K\u00fclt\u00fcrel kimlikler yaln\u0131zca s\u00f6zl\u00fc anlat\u0131lar ya da yaz\u0131l\u0131 metinlerle de\u011fil; g\u00f6rsel-i\u015fitsel anlat\u0131lar arac\u0131l\u0131\u011f\u0131yla da toplumsal bellekte yer edinir ve ku\u015faktan ku\u015fa\u011fa aktar\u0131l\u0131r. \u00d6zellikle dijital \u00e7a\u011fda sinema, belgesel, foto\u011fraf ve yeni medya ara\u00e7lar\u0131 k\u00fclt\u00fcrlerin g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fcn\u00fc sa\u011flayan en etkili ileti\u015fim bi\u00e7imleri h\u00e2line gelmi\u015ftir. \u0130nsanl\u0131k tarihinden yola \u00e7\u0131karak s\u00f6zl\u00fc anlat\u0131lar\u0131n, yaz\u0131l\u0131 metinlerin ve g\u00f6rsel ileti\u015fimin bir k\u00fclt\u00fcr\u00fc var etmenin yan\u0131nda s\u00fcrd\u00fcr\u00fclebilirli\u011fi a\u00e7\u0131s\u0131ndan \u00e7ok etkili oldu\u011fu g\u00f6r\u00fclmektedir.<\/p>\n
Bu ba\u011flamda g\u00f6rsel-i\u015fitsel ileti\u015fim, bu teknoloji \u00e7a\u011f\u0131nda \u201c\u00f6nemlidir\u201d demek yerine, \u201cgerekli ve \u015fartt\u0131r\u201d demek daha do\u011fru olacakt\u0131r. Okuman\u0131n gittik\u00e7e yerini izlemeye b\u0131rakt\u0131\u011f\u0131 ve yazman\u0131n yerini g\u00f6rselli\u011fe b\u0131rakt\u0131\u011f\u0131 bu d\u00f6nemde, t\u00fcketmenin had safhada oldu\u011funu bilerek \u00fcretmeyi de bu ba\u011flamda had safhaya \u00e7\u0131karmak gerekir. Geli\u015fen yayg\u0131n teknoloji kullan\u0131m\u0131 ile k\u00fclt\u00fcr\u00fc ve dili tan\u0131tmada ve toplumlar\u0131n eri\u015febilmesinde g\u00f6rsel-i\u015fitsel \u00fcretimler \u00f6nemli bir rol oynamakta. Toplumsall\u0131\u011f\u0131 korumaya ve geli\u015ftirmeye d\u00f6n\u00fck ara\u00e7 g\u00f6revi g\u00f6r\u00fcrken, bunun yan\u0131nda Hegemonik g\u00fc\u00e7ler toplumsall\u0131k \u00fcr\u00fcn\u00fc olan ileti\u015fim bi\u00e7im ve ara\u00e7lar\u0131n\u0131 toplum aleyhine postkolonyal s\u00f6m\u00fcrge bi\u00e7imi olarak kullanmakta. K\u00fclt\u00fcrleri \u00f6z\u00fcnden uzakla\u015ft\u0131rarak \u00e7arp\u0131tmakta. Bu \u00f6zden uzakla\u015fma da hegemonik g\u00fcce hizmet niteli\u011fi ta\u015f\u0131maktad\u0131r.<\/p>\n
Bu anlay\u0131\u015f \u00e7e\u015fitli y\u00f6ntemlerle kendi k\u00fclt\u00fcr ve bilmelerini s\u00f6m\u00fcr\u00fclen topluma m\u00fcthi\u015f bir \u015fekilde a\u015f\u0131layarak, s\u00f6m\u00fcrgecinin ya\u015fam\u0131n\u0131n g\u00fczellemesinin yap\u0131lmas\u0131yla ger\u00e7ek ya\u015fam\u0131n hegemonik g\u00fc\u00e7te, yani s\u00f6m\u00fcrgecide oldu\u011funu sanmas\u0131na neden olur.<\/p>\n
