Dr. Öğr. Üyesi

Ethem Özgüven

+90 212 311 7571

Santralistanbul / E1 215/A

Eğitim

Education

• PHD: Communication, Marmara University (2010)
Thesis: Questioning with the Reductio Ad Absurdum Method: Is There Documentary? 

• MA: Film and TV, Marmara University (1992)
“Ot”, 12’

• BA: Film and TV, Anatolian University (1986)

• AFS-scholarship Onteora Central Highschool, Woodstock, NY / USA (1977)

Verdiği Dersler

Teaching Experience

• Istanbul Bilgi University Communication Faculty (1999-)

• Marmara University, Fine Arts Faculty (1989-1991)

• Marmara University, Communication Faculty (1991-1992, 2006)

• Beykent University, Communication Faculty (1996-1998)

• Yıldız Technical University, Fine Arts Faculty (2004-2006)

• Europe Lefke University, Communication Faculty, Cyprus (2005)

• University of Vienna, Media and Communication Department, Austria (1995-1996)

İlgi Alanları

Courses

• Documentary 

• Video art

• Contra

• Audio-visual Production

• C-Lab

• Final Thesis

• Practicum

• Video Art / Short Film

Başarı ve Ödüller

Ana sayfa

Ethem Özgüven

Education:                                                                                                                                    

Teaching Experience                                                                                                                 

Courses:

Other Work Experiences

Articles

Conferences:

Fikri Öneş Sk 10/6, Gayrettepe,

34349 Beşiktaş / Istanbul / TK

Tel: 0090-532-7916944

ethem.ozguven@bilgi.edu.tr

ethemozguven@gmail.com

 

Education:

·        PHD:      Communication, Marmara University (2010)

Thesis: Questioning with the Reductio Ad Absurdum Method: Is There Documentary?

·        MA:       Film and TV, Marmara University (1992)

“Ot”, 12’

·        BA:        Film and TV, Anatolian University (1986)

·        AFS-scholarship Onteora Central Highschool, Woodstock, NY / USA (1977)

Teaching Experience

 

·        Istanbul Bilgi University Communication Faculty (1999-)

·        Marmara University, Fine Arts Faculty (1989-1991)

·        Marmara University, Communication Faculty (1991-1992, 2006)

·        Beykent University, Communication Faculty (1996-1998)

·        Yıldız Technical University, Fine Arts Faculty (2004-2006)

·        Europe Lefke University, Communication Faculty, Cyprus (2005)

·        University of Vienna, Media and Communication Department, Austria (1995-1996)

 

Courses:

  • Documentary
  • Video art
  • Contra
  • Audio-visual Production
  • C-Lab
  • Final Thesis
  • Practicum
  • Video Art / Short Film

Other Work Experiences

 

·        BIFED – Bozcaada International Festival of Ecological Documentary, coordinator (2014-)

·        FIMa – Association for Intercultural Media, 1992-2001 (Creation of Workshop Modules for Video and Intercultural Education, 250 students from24 countries)

·        National Environmental Script and Production Awards, 1997-1999

·        Antalya Golden Orange International Short Film Festival, director, 1st international edition of the festival, 1995-1996

·        Worked as a director for  productions for TRT and other TV channels

 

Articles

  • CSLS (Contra Small Local Slow) Against Adverts, together with Petra Holzer, Interactions: Studies in Communication and Culture, Vol 5/3, 2014, pp 381
  • Writings on Documentary Film I: Documentary and Documentary on TV, (Belgesel Sinemaya Dair Yazılar I: Belgesel ve Televizyonda Belgesel), Yeni Film, No: 18, 2009, pp 61-66
  • Writings on Documentary Film II: Defining Reality and Truth in Documentary (Belgeselde Geçeklik ve Hakikat Tanımlama), Yeni Film, No: 19, 2010, pp 115-119
  • Writings on Documentary Film III: Making a Good Film or Which Film to Make (Belgesel Sinemaya Dair Yazılar III: İyi Film Yapmak ya da Hangi Filmi Yapmak), Yeni Film, No: 19, 2010
  • Writings on Documentary Film IV: Festivals and Statements (Belgesel Sinemaya Dair Yazılar IV: Festivaller ve Saptamalar), Yeni Film, No: 21, 2010, pp 71-76
  • Writings on Documentary Film Belgesel V: Advertising , the New Documentary Genre (Sinemaya Dair Yazılar V: Reklâm, Yeni Belgesel Formatı), Yeni Film, No: 23, 2011
  • Writings on Documentary Film Belgesel VI: Cultural Memory (Sinema Üzerine Yazılar VI: Kültürel Bellek), Yeni Film, No: 24, 2011

Conferences:

 

