan H\u0259mid\u0259 \u0259ri Q\u0259z\u0259nf\u0259rl\u0259 (\u015eahmar \u018fl\u0259kb\u0259rov) ke\u00e7irdiyi g\u00fcnl\u0259ri h\u0259sr\u0259tl\u0259 xat\u0131rlay\u0131r. Q\u0259z\u0259nf\u0259rl\u0259 ba\u011fl\u0131 xatir\u0259l\u0259r onun \u00fc\u00e7\u00fcn toxunulmazd\u0131r, eyni zamanda, a\u011fr\u0131l\u0131d\u0131r v\u0259 bu xatir\u0259l\u0259ri \u00f6vladlar\u0131 il\u0259 d\u0259 payla\u015fm\u0131r. Onun s\u0259si yaz\u0131lm\u0131\u015f kaseti t\u0259k dinl\u0259yir, u\u015faqlar\u0131n\u0131n ona toxunmas\u0131na s\u0259rt reaksiya verir, onlar\u0131n \u00f6z\u00fcn\u00fcn \u00f6z\u0259l \u0259razisin\u0259 daxil olmas\u0131na qada\u011fa qoyur. V\u0259 G\u00fclb\u0259niz \u018fzimzad\u0259 qad\u0131n h\u0259ssasl\u0131\u011f\u0131 il\u0259 i\u015fl\u0259yir, t\u0259svirl\u0259rd\u0259 H\u0259mid\u0259nin i\u00e7 ovqat\u0131n\u0131, \u0259hval\u0131n\u0131 izah etm\u0259kd\u0259n \u00e7ox, onu tama\u015fa\u00e7\u0131ya hiss etdirir. Hiss etdirir ki, qad\u0131n ana kimi xo\u015fb\u0259xt olsa da, o, sevdiyi, anla\u015fd\u0131\u011f\u0131 ki\u015fiyl\u0259 b\u00fct\u00f6vd\u00fcr, tamd\u0131r. \u018fri h\u0259yatda olmasa bel\u0259, onun t\u0259kliyini b\u00f6l\u00fc\u015f\u0259 bil\u0259c\u0259yi yegan\u0259 adam yen\u0259 d\u0259 odur.<\/p>\n\n\n\n

“\u00d6t\u0259n ilin son gec\u0259si”, eyni zamanda, kamera filmidir. Kamera filml\u0259rind\u0259 m\u0259kan\u0131n s\u0259rh\u0259dl\u0259ri m\u0259hdudla\u015f\u0131r, \u0259hvalat bir ne\u00e7\u0259 aktyorun \u00fcz\u0259rind\u0259 qurulur, dekorasiyalar, interyerin t\u0259rtibat\u0131 sad\u0259, minimal i\u015fl\u0259nir. Dediyim m\u0259hdudiyy\u0259tl\u0259r \u00fcz\u00fcnd\u0259n d\u0259, kamera \u0259hvalat\u0131n\u0131 kinodilin\u0259 \u00e7evirm\u0259k, daxili tempini qurmaq, mizanlarla i\u015fl\u0259m\u0259k \u00e7\u0259tinl\u0259\u015fir. Yax\u015f\u0131 n\u0259tic\u0259 almaq \u00fc\u00e7\u00fcn bir qayda olaraq, aktyor oyunundak\u0131 psixologizm\u0259, \u0259hvalatda y\u00fcks\u0259k g\u0259rginliy\u0259, iri planlara, dialoqlar\u0131n effektivliyin\u0259 aksent olunur. Bundan ba\u015fqa, dar m\u0259kanda mizanlarla el\u0259 oynan\u0131lmal\u0131d\u0131r ki, bu, h\u0259m minimal \u015f\u0259rtl\u0259r daxilind\u0259 vizual stilistika qurulmas\u0131na yard\u0131m\u00e7\u0131 olsun, h\u0259m d\u0259 \u0259hvalat\u0131n dramaturji g\u00fcc\u00fcn\u00fc art\u0131rs\u0131n.<\/p>\n\n\n\n