Bu genel \u00e7er\u00e7eve, s\u00f6m\u00fcrgecilik deneyimi ya\u015fam\u0131\u015f toplumlarda \u00e7ok daha g\u00f6r\u00fcn\u00fcrd\u00fcr. K\u00fcrt toplumu da k\u00fclt\u00fcrel s\u00fcreklilik ile asimilasyon politikalar\u0131n\u0131n en yo\u011fun bi\u00e7imde kar\u015f\u0131 kar\u015f\u0131ya geldi\u011fi \u00f6rneklerden biridir.<\/p>\n
K\u00fcrdistan\u2019a bakt\u0131\u011f\u0131m\u0131zda k\u00fclt\u00fcrel \u00e7e\u015fitlili\u011fin sadece b\u00f6lgeden b\u00f6lgeye de\u011fil, \u015fehirden \u015fehre, hatta k\u00f6yden k\u00f6ye de\u011fi\u015fti\u011fini g\u00f6rmekteyiz. Bu de\u011fi\u015fkenlikte m\u00fcthi\u015f bir zenginlik vard\u0131r. Leh\u00e7esinden giyini\u015f tarz\u0131na, \u00f6rf ve adetlerinden yemek k\u00fclt\u00fcr\u00fcne kadar ileri seviyede bir \u00e7e\u015fitlilik bar\u0131nd\u0131rmaktad\u0131r.<\/p>\n
Ne yaz\u0131k ki bu \u00f6rf, adet ve zenginliklere bakt\u0131\u011f\u0131m\u0131zda, g\u00fcn be g\u00fcn hayat\u0131m\u0131zdaki yerinin azald\u0131\u011f\u0131n\u0131 g\u00f6rmekteyiz. Bu azalman\u0131n en b\u00fcy\u00fck sebeplerinden biri de hegemonik g\u00fcc\u00fcn uygulad\u0131\u011f\u0131 postkolonyal s\u00f6m\u00fcrge bi\u00e7imidir. K\u00fclt\u00fcr\u00fc yok etme, dili bitirme ve toplumu \u00f6z\u00fcnden uzakla\u015ft\u0131r\u0131p bireyselli\u011fe itmesidir. Yok sayma politikalar\u0131na kar\u015f\u0131 g\u00fc\u00e7l\u00fc ve evrensel bir ger\u00e7ekli\u011fi olan sinema bu noktada \u00f6nem kazanmaktad\u0131r. Bu ger\u00e7eklik K\u00fcrt halk ve k\u00fclt\u00fcr yarat\u0131mlar\u0131n\u0131 yok sayan, hedef alan ve karalayan g\u00fc\u00e7lerce de kullan\u0131lmak istenmi\u015f ve bir \u00f6zel sava\u015f arac\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n
Tam da bu noktada sinema, k\u00fclt\u00fcrel belle\u011fi yeniden \u00fcreten ve g\u00f6r\u00fcn\u00fcr k\u0131lan en g\u00fc\u00e7l\u00fc ara\u00e7lardan biri olarak \u00f6ne \u00e7\u0131kmaktad\u0131r. K\u00fcrt sinemas\u0131n\u0131n geli\u015fimi de bu tarihsel ko\u015fullar i\u00e7erisinde \u015fekillenmi\u015ftir.<\/p>\n
K\u00fcrt sinemas\u0131n\u0131 inceledi\u011fimizde kar\u015f\u0131m\u0131za belirli temalar ve estetik kodlar \u00e7\u0131kmaktad\u0131r. S\u0131n\u0131r, \u00f6l\u00fcm, s\u00fcrg\u00fcn, aidiyet ve vatan kavramlar\u0131 etraf\u0131nda \u015fekillenen bu sinema, halk\u0131n tarihsel deneyimlerini ve kolektif haf\u0131zas\u0131n\u0131 yans\u0131tan g\u00fc\u00e7l\u00fc bir anlat\u0131 gelene\u011fi