·        Contra, “Vortex” at Tedx Koç University, 2016

https://youtu.be/f2qhGC0dBKo?list=PLsRNoUx8w3rPcVAcGb4cK_RmOwwSTFKvp

·        CSLS (Contra Small Local Slow) Against Adverts, together with Petra Holzer, ‘Transforming Audiences, Transforming Societies’, Bahçeşehir University, COST, Istanbul , 2013

·        Contra's, social projects on disabled, women and refugees, 4th European Communication Conference, ECREA, Istanbul, 2012         

  • Neo-Colonialization of “Non-Western” Documentary, Visible Evidence XVII, Istanbul, 2010
  • The invisible (Görümeyenler), Keynote speaker at Cultural Studies Symposium, Karaelmas: Media and Culture, Zonguldak, 2009
  • Contra, at Meetings of the South: Virtual vehicles and spaces, Videobrasil, 2007, http://site.videobrasil.org.br/festival/arquivo/festival/programa/1402398

2. sayfa

Documentary

  • Sand, 45 min, 2011, DV cam
  • 4857, 30 min, 2018, DV cam
  • Alethea, 41 min, 2007, Mini dv
  • The Touch, 53 min, 2016, HD mixed
  • Black, 30 min, 2014, HD
  •  
  • Mare Nostrum, 30 min, 2008, Mini dv
  • Tenedos, 10 min, 2005, Mini dv
  • Sipsi, 17 min, 1997, Betacam
  • Fethi Kayaalp, 17 min, 2005, Mini dv
  • TND, Mocumentary, 30 min, 2001, Mini dv
  • Life Jackets Are Not Under Your Seats, 54 min, 2000, Mini dv
  • Commercial Break, 60 min, 2015, HD
  • The People of the Light, 60 min, 1998, Betacam
  • Aziz Nesin, 26 min, 1994, Betacam
  • Slave, 10 min, 1993, Betacam
  • 3. sayfa

https://vimeo.com/202764109

http://silikozis.blogspot.com.tr/

45’ belgesel/documentary

Türkçe/English subtitled  2011

At one end of the chain there are the popular blue jeans while on the other end in unregistered workshops there are the bodies of people who contracted mortal lung diseases. While the more expensive stonewashed jeans are sold the workers’ lifes fade away.

Group of former sandblasting workers, lowyers, doctors, artists and activists came together to stop this deadly practise worldwide.

Very fast.

Kamera/Camera:

Selçuk Erzurumlu

Can Aydın

Serkan Çiftçi

Ethem Özgüven

Kurgu/Editing:

Selçuk Erzurumlu

Ethem Özgüven

Yapımcı/Producer:

Petra Holzer

Ethem Özgüven

Yönetmen/Directed by:

Petra Holzer

Selçuk Erzurumlu

Ethem Özgüven

 

https://vimeo.com/207629432                                                                                                     http://4857-belgesel.blogspot.com.tr/

Tuzla Cemetery overlooks Tuzla Shipyards. Now start walking down the cemetery slope.  On your left is the military zone, green and devoid of humans. Then all of a sudden you see nothing but concrete blocks of flats. The workers leave their homes around seven in the morning to work “outside”, in the shipyards, in leather and supply industries. Among the family flats you can also find bachelor apartments filled with beds and longing for families. Keep walking down the slope: factories manufacturing small ship parts, the unceasing roar from the İçmeler Köprüsü on the E5 freeway, the never empty labor pick-up strip at the crossroads, the sound of the local express train. Walk pass the İçmeler stop, and here is Aydınlı Bay packed with almost all of Turkey’s shipyards. The workers who go through forty eight different doors everyday, hundred men high cranes, steel sheets, the speed and sweat which merge them into one. The time unit in the shipyards is the fleeting instant a cigarette bud is dropped on the floor, the split second between making a living and death between hope and pain, their and ours. Tuzla Cemetery overlooks Tuzla Shipyards.

Credits:

directors:

Petra Holzer, Selçuk Erzurumlu, Ethem Özgüven

camera:

Selçuk Erzurumlu, Ethem Özgüven

editing:

Selçuk Erzurumlu, Petra Holzer

sound:

Serkan Çiftçi, Bülent Özcan

production assistants:

Can Aydın, Sibel Peres

advisors:

Aslı Odman, Nevra Akdemir

photographs:

Alaattin Timur

Festival participations:

LaborFest, San Francisco, USA, 2008

Documentarist, Istanbul, Turkey, 2008

International Golden Orange Film Festival, Antalya, Turkey, 2008

Interfilm Festival, Nürnberg, Germany, 2009

Mahmut Tali Öngören Human Rights Award

https://vimeo.com/205197914

 

Synopsis:

Since the year of 1989 multinational mining companies have been coming to Turkey in order to mine gold with the cyanide leaching process. Eurogold, an Australian and Canadian joint venture is one of them. Their mine is situated in Bergama. The people living in Bergama and the 17 villages in the surroundings started to resist the project. The people won all the instances of their legal struggle. However, the mine still operates.

