Atatürk Enstitüsü ATA 603.03 doktora dersi kapsamýnda Atatürk Enstitüsü seminer odasýnda iki haftada bir Perþembe günleri saat 17.00 - 18.30 saatleri arasýnda, ana temasý savaþ olan belgesel / yari belgesel filmler gösterilerecektir. Gösterim programý aþaðýda verilmistir.

Bu gösterilere Enstitümüz öðrencileri ve öðretim üyeleri davetlidir.

17 Ekim Perþembe - saat 17.00

DVD Cover Film Poster

Paths of Glory  Stanley Kubrick had already made his talent known with the outstanding racetrack heist thriller The Killing, but it was the 1957 antiwar masterpiece Paths of Glory that catapulted Kubrick to international acclaim. Based on the novel by Humphrey Cobb, the film was initiated by Kirk Douglas, who chose the young Kubrick to direct what would become one of the most powerful films about the wasteful insanity of warfare. In one of his finest roles, Douglas plays Colonel Dax, commander of a battle-worn regiment of the French army along the western front during World War I. Held in their trenches under the threat of German artillery, the regiment is ordered on a suicidal mission to capture an enemy stronghold. When the mission inevitably fails, French generals order the selection of three soldiers to be tried and executed on the charge of cowardice. Dax is appointed as defense attorney for the chosen scapegoats, and what follows is a travesty of justice that has remained relevant and powerful for decades. In the wake of some of the most authentic and devastating battle sequences ever filmed, Kubrick brilliantly explores the political machinations and selfish personal ambitions that result in battlefield slaughter and senseless executions. The film is unflinching in its condemnation of war and the self-indulgence of military leaders who orchestrate the deaths of thousands from the comfort of their luxurious headquarters. For many years, Paths of Glory was banned in France as a slanderous attack on French honor, but it's clear that Kubrick's intense drama is aimed at all nations and all men. Though it touches on themes of courage and loyalty in the context of warfare, the film is specifically about the historical realities of World War I, but its impact and artistic achievement remain timeless and universal.

7 Kasým Perþembe - saat 17.00

DVD Cover Film Poster

All Quiet on the Western Front All Quiet on the Western Front (1930) is the first major anti-war film of the sound era, faithfully based upon the timeless, best-selling 1929 novel by Erich Maria Remarque (who had experienced the war first-hand as a young German soldier). The film was advertised with the brooding face of one of the young German recruits sent into World War I. The landmark, epic film, made on a large-scale budget of $1.25 million for Universal Pictures (and studio production head Carl Laemmle, Jr.), used acres of California ranch land for the battle scenes, and employed over 2,000 extras. From four Academy Award nominations, it won the Academy Award for Best Picture (the third winner in the history of AMPAS) and Best Director (Lewis Milestone with his first sound feature), and it was also nominated for Best Writing Achievement (George Abbott, Maxwell Anderson, and Del Andrews) and Best Cinematography (Arthur Edeson). It was a critical and financial success, and probably the greatest of pacifist, anti-war films - the grainy black and white film is still not dated and the film hasn't lost its initial impact. The episodic film is still one of the few early sound films that modern audiences watch. However, it was criticized as being propagandistic and anti-militaristic, and it was denounced by the Nazi government of the 30s

21 Kasim Perþembe - saat 17.00

DVD Cover Film Poster Film Poster

Grand Illusion "Grand Illusion" is a great humanist drama that speaks against the trials of war. Director Jean Renoir's recently restored classic is a drama unto itself since the negatives were long believed to have been destroyed. Erich Von Stroheim is superb as a crippled German officer. "Grand Illusion" is an obvious influence to Billy Wilder's similar WW2 film "Stalag 17" which also featured a foreign director (Otto Preminger) in a supporting role as a German officer. The make-shift cabaret scene was later duplicated in Casablanca, as was the tunnel-digging scene which was extensively adapted for "The Great Escape". "Grand Illusion" is grand entertainment, but it is also great, involving drama.One of the strongest aspects of this film is its use of English, French and German languages, and an individual scene involving Russian prisoners, which speaks to the major participants of WW1 Frequently cited as both one of the greatest films about war and one of the greatest films ever made, Jean Renoir's La Grande Illusion is an often witty, sometimes poignant, frequently moving examination of the futility of war. During World War I, three French airmen are shot down while taking surveillance photographs in German territory: Capt. de Boeldieu (Pierre Fresnay), a wealthy and aristocratic officer; Lt. Maréchal (Jean Gabin), a burly but intelligent working-class mechanic; and Rosenthal (Marcel Dalio), a prosperous Jewish banker. The three are brought to a P.O.W. camp, where the commander, Von Rauffenstein (Erich von Stroheim), takes an immediate liking to de Boeldieu. They are members of the same social class and believe that the political and intellectual ideals of the Europe they once knew will soon be a thing of the past with the rise to power of the proletariat. The three Frenchmen discover that their fellow prisoners have been digging an escape tunnel, and all of them agree to help -- Maréchal and Rosenthal with enthusiasm, de Boeldieu out of a sense of duty. As he puts it, when on a golf course, one plays golf, and while in a prison camp, one tries to escape -- it's the accepted thing to do. As Von Rauffenstein and de Boeldieu become friends, and the rank-and-file soldiers banter as much with the German guards as with each other, the characters seem involved less in a war than in some vast, petty game, albeit one with deadly consequences; they often talk about women and food, while never mentioning political ideology.