olu\u015fturmu\u015ftur. Bununla birlikte, varl\u0131k ve hakikati ifade etme m\u00fccadelesi, t\u00fcm zorluklara ve s\u0131n\u0131rl\u0131 olanaklara ra\u011fmen sinema alan\u0131nda da s\u00fcrd\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Bu s\u00fcre\u00e7te pek \u00e7ok de\u011ferli y\u00f6netmen ve sinemac\u0131 \u00f6nemli eserler ortaya koymu\u015ftur. Bu yaz\u0131da, K\u00fcrt sinemas\u0131na y\u00f6n veren \u00fc\u00e7 isme de\u011finece\u011fiz.<\/p>\n
Bahman Ghobadi\u2019ye bakt\u0131\u011f\u0131m\u0131zda, \u00e7ok elveri\u015fsiz \u015fartlarda, maddi ve manevi zorluklara ra\u011fmen K\u00fcrt sinemas\u0131n\u0131 yeniden yaratt\u0131\u011f\u0131n\u0131 s\u00f6yleyebiliyoruz. A Time for Drunken Horses filmi ile K\u00fcrt kimli\u011fini, kolektif haf\u0131zay\u0131 ve direni\u015fi K\u00fcrt esteti\u011fi ile birle\u015ftirmi\u015ftir. Bunu ulusaldan evrensele ta\u015f\u0131yarak Cannes Film Festival\u2019de Alt\u0131n Kamera \u00f6d\u00fcl\u00fcn\u00fc, Chicago International Film Festival\u2019nde, ayr\u0131ca Edinburgh ve Sao Paulo festivallerinde K\u00fcrt sinemas\u0131na \u00e7e\u015fitli \u00f6d\u00fcller kazand\u0131rm\u0131\u015ft\u0131r. \u0130lk filmi olan A Time for Drunken Horses\u2019u \u00e7ekerken, filmin sonlar\u0131na do\u011fru b\u00fct\u00e7esi t\u00fckenmi\u015ftir. Filmin geri kalan maliyetini ise filmde oynayan kendi k\u00f6yl\u00fclerinden temin etmi\u015ftir. Filmin oyuncular\u0131 genel anlamda amat\u00f6rd\u00fcr ve film, \u0130ran-Irak s\u0131n\u0131r\u0131nda bulunan kendi k\u00f6y\u00fcnde \u00e7ekilmi\u015ftir. G\u00f6r\u00fcyoruz ki ortam ne kadar elveri\u015fsiz, \u015fartlar ne kadar k\u00f6t\u00fc olursa olsun; kolektif ve kom\u00fcnal bir anlay\u0131\u015fla \u00e7ok b\u00fcy\u00fck ve ba\u015far\u0131l\u0131 i\u015fler ortaya \u00e7\u0131kabilmektedir. Film tamamen tarihsel ger\u00e7eklikten faydalanarak K\u00fcrt dilini, esteti\u011fini, k\u00fclt\u00fcr\u00fcn\u00fc ve ya\u015fay\u0131\u015f tarz\u0131n\u0131 ta\u015f\u0131maktad\u0131r. K\u00fcrt sinemas\u0131na Marooned in Iraq, Half Moon ve No One Knows About Persian Cats ile de bir\u00e7ok \u00f6d\u00fcl kazand\u0131rm\u0131\u015ft\u0131r. K\u00fcrt sinemas\u0131n\u0131 belirli kal\u0131plara s\u0131\u011fd\u0131rmayarak, komedisinden dramas\u0131na, m\u00fczikalinden belgeseline kadar sineman\u0131n her t\u00fcr\u00fcne el uzatarak K\u00fcrt k\u00fclt\u00fcr\u00fcn\u00fc yans\u0131tmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Bu gayretinde de olduk\u00e7a ba\u015far\u0131l\u0131 olmu\u015ftur. Ghobadi sinemas\u0131; kimlik in\u015fas\u0131, k\u00fclt\u00fcrel bellek, ulus-toplum temsili ve g\u00f6rsel-i\u015fitsel ileti\u015fim \u00fczerinden k\u00fclt\u00fcrel g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fc \u00fcst seviyede sa\u011flam\u0131\u015ft\u0131r.<\/p>\n