The story in the documentary is about the people and their long struggle. We followed their struggle since 1996.

credits:

music                   alper maral

sound mixing      bülent özcan

                              serkan çiftçi

visual design       gökhan eryaman

                              tamer karakulak

editing                 ethem özgüven

translation          ahmed elmahi

Festival participations:

Planet in Focus, Toronto, Canada, 2008                                                                                                           Re-Frame Festival, Canada, 2009

International Istanbul Film Festival, Turkey, 2008

Cine pobre, Cuba, 2007

International Rodos Eco Films and Video Arts Festival, Rhodes, Greece, 2007

“Cinema Vérité” International Documentary Film Festival, Tehran, Iran, 2007

Interfilm Festival, Nurnberg, Germany 2007

International Film Festival, Ankara, 2007

Flying Broom Women’s Film Festival, Ankara, 2007

International Labor Filmfestival, Istanbul, 2007

Golden Orange International Film Festival, Antalya, Turkey, 2007

German Turkish Film Days Stuttgart, Germany, 2007

Turkish Filmdays, Munich, Germany, 2008

Documentarist, Istanbul, Turkey, 2008

International Panorama of Independant Film and Video Makers, Patras, Greece, 2008

London Turkish Film Festival, Great Britain, 2008

  

 

A chronicle of a documentary: "Alethea" is the fourth documentary in a series. The first documentary was named "No" in 1997. It was distributed to the judges of the State Council who later ruled in the favor of the people of Bergama. This was one of the many decisions against the mine and in favor of the health and rights of the people. "No" was awarded at the Bodrum International Envrionmental Film Festival. The second documentary was called "People of the Light" (1998) and described the court events and the illegal efforts of the multinational mine corporation which was supported by the government at the time. This documentary was screened in Queens Public TV channel (NY), Aubagne Biennial (France) and found its own channels of distribution as being shown in public squares, coffeehouses, NGO-meetings, meetings to organize more resistance movements. As the struggle did not stop we had to make a third version called "The People of the Light's Long Walk" in 2000. The film was screened at "One World Human Rights Film Festival" (Prague, 2001), Concrete Doc (NL, 2002) and Bodrum International Documentary Film Festival (Bodrum, 2004) and once again in Queens Public TV channel (NY). Later the documentary was admitted as evidence in favor of the people in the European Human Rights Court / Strasbourg. The Court ruled also in favor of the people.

In the year 2007 we finished the fourth documentary called “Alethea” as the people kept fighting and a whole new area in the Aegean started the same fight against multinationals and national companies declaring very important natural parks, agricultural land and water resource areas as locations for cyanide leaching gold mines. This documentary was awarded with the “Audience Award” at the “Boston Turkish Film Festival” and “2nd price for documentary” at the “International Environmental Film Festival” in Istanbul and screened in many countries and festivals. At the same time DVDs of the documentary was shown in the Greek islands, Turkey and many other countries in many public meetings to create once again resistance and to pay tribute to the courage of the people in Bergama.

Trailer:

https://vimeo.com/159058192

Trailer:

https://vimeo.com/170274494/

Contra / Campaigns

Web kontra

·        13 articles on Contra,

https://kontraeng.wordpress.com/texts/

Ethem Özgüven developed a concept called CONTRA which was later added as a course to the curriculum at the Faculty of Communication in Bilgi Universiy: “Facing rights violations, social and environmental problems we have to question also the strategies for solutions: do we have the right questions? Do we have the right approach to build campaigns? Does the subaltern have a voice we can hear?

The aim of the course is to gain insight in the vast fields of social responsibility projects and the social awareness projects called CONTRA. Representatives of social responsibility departments of commercial companies, independent NGOs and NGOs funded by companies will be invited for discussions. During the course the students will design and produce their own campaigns.

The course is designed to provide an atmosphere where students of all faculties will come together and bring their skills in the production process.”

  • Disability
  • Heart Massage                                                                                             https://vimeo.com/195084208
  • Bird of the future                                                                                  https://vimeo.com/203420021
  • Refugees
  • Mediterranean
  • Antipersonnel mines
  • Football and violence
  • Sandblasted jeans / Silicosis
  • Smoking kills

http://engellenmisler.wordpress.com/

https://vimeo.com/195103079

https://vimeo.com/195091965

http://www.kayiki.org/

https://vimeo.com/1380479

 