“\u00d6t\u0259n ilin son gec\u0259si”nd\u0259 naturada \u00e7\u0259kilmi\u015f bir ne\u00e7\u0259 x\u0131rda epizod istisna olmaqla, hadis\u0259l\u0259r \u0259sas\u0259n evd\u0259 ba\u015f verir. V\u0259 \u018fzimzad\u0259 kamera kinosunun \u015f\u0259rtl\u0259rin\u0259 \u0259m\u0259l ed\u0259r\u0259k iri planlardan yararlan\u0131r, do\u011fru psixoloji vur\u011fular edir.<\/p>\n\n\n\n

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Personajlar\u0131n say\u0131 nisb\u0259t\u0259n \u00e7ox olsa da, m\u0259nal\u0131, diskomfort hissi a\u015f\u0131layan pauzalar, sanki bir yadla\u015fma, m\u0259saf\u0259 uzaql\u0131\u011f\u0131 duy\u011fusu yaradan mizanlar \u0259hvalat\u0131n ba\u015f verdiyi m\u0259kanda bu say\u0131 g\u00f6z\u0259g\u00f6r\u00fcnm\u0259z edir.<\/p>\n\n\n\n

Filmd\u0259 s\u00f6zd\u0259n \u00e7ox t\u0259svirl\u0259r dan\u0131\u015f\u0131r. M\u00fc\u0259llif s\u00f6z israf\u0131na, personaj\u0131n daxili monoluqu il\u0259 d\u00fc\u015f\u00fcnc\u0259l\u0259rinin izah\u0131na yol verm\u0259d\u0259n, onun v\u0259 dig\u0259r personajlar\u0131n i\u00e7 v\u0259ziyy\u0259tini uy\u011fun plan v\u0259 rakurslarla, d\u0259qiq se\u00e7ilmi\u015f pauzalarla, montaj dramaturgiyas\u0131 il\u0259 a\u00e7\u0131r.<\/p>\n\n\n\n

R\u00fcst\u0259min (Kamil Z\u00f6hrabov), Dilar\u0259nin (Ayan Mirqas\u0131mova) narahatl\u0131\u011f\u0131 onlar\u0131n b\u0259d\u0259n dilind\u0259n, \u00fcz ifad\u0259l\u0259rind\u0259n, duru\u015fundan, var-g\u0259ll\u0259rind\u0259n ayd\u0131nla\u015f\u0131r. Anan\u0131n u\u015faqlar\u0131 il\u0259 ba\u011fl\u0131 nigaran\u00e7\u0131l\u0131\u011f\u0131, ke\u00e7\u0259n g\u00fcnl\u0259r\u0259 xiff\u0259ti onun susqunlu\u011funda, onun ikinci plan\u0131nda-m\u0259tb\u0259xd\u0259 i\u015fl\u0259y\u0259rk\u0259n – yem\u0259k bi\u015firm\u0259sind\u0259, qab-qa\u015f\u0131\u011f\u0131 yerl\u0259\u015fdirm\u0259sind\u0259 ifad\u0259 olunur.<\/p>\n\n\n\n

Yaxud k\u00fcr\u0259k\u0259n S\u00fcleyman\u0131n (Rafiq \u018fliyev) H\u0259mid\u0259 il\u0259 m\u00fcnasib\u0259ti, onlar\u0131n bir biril\u0259 s\u00f6hb\u0259tl\u0259\u015fm\u0259k \u00fc\u00e7\u00fcn s\u00f6z tapma\u011f\u0131n \u00e7\u0259tinliyind\u0259, h\u0259r ikisinin diskomfort bax\u0131\u015f\u0131nda v\u0259 oturu\u015funda verilir.<\/p>\n\n\n\n