Y\u0131lmaz G\u00fcney\u2019i bu ba\u011flamda ele ald\u0131\u011f\u0131m\u0131zda ise, onun sinemas\u0131na tamamen K\u00fcrt sinemas\u0131 diyemiyoruz; daha \u00e7ok T\u00fcrkiye sinemas\u0131 i\u00e7erisinde de\u011ferlendirebiliyoruz. Ancak Y\u0131lmaz G\u00fcney, K\u00fcrt sinemas\u0131n\u0131n kurucu miras\u0131n\u0131n en \u00f6nemli \u00f6nc\u00fclerinden biridir. \u00d6zellikle Selimiye Cezaevi sonras\u0131nda kameras\u0131n\u0131 daha bilin\u00e7li bi\u00e7imde K\u00fcrt co\u011frafyas\u0131na ve K\u00fcrt halk\u0131n\u0131n ya\u015fam ger\u00e7ekli\u011fine y\u00f6neltmi\u015ftir. Arkada\u015f<\/em> ve Endi\u015fe<\/em> ile ba\u015flayan bu y\u00f6nelim, S\u00fcr\u00fc<\/em>, D\u00fc\u015fman<\/em> ve \u00f6zellikle Yol<\/em> filmleriyle daha da belirginle\u015fmi\u015ftir. Bu yap\u0131mlarda yoksulluk, g\u00f6\u00e7, devlet bask\u0131s\u0131, kimlik, aidiyet ve toplumsal e\u015fitsizlikler \u00fczerinden K\u00fcrt halk\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 ger\u00e7eklik de yo\u011funca i\u015flenmi\u015ftir.<\/p>\n 1982 y\u0131l\u0131nda Cannes Film Festivali’nde Alt\u0131n Palmiye \u00d6d\u00fcl\u00fc’n\u00fc kazanan Yol<\/em>, d\u00fcnya sinema tarihinde \u00f6nemli bir yer edinirken, K\u00fcrt co\u011frafyas\u0131n\u0131 ve T\u00fcrkiye’nin toplumsal yap\u0131s\u0131n\u0131 uluslararas\u0131 kamuoyunun g\u00fcndemine ta\u015f\u0131m\u0131\u015ft\u0131r. G\u00fcney’in kendi ifadesiyle film, “T\u00fcrkiye ve K\u00fcrdistan’\u0131n panoramas\u0131n\u0131” ortaya koymay\u0131 ama\u00e7lam\u0131\u015ft\u0131r.<\/p>\n Sinemasal \u00fcretimini siyasal duru\u015fundan ba\u011f\u0131ms\u0131z ele almayan G\u00fcney, Paris’e yerle\u015ftikten sonra K\u00fcrt meselesine ili\u015fkin \u00e7al\u0131\u015fmalarda da aktif rol alm\u0131\u015f ve Paris K\u00fcrt Enstit\u00fcs\u00fc’n\u00fcn kurucular\u0131 aras\u0131nda yer alm\u0131\u015ft\u0131r. Sinemas\u0131nda oldu\u011fu gibi d\u00fc\u015f\u00fcnsel yakla\u015f\u0131m\u0131nda da K\u00fcrt sorununu yaln\u0131zca k\u00fclt\u00fcrel olarak de\u011fil, tarihsel ve siyasal bir sorun olarak ele alm\u0131\u015ft\u0131r. Bu y\u00f6n\u00fcyle Y\u0131lmaz G\u00fcney, K\u00fcrt sinemas\u0131n\u0131n geli\u015fiminde hem estetik hem de d\u00fc\u015f\u00fcnsel a\u00e7\u0131dan belirleyici bir miras b\u0131rakm\u0131\u015ft\u0131r.