 

https://kontraeng.wordpress.com/contras/

4. sayfa

Experimental Videos / Video Art / Short films

  • Fellujah, Exp. Video clip with Bulutsuzluk Özlemi, 5 min, 2005, Mini dv
  • Delirium, Exp. Video, 6 min, 2005, Mini dv
  • http://www.worldcat.org/title/conditioned/oclc/768444119
  • F, Exp. Video, 6 min, 2004, Mini dv                                                                                                                      https://vimeo.com/208475233                                                 https://www.lowave.com/en/artists/498-ethem-ozguven-en
  • Angst,  Exp. Video, 2 min, 2016, HDcam
  • LI-MO-NA-TA, Dance video, 16 min, 1998, Betacam
  • İvme, Dance video, 7 min, 1997, Betacam
  • Oromi, Dance video, 3 min, 1997, Betacam
  • A, Exp. Video, 2 min, 1996, Hi8
  • Ot 3, Exp. Video, 4 min, 1991, VHS
  • Ot 1, Exp. Video, 5 min, 1990, V8
  • İvme, Short film, 23 min, 1984, Umatic

https://vimeo.com/208481677

 

Camera, montage, text, idea ethem özgüven 6’

Delirium… 2005

to all of them, it is not going to save you to give an abundant name to all of these efforts. There or here, familiar or unfamiliar, in every geography you are going to feel this loneliness, this poorness, this orphanhood, this dark, thick unfamiliarity, this statelessness, you will not have relatives, there will not be a team that you support, you will not have a buddies, you will not have friends that you play football at a carpet field, there will not be your barber, butcher, dressmaker, inferiors and superiors, their wives, husbands and kids.

This shivering which is not related with weather will come and go everywhere with you. You will not keep quite, will not keep quite, will not keep quite, so what. All the things you say will get lost between crosses and hot wine, highways, airports, new year pines and televisions. You will stop speaking at the end…

66.My Child;

You get out the door and assume that you are doing something. Does not matter what you do, how you do, how much you do. It is nothing to do with you; it is not your choice. This is not something that you may totally understand although how much I explain to you.

The only bearable thing in doing something is that, it is more bearable than not doing something. “This thing” is not what your teacher tells you to do at school, not what your wife tells you to do at home, not what your boss tells you to do at work. Does not need to have an aim, logic, a benefit, and a function. It is even better if it does not have; to do things to enable relationships and environments that you only desire are counted, good deeds and blessed. This will glorify you, only this will glorify you. With this aim you get out the door and do something; you tell lies, you use your money, power, others, you take advantage of your duty, commission, friends and tell lies again. This will glorify you. The only criterion to be a glorified person is the joyful moments and idleness. Idleness, with the shortest definition, is no letting anyone to understand, although you realize that all this nonsense that is pretending to exist is just a shity reflection. Even to your self; drinking a kastel nuova at a September mid-afternoon in Verona is something like, drinking a kastel nuova wine which is produced at senior Colombo’s factory in which you know that you have a part in producing it, your ass leaning against to the tractor, sometimes watching the sky, sometimes the Belgian whore standing across the road, and sometimes the old and settled face of one eyed Guiseppe. And if you are an unemployed, a stateless, an idleness who does the things that you like, only love may come out from this….only love would come out from doing the things that you like…

122.

if there really is a problem, the main problem in the world must be rather than something like; being let wide masses unenlightened, never materialized justice, channeling great energies to abortive areas like fight at football stadions, money and power to be controlled by 3-5 persons’ hands.

At least it seems like this, from where I look…

the real problem is not the efforts of those 3-5 persons who own everything and decide for everything, to keep the situation stay like as it is, it is the unqualitativeness of these efforts.

the real problem is the despicableness, ordinariness, oldness and effortlessness of these powers’ actions, plans, and efforts for everything to be remained the same.

the people I am mentioning are not, the mafia, conservatives, representatives at the streets or at the council of the parties that are pretending to be leftist and religious parties’, building contractors who make grand housing projects causing thousands to die after the earthquake or sheiks as we use in our everyday language…

ı am mentioning a group, which is able to hide all through the history and stand slippery; everything bounces over them, nothing is effecting on them.

other then death…

actually, we slaves, a long time ago accepted our pathetic position of being not taken into consideration and being crushed under the group that I have mentioned; I can say this for myself with a reliefness of a heart: I’ve accepted it… all those with extraordinary unqualitative efforts for the situation to continue without any change also means, no doubt, to be put into a fools place. it is the real problem…

even the lacquers of this little groups’, elites’ who organizes the physical and virtual areas of life in the favor of themselves, don’t peeled off while doing this and as because they are very clever and very tall, their eyes very eye lined and run hundred meters in nine seconds they are there, we are not here.

not like that either…

don’t have much explanation either…actually they are short and thick and ugly...

as a slave; more hurtful thing then being a slave, as a slave who got used to being a slave, is the conditions of this slavery…

life with its toughness which would not let a get away to exist, organized like the kast system in India, television actually advertisements which are the chine of the organization which is really not working in the favor of me; this area, with its whole processes the very blessed, the very untouchable area; and ones who are being parts of this area are the very…