Personajlar\u0131n bir-birin\u0259 tamam\u0259n a\u00e7\u0131la bilm\u0259m\u0259l\u0259rind\u0259n dolay\u0131, passiv \u0259s\u0259bilik \u0259hvalat\u0131n g\u0259rgin tempini saxlaya bilir. M\u0259rk\u0259zi fiqur H\u0259mid\u0259 olsa da, ayr\u0131-ayr\u0131 fraqmentl\u0259rd\u0259ki dol\u011fun t\u0259svirl\u0259rd\u0259n h\u0259r bir personaj\u0131n xarakteri, bioqrafiyalar\u0131 haqda informasiya al\u0131r\u0131q: qon\u015fu S\u0259kin\u0259d\u0259n tutmu\u015f, po\u00e7talyonun kimliyin\u0259 q\u0259d\u0259r.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Ekran \u0259s\u0259rind\u0259 m\u00fc\u0259yy\u0259n m\u0259nada m\u0259tb\u0259x dram\u0131 estetikas\u0131n\u0131n \u0259lam\u0259tl\u0259ri var. D\u00fcnya kinosunda “m\u0259tb\u0259x dram\u0131” v\u0259 ya “m\u0259tb\u0259x realizmi” anlay\u0131\u015f\u0131 ilk d\u0259f\u0259 1950-ci ill\u0259r azad ingilis kinosuna m\u00fcnasib\u0259td\u0259 i\u015fl\u0259nilib. M\u0259tb\u0259x dram\u0131 dey\u0259nd\u0259 m\u0259i\u015f\u0259td\u0259ki detall\u0131 t\u0259svirl\u0259r, masa \u0259traf\u0131nda qurulan dialoq v\u0259 v\u0259ziyy\u0259tl\u0259r n\u0259z\u0259rd\u0259 tutulur. \u0130ngilis azad kinosunda bu metod personajlar\u0131n m\u0259i\u015f\u0259t probleml\u0259rin\u0259, sosial v\u0259 m\u0259n\u0259vi durumuna n\u0259z\u0259r sal\u0131nmas\u0131 \u00fc\u00e7\u00fcn vasit\u0259ydi.<\/p>\n\n\n\n

G\u00fclb\u0259niz \u018fzimzad\u0259nin yozumunda m\u0259tb\u0259x t\u0259svirl\u0259ri H\u0259mid\u0259nin emosional d\u00fcnyas\u0131, bir n\u00f6v sosial izolyasiyas\u0131 kontekstind\u0259 verilir. Onun, sanki k\u00f6lg\u0259 kimi kaseti dinl\u0259m\u0259sinin masa fonunda t\u0259sviri v\u0259 ya yar\u0131qaranl\u0131qda, dar rakursdan \u00e7\u0259kilmi\u015f – s\u0131x\u0131nt\u0131s\u0131n\u0131, t\u0259nhal\u0131\u011f\u0131n\u0131 vizualla\u015fd\u0131ran oturu\u015fu filmin t\u0259sirli kadrlar\u0131ndad\u0131r.<\/p>\n\n\n\n

Qab-qacaq d\u00fcz\u00fclm\u00fc\u015f bo\u015f masa s\u00fcjet x\u0259ttind\u0259 \u0259h\u0259miyy\u0259tli yer tutur. O, tez-tez kameran\u0131n diqq\u0259tind\u0259dir v\u0259 onun \u0259traf\u0131nda \u0259s\u0259bi replikalar s\u0259sl\u0259nir, personajlar\u0131n bir birin\u0259 m\u00fcnasib\u0259tinin nec\u0259liyi \u00fcz\u0259 \u00e7\u0131x\u0131r. Bo\u015f masa t\u0259sviri h\u0259m d\u0259 m\u0259caz olaraq hardasa bir m\u0259n\u0259vi bo\u015flu\u011fun oldu\u011funu eyhamla\u015fd\u0131r\u0131r.<\/p>\n\n\n\n