<\/p>\n Halil Da\u011f (Halil Uysal), K\u00fcrt sinemas\u0131n\u0131n en \u00f6nemli \u00e7izgilerinden biri ve ger\u00e7ek\u00e7i \u00f6nc\u00fclerindendir. O, k\u0131r\u0131k kameras\u0131n\u0131 st\u00fcdyolarda ya da festivallerde \u00e7al\u0131\u015ft\u0131rmad\u0131; kameras\u0131n\u0131 do\u011frudan ya\u015fam\u0131n i\u00e7inde, da\u011flar\u0131n zirvesinde, her an silahlar\u0131n konu\u015fabilece\u011fi yerlerde, ger\u00e7ek ya\u015fam\u0131n ve yolda\u015fl\u0131\u011f\u0131n bulundu\u011fu ortamlarda \u00e7al\u0131\u015ft\u0131rd\u0131. Profesyonelli\u011fe gerek yoktu; yolda\u015flar\u0131n\u0131n g\u00f6zlerine kadar yans\u0131yan g\u00fcl\u00fc\u015f\u00fc, do\u011fan\u0131n safl\u0131\u011f\u0131, da\u011flar\u0131n heybeti ve ger\u00e7ekli\u011fin vuruculu\u011fu yeterliydi. Halil Da\u011f, direni\u015f esteti\u011fini yaratt\u0131. K\u00fcrtlerin binlerce y\u0131ll\u0131k m\u00fccadelesini, i\u00e7inde bulundu\u011fu direni\u015fe K\u00fcrt esteti\u011fini katarak sinemas\u0131na yans\u0131tt\u0131.<\/p>\n Halil Da\u011f, her \u015feyi geride b\u0131rakarak ger\u00e7ek ya\u015fam\u0131 se\u00e7ti ve K\u00fcrdistan\u2019\u0131n \u00f6zg\u00fcrl\u00fck saflar\u0131na kat\u0131ld\u0131. Ya\u015fam, sevgi, yolda\u015fl\u0131k, do\u011fa ve ger\u00e7ek duygular oradayd\u0131. T\u00fcm bunlar\u0131 k\u0131r\u0131k kameras\u0131yla Beritan, T\u00eerej, Eyna Bejn\u00ea, Dema Jin Hez Bike, Hesr\u00ea Ava Z\u00ea ve belgesellerine yans\u0131tarak halka sundu.<\/p>\n Halil Da\u011f, K\u00fcrt sinemas\u0131nda b\u00fcy\u00fck bir k\u0131r\u0131lma noktas\u0131d\u0131r. Y\u00f6netmenlerin \u00e7o\u011funlukla yans\u0131tt\u0131\u011f\u0131 K\u00fcrt ma\u011fduriyetini a\u015farak, K\u00fcrt y\u00fcceli\u011fini ve g\u00fc\u00e7l\u00fcl\u00fc\u011f\u00fcn\u00fc sinemas\u0131na ta\u015f\u0131m\u0131\u015ft\u0131r. 1994\u2019te MED TV\u2019nin kurulmas\u0131nda g\u00f6rev ald\u0131 ve onun kameras\u0131yla MED TV hayat buldu. Sine \u00c7iya\u2019y\u0131 ba\u015flatt\u0131; tiyatroyla ilgilenen arkada\u015flar\u0131n\u0131 sinemaya te\u015fvik ederek da\u011f tiyatrosunu televizyona ta\u015f\u0131d\u0131. Halil Da\u011f, sanat\u0131n ideolojisiz olmayaca\u011f\u0131n\u0131; toplumun de\u011ferlerinin ve m\u00fccadelesinin sanat yoluyla ifade edilmesi gerekti\u011fini kan\u0131tlad\u0131. Kapitalