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The Hegelian Aufhebung: ‘Green Book’ and ‘Sibel’ – Ali Polat, Engin Kurtay

“Jim Crow” logic has been carried till today by the liberal left’s ethnic politics:

“You are black, how come that you don’t know how to eat the chicken like a black?”

As the ‘Green Book’ sublates the ethnic problem, the film ‘Sibel’ (2019), directed by Guillaume Giovanetti and Çağla Zencirci, similarly sublates the problem of pseudo-feminism.

The negro Pushkin was more Russian than anyone else in Russia. A real art does not fit in any race, identity or ethnicity. What we call “ethnic music” cannot be an “art”. To install a revolutionary function in art, one has first to lift the whiskey glass away from the piano!

Note: This article has originally been published in Turkish, in Sendika.org
Continue reading “The Hegelian Aufhebung: ‘Green Book’ and ‘Sibel’ – Ali Polat, Engin Kurtay”

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‘Roma’ filminin otopsisi: Alfonso Cuaron kendi başyapıtını neden kötüledi? – Ali Polat, Engin Kurtay

Istanbul Institute of
Russian and Sovietic Studies

Not: Bu çalışma ilk olarak Sendika.org’da yayımlanmıştır.

Ticari bakımdan fiyasko olan bir film neden bu kadar büyük bir bütçeyle desteklendi? Halkın filme ilgisizliği, melezleşme sürecinde geçmiş yıllara göre artık gündemin alt sıralarına düşmüş olan yerli X beyaz ayrımı ve ayrımcılığının gündemin yeniden üst sıralarına taşınmasına karşı içten içe bir tepki miydi?

Modern-post-modern dünyada, kaynağını Troçki’nin sanat doktrininden alan sanat-siyaset ilişkisi de en az sanat-piyasa ilişkisi kadar yozdur. Troçki sanatta her türlü formalizmi reddeder. Sanat eğitimine, sanatta kurumsallaşmaya, devlet aygıtının sanatçıyı himayesine karşıdır. Continue reading “‘Roma’ filminin otopsisi: Alfonso Cuaron kendi başyapıtını neden kötüledi? – Ali Polat, Engin Kurtay”

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The Autopsy of the Film ‘Roma’: Why did Alfonso Cuaron discredit his own masterpiece? – Ali Polat, Engin Kurtay

Istanbul Institute of
Russian and Sovietic Studies

The film did not attract public interest when it was shown both in Mexico and in USA. The box office was a complete failure. Moreover, Spanish media reported that the film triggered racist attacks in Mexico. So was the reason for the lack of public interest to the film a deep reaction to bring the indigenious X white distinction and discrimination back to the top of the agenda?

In the modern-post-modern world, the relation between art and politics is as corrupted as the relation between art and the market. This relationship takes its roots from Trotsky’s art doctrine: Trotsky rejects all kinds of formalism in art, thus he rejects art education, institutionalization in art, and the patronage/support of the state apparatus on/for art. Continue reading “The Autopsy of the Film ‘Roma’: Why did Alfonso Cuaron discredit his own masterpiece? – Ali Polat, Engin Kurtay”