Areas of life, which are not as important as this virtual area comes right after, it is in basic, Beyoğlu; actually it is the part, from Taksim to Tünel and from there to Nişantaşı, a region that is crooked like a dagger; every decision about this country are made here

One of the important characterizations of this organization, which does not even let breathing, is sport; with a more right declaration, it is football. This pressed and minimized, made easy to controlled; galatasaray, beşiktaş, fenerbahçe, rest is organizations’ garnish. As how advertisements are shot by three people and as how two people vocalizing them and as how whole country watches them, as how large geography like Anatolia is identified as two districts called Beyoğlu and Nişantaşı, it is same in the matter of sports, a narrowed, easy to control area

male

football

fenerbahçe, galatasaray, beşiktaş...

There is art and artists at the end of this whole organization and at zero level; art and artist do not say anything to all of these; cause they are added to all of this situation going on at a dashed part of it, if their declaration is to the power, they are crushing into pieces of their declaration until it becomes not understandable…With no doubt, the art that is produced, presented and consumed between the distance of Beyoğlu’s two tramway stations, at today’s incest position, with today’s cowardliness, it does not go any further from being a flank product of this whole endless death state  and does not say anything in the name of dissidence. Nothing is produced in the name of truth and grief; besides they can’t produce and say anyway, nobody does have an intention to do something like that…

Today there is a little mass stucked into tiny area which holds the advertisements, mass media, determines the producing and consuming in it’s hands, made civil and official area accept its power. They call themselves elites, noble, elegant elites; no matter how much tubby, short and thick and even hardly speak one language, this is what elite is here, look around, to the mirror, our elite is this much… this is Turkey’s elite…They reproduce themselves as the advertisement writer, vocalization maker, director, creative something, foundation of beautification of Beyoğlu constitutive or Nişantaşı folks, supporters, board members or vice-president (whatever that means) of a large community, as owners of factories, banks, as the consumers of bosphorus scenery and fishes, as patron of artist and art, guests of television programs.  This is what increment is; increment, this city that grows like reminding the increment at metastasis; as how grows this unhealthy structure; tumor grows and multiplies and decays by contaminating the sickness to the new cells and to the area it has absorbed; metastasis would continue with its maximum speed in such an area, in such a process and during the expansion, to loving and touching there is not any areas of life left back. At least from where I look nothing else more is seen.

is it any different in your country…

written, directed and edited by: ethem özgüven

camera: ozan adam, selçuk erzurumlu, ulaş şimşek, özgür şeyben

dancer: asime can özözer

stage design: elif özdemir

animation: tamer karakulak

visual director: oğuz yenen

produced by: ethem özgüven, oğuz peri

men rule the world and try to dominate women and their lives. violence against women has many forms – physical, psychological, economical and social. the frameworks and names that allow violence are called honor, family peace, paid sexual workers, culture...

the only chance against violence directed towards women is to change the culture of male domination – in all senses.

 

  • Little Lake, Exp. Video, 4 min, 2003, Mini dv                                              https://vimeo.com/208292495

director: ethem özgüven

animation: jakub michalski

music: alper maral

sound bülent özcan

synopsis:

actually richard was a barbarian

the logics of exploitation works like that. even if you  - as a savage - would comprehend the values you own but you have not enough weapons to defend them, the colonialists will take them away. however, the quality of the savage, the attribute that differentiates him from the colonialist (at least in this case) is not to be more human or humanistic but to be more primitive. Even if he would have been aware of the values at hand he would not have been able to protect them.

exploitation - in a sense it is a concept opposite to being human or being civilized. there is no chance to save any beauty or value from the hands of a barbarian in a world where almost throughout all times the balance was in favor of the barbarian or the colonizer. there is no chance for salvation. The people of southern Mediterranean coast of the 20th century were not aware of the values they possessed. Like the evening winds, bonitos and the ancient towns such as termessos, phaselis… the barbarian came and took it. with more plain words antalya was changing hands from one barbarian to another.

the ones who sold antalya or changed it to casinos, holiday resorts, show girls and concrete blocks were really barbarians. up to these days most of the antalians do not know how to swim or to eat fish. even today they don't know the names of most of the fish.

the narration of the changes, processes and results may sound very male. the decision mechanisms during all the times were male and maybe they still are. these circumstances don't contradict with anything we know.

barbarian is male = male is barbarian

today from all the ports of turkey boats without sails and souls, who resemble watermelon shells, who resemble anything else but boats set out with the "10th year march" screaming at highest levels as if they the went to war, as if they went to win back the lost battles... the voices on top of those boats destroy any meaning of the language.

from the boats concrete heaps of cities are to be seen. on the boats there are barbarians who still don't know how to swim and actually don't like the sea dancing with their backs to the sea.

and shortly I will tell you this story this way:

the antalians learned swimming or that swimming is actually a nice thing from the back bag tourist Richard.

the istanbuller who look down on the antalians learned about antalya and kaş as well as the rest of the beautiful places at the south coast from the same richard in the coffee houses in sultan ahmet. with this knowledge istanbuller settled down in antalya.

that is why the destruction of antalya was so cruel and out of hands. the newcomers were as barbarian as the locals. the invasion was in a whole quest of colonization…

antalya is a town on the south coast of turkey with ancient history. Today it is a tourism center.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

a.m.n / 2001 / 3’15’’ / color / english / turkey / DV

director, camera, script, text by ethem özgüven

music by: alper maral

post p: serkan çifci, dylan pank, bülent özcan, alper kırklar

a.m.n / 2001 / 3’15’’ / color / english / turkey / DV

https://vimeo.com/208639436

all my nightmares

at first sight, it was not so clear that he was from a small town, on the contrary; even when you took a closer look at him you would not have understood that he was a redneck. after hearing him speaking you still would not have understood that fact; he would have spoken very fluent indeed, perhaps even better than average person, much better.

his hands which had just lost their calluses were neither beautiful nor ugly, and he used them comfortably.

from the way he walked you could have guessed that he was a sailor; yet, not a redneck; still not…

one day, someone we had known for years or at least we thought we knew, positions himself towards the light or sunlight, positions himself towards the earth, at a certain moment of the day or night, the angel from which you look at him suddenly shows for one second who he is, and suddenly, something spoils the situation like the light changes or he moves or you move and this picture of him disappears as fast as it appeared but after that moment until the end of your life you will always know that he is the one you have seen for a second; crazy, liar, coward, schizophrenic, extremely emotional or he looks exactly like his uncle that he seemed to be so different.

you would only understand that he was a redneck if you could have ever caught that moment.

he never liked the city, he always carried his pity with him. his pity and poorness had no relation with having a social status or money. he never understood women but he had serious trouble at his neck, front lob, elbow, heart and he had no idea of those problems and would continue to bull shit, talking crab.

his instincts were strong; even at times when he seemed eating pudding, traveling by boat he was trying to escape. only, he thought that he was trapped, he was giving high importance to himself, in reality he had problems in both legs and nobody cared for him, nobody gave a damn about him.

he was an ignorant. no matter how much he read he could not build any philosophical basis. like every prey he could not solve the mechanism of the trap; he could not escape.

he hated being indoors. for him the whole city looked like indoor; without horizon, boring, dirty. he used to love the sea but after arriving there his ideas about the sea being real disappeared. sometimes I see him in front of his tire repairing shop, he had a fat wife who is epileptic, and his children look like idiots.

he seemed to be sullen with the entire world and he talked just to talk…

l.i.d/2001/2’25’’/color/English/turkey/ DV

https://vimeo.com/208640969

Text of LİG (the third work)

 

we sat right where the shore adjoined the rocks. the sun was about to disappear. we were sitting by the rocks, the girls, him and I. I felt at ease, but happily tired. I thought we were all at ease and tired. the girls, him and I. thought we were all waiting for the night; the position of the sun, the mountain, the position of the light, air, water and the universe bewildered us. but it wasn’t the case. not at all. I started getting sick of being misunderstood back then;

even though I never open my mouth to say anything, I feel like I talk too much. I’m someone crazy about kindness and being a gentleman. the degradation of the living species hurt me and cause everything to become obsession for me. my interests focus only on being gentle. Once they almost beat şükrü to death in the dead end near the high school walls. the gang were 5-6 people. the toughest boy was slim with a pressed face and tiny eyes; looked ugly; after the beating up şükrü and he became equal in terms of beauty, at least for some time. şükrü, though battered, had around 50 national records, mostly windstroke, backstroke and butterfly.

by recovering from this beating-up, he proved that record breaking was a part of his being. we watched as we watched the records he broke in four hundred metres backstroke. his brother and I. tiny eyes stroke with no concern. he had two elder sisters, still not married. the make-up they did every morning, you could use for the girls of the whole neighbourhood and it would be enough. tiny eyes had a small grocery store. we played football across that grocery store. he watched us, it was back then I felt I started to hate everything.

 

l.i.d/2001/2’25’’/color/English/turkey/ DV

director, camera, script, text by ethem özgüven

music by: alper maral

post p: serkan çifci, dylan pank, bülent özcan, alper kırklar

 

5. sayfa

Awards:

Festivals (Official Selection)                                                                                                                              Non-competitive Festivals and screenings                                                                                

Special Screenings                                                                                                             

International Collections                                                                                                     

Retrospectives                                                                                                                      

Installations

Awards:

  • Ciné Med, Montpellier, France "Art School Student’s Award", "little lake"
  • Henry Ford European Conservation Awards - Jury Special Award
  • Interforum Film Festivals, Second Prize for Video Art, Germany, “Oromi”
  • Retina International Documentary and Short Film Festival 3rd Award, Hungary, "The People Cine 5 Jury Special Award, "Oromi"
  • of the Light"
  • Marmara University National Documentary Festival, Jury Special Award, "The People of the Light"
  • Bodrum International Environmental Film Festival, Jury Special Award, Documentary, "No"
  • Ankara International Film Festival, Jury Special Award, Documentary, "Aziz Nesin"
  • Ankara International Film Festival, Jury Award, Video Art, "ece"
  • IFSAK Film, Best Documentary, "Aziz Nesin"
  • IFSAK Film Festival, Best Video Art, "ece"
  • IFSAK Film, Video Art Jury Special Award, "a"
  • Environmental Film Festival Istanbul, 2nd Award for documentary, “Alethea”
  • Bodrum International Film Festival, Environment Special Award, “kontra”
  • Nürnberg Interforum, Mahmut Tali Öngören Human Rights Award, Germany, “4857” 
  • TRT International Documentary Film Festival, National Section 3rd Award, “Silicosis”
  • Istanbul Architecture and Urban Films Festival, Best Documentary, “4857”
  • Kadiköy Municipality and Lions Club Violence Against Children Film Competition, Best Film, “F1c”
  • Mersin Chamber of Shipping Sea Short Film Competition, “Manyat”

Festivals (Official Selection)

  • Oberhausen International Short Film Festival, Germany
  • Festival dei Popoli, Florence, Italy
  • Split International Video Art Festival, Croatia
  • Mediaterra International Electronic Art Festival, Greece
  • Munich International Documentary Film Festival, Germany
  • Bucharest Dakino Film Festival, Romania
  • Mediterranean Biennial de Aubagne, France
  • FICA, International Environmental Film and Video Festival, Goias, Brazil
  • Elche International Experimental and Dance Film Festival, Spain
  • Mediawave International Short Film Festival, Györ, Hungary
  • One World, Prague, Czech Republic
  • International Short Film Festival Mons, Belgium
  • International Short Film Festival Oberhausen, Germany
  • Backup International New Media in Film Festival, Berlin, Germany
  • Videoformes, Clermont Ferrand, France
  • Exground, Germany
  • Cinemambiente, Turin, Italy
  • Curta Cinema, Rio de Janeiro, Brazil
  • Malesacorto, Italy
  • International Short & Independent Film Festival, Dhaka, Bangladesh
  • Videoex International Video Festival, Switzerland
  • Astra Film Festival, Romania
  • Montevideo International Film Festival, Uruguay
  • New European Cinema, Poland
  • Planet in Focus, Toronto, Canada
  • Adana Golden Boll Film Festival, Mediterranean Short Film Competition, Turkey
  • Imaginario International Independent Film Festival, Italy
  • Invideo Milano, Italy
  • Festival de Cinema Bogota, Colombia
  • Karafilm Festival, Karachi, Pakistan
  • Cine Pobre, Cuba
  • Next Festival, Lithonia
  • Ecofilms, Rhodes International Films and Visual Arts Festival, Greece
  • Cinema Verité International Documentary Film Festival, Tehran, Iran
  • Videobrasil, Sao Paolo, Brazil
  • Turkish Film Festival, Boston, USA
  • Independent Short Film Festival, Santiago de Chile, Chile

Non-competitive Festivals and screenings

  • International Video Festival, Bochum, Germany
  • Documentarist, Turkey
  • International Labor Film Festival, Turkey
  • Laborfest, San Francisco, USA
  • Lucania Film Festival, Italy
  • Avicon Asia Video Art Conference, Tokyo, Japan
  • Aluminum, Azerbaijan
  • Transchina International Video Art Festival, China
  • Thessaloniki International Dance Film Festival, Greece
  • Samos Mediterranean Documentary Festival, Greece
  • SEFORMA, Seoul Forum for Media Art, Korea
  • New York Turkish Film Days, USA
  • Rio Cinema London Film Festival, UK
  • Tiflis Art Meeting, Georgia
  • Signes de Nuit, Paris, France
  • IMZ Dance Screen, Brighton, UK
  • International Black Cinema, Berlin, Germany

Special Screenings / International Collections

 

Retrospectives

  • Kologne Turkish German Film Festival, Germany
  • Ethem Ozguven retrospective, Damascus Syria
  • Mediawave International Film Festival, Gyor, Hungary
  • Retrospective screening, METU, Ankara, 2004       
  • Retrospective, Kargaart, Istanbul, 2003
  • Ankara International Film Festival, Turkey
  • Nurnberg Mediterranean Film Festival, Germany
  • Retrospective, Bosporus International Film Festival, 2014
  • Kecksemet International Film Festival, Hungary

Installations

  • Nightmares, curator: Beral Madra, Goethe Institute Istanbul, 2000, (solo exhibition)
  • Istanbulart, CRR Art Fair, 2000, “little lake”    
  • Selfportrait, curator: Beral Madra, Borusan Art Gallery, 2003, “TND”
  • What is Missing? Karşı Sanat Çalışmaları, 2003
  • Voices, 2003, Karşı Sanat Çalışmaları (Sound installation)
  • The Thieving City, 2005, curator: Levent Çalıkoğlu, Aksanat. “Delirium”
  • Copy, 2003, Mentalklinik, http://www.mentalklinik.com/ex...                                                            
  • Roll Magazine Exhibition at Istanbul Biennial, 2005 
  • Lowave at ARTIST, 2010
  • Unexpected Territories, curator: Zeki Çoskun, ARTIST, 2016, “Souvenir”

 

 


Diğer Bilgiler

Other Work Experiences

• BIFED – Bozcaada International Festival of Ecological Documentary, coordinator (2014-)
www.bifed.org 

• FIMa – Association for Intercultural Media, 1992-2001 (Creation of Workshop Modules for Video and Intercultural Education, 250 students from24 countries)

What is FIMa?
During the last few years FIMa organized not only International Video Workshops but also worked in active media making, that is making alternative documentaries about themes that concern culture/art, environment, human rights. There are quite a number of them made with almost no budget and only supported by the FIMa members (paying many costs from their own pockets). Many of the documentaries got invitations to international festivals. Some of them were awarded in international Festivals. Many NGOs in Turkey show the videos in their meetings. Even though the TV stations are not showing the documentaries in their programs they were seen by quite a big crowd - they find their own channels to deliver their message. Apart from documentaries, FIMa is making video works which could be categorized as video art. They were also screened in international events and even established the category “video art” for Turkey (1994).

The project has a "daughter" in Yugoslavia. A group of alternative media workers was impressed by this workshop and asked FIMa to be the advisor for a similar international project in Yugoslavia. There might be cooperation with Italy on the same matter. 

Why does FIMa do these kinds of documentaries and projects?
In a time where the media are dominated by monopolist companies and uniform program schemes there is a need to empower alternative voices. There is a need to document the history from the people’s side independent from the big corporations, the institutions in power, and the patriarchal structures. Therefore we make many documentaries on culture and environment. At the same time we try to support young documentary makers in their wish to document sides of life. The forms support reach from trying to help with equipment, international or local connections, as well as critique or suggestions in the development process. 

A second important issue is the way of using video. As film is still a very expensive medium (and is also extensive in terms of staff and equipment) video turned out to be the more realistic medium for communication. However, the language that video is imposing on the maker is very different than the one the material film is able to offer. Yet, the medium video is still often not used according to its possibilities. To point out the possibilities - the borders is one of the main concerns of FIMa. Another important issue is the time limits if one wants to be heard on the mainstream media. The time is limited to very short period - therefore the ability to express the main message as short and clear as possible is a main preposition to work in that field.

FIMa has also a library that contains books about media theory, philosophy, film and video making, political science, history, media and cultural studies. The video archive contains videos from many different countries – students’ works, famous directors, alternative films, documentaries, video work.

The long-term aims of the video workshops lie in a self-sustaining centre where documentaries and other video productions are possible. Young people from different countries should get the possibilities to produce their works and share the experiences with each other. At the same time there should be possibilities to learn how to use video, how to make documentaries, theoretical work in order to give more and more people the possibility to work on an alternative way in media. For the time being, we are trying to enable the participants in the workshops to organize workshops of their own, to share their experiences with other people, to participate in documentary projects like “Mediterranean” (a documentary about the Mediterranean culture in Turkey, Greece, Lebanon and Italy) or a documentary about the Olive Culture. During the year we try to keep up the relationship with the participants from previous years. A small network among the participants is developing and getting stronger. 

• National Environmental Script and Production Awards, 1997-1999
The “National Environmental Video Script and Production Awards” was a project to develop and produce videos. 4 scripts were chosen (among 91 scripts from all over Turkey) - their award was the complete production of the script and the presentation of the works in public. This is one of the rare occasions in Turkey that an awarded script had the chance to be realized. The project continued for three years with the topics "Water", "Sea" and "Earthquake."

• Antalya Golden Orange International Short Film Festival, director, 1st international edition of the festival, 1995-1996
The “1st International Golden Orange Short Film and Video Festival” in Antalya (1995) was conceived and produced by Ethem Özgüven and Petra Holzer. 430 films and videos from 33 countries were submitted to the competition. 

• Worked as a director for productions for TRT and other TV channels