\u018fsas predmetl\u0259rd\u0259n biri televizordur. Televizor burda \u0259hvalata h\u0259m dinamik temp verir, h\u0259m H\u0259mid\u0259nin t\u0259nhal\u0131\u011f\u0131na \u015f\u0259rik olur. Pyes d\u0259, film d\u0259 \u0259b\u0259di v\u0259 a\u011fr\u0131l\u0131 m\u00f6vzuya toxunur: n\u0259sill\u0259r aras\u0131nda m\u0259n\u0259vi ba\u011f\u0131n q\u0131r\u0131lmas\u0131, yadla\u015fmas\u0131. \u00d6vlad b\u00f6y\u00fcd\u00fckc\u0259 onun \u00f6z maraqlar\u0131 yaran\u0131r, s\u0259rb\u0259st h\u0259yata can at\u0131r, \u00f6z qay\u011f\u0131lar\u0131 ba\u015flay\u0131r v\u0259 bu, h\u0259yat\u0131n z\u0259rur\u0259tidir. Film boyu fle\u015fbekl\u0259rd\u0259n istifad\u0259 olunur. Yeni il ax\u015fam\u0131 \u00f6vladlar\u0131 il\u0259 dan\u0131\u015fd\u0131qca, \u00f6vladlar bir-bir evi t\u0259rk etdikc\u0259 H\u0259mid\u0259nin yadda\u015f\u0131nda onlar\u0131n h\u0259r birinin u\u015faql\u0131\u011f\u0131ndan fraqmentl\u0259r canlan\u0131r. O anlay\u0131r ki, vaxtil\u0259 onun qay\u011f\u0131s\u0131na ehtiyac\u0131 olan u\u015faqlar\u0131n art\u0131q buna ehtiyac\u0131 yoxdur v\u0259 bu h\u0259yat h\u0259qiq\u0259tini q\u0259bul etm\u0259lidir.<\/p>\n\n\n\n

Finalda b\u00fct\u00fcn \u00f6vladlar anan\u0131 t\u0259k qoymamaq \u00fc\u00e7\u00fcn ev\u0259 d\u00f6n\u00fcr, onunla birlikd\u0259 atas\u0131n\u0131n ilk d\u0259f\u0259 s\u0259s yaz\u0131s\u0131n\u0131 dinl\u0259yirl\u0259r. Atan\u0131n s\u00f6zl\u0259ri ham\u0131 \u00fc\u00e7\u00fcn h\u0259yat b\u0259yannam\u0259si kimi s\u0259sl\u0259nir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Bu g\u00fcn Az\u0259rbaycan Respublikas\u0131n\u0131n Xalq artisti Elmira \u015eabanovan\u0131n do\u011fum g\u00fcn\u00fcd\u00fcr. Kulis.az bu m\u00fcnasib\u0259tl\u0259 Sevda Sultanovan\u0131n \u201cKe\u00e7\u0259n ilin son gec\u0259si\u201d filminin t\u0259hlilini t\u0259qdim edir. S\u00fcjet: Yeni ilin g\u0259li\u015fin\u0259 bir ne\u00e7\u0259 saat qal\u0131r. H\u0259mid\u0259 bayrama haz\u0131rl\u0131q g\u00f6r\u00fcr. Onun ki\u00e7ik o\u011flu Tofiq dostlar\u0131n\u0131 ev\u0259 d\u0259v\u0259t edib. Amma dostlarla evd\u0259 yeni ili qar\u015f\u0131lamaq al\u0131nm\u0131r. \u00c7\u00fcnki Tofiq dostlar\u0131na anas\u0131ndan ba\u015fqa …<\/p>\n","protected":false},"author":1,"featured_media":16083,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,3],"tags":[],"class_list":["post-16082","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-maqazin","category-olke"],"_links":{"self":[{"href":"https:\/\/millitv.net\/index.php?rest_route=\/wp\/v2\/posts\/16082","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/millitv.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/millitv.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/millitv.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/millitv.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16082"}],"version-history":[{"count":1,"href":"https:\/\/millitv.net\/index.php?rest_route=\/wp\/v2\/posts\/16082\/revisions"}],"predecessor-version":[{"id":16084,"href":"https:\/\/millitv.net\/index.php?rest_route=\/wp\/v2\/posts\/16082\/revisions\/16084"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/millitv.net\/index.php?rest_route=\/wp\/v2\/media\/16083"}],"wp:attachment":[{"href":"https:\/\/millitv.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16082"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/millitv.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16082"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/millitv.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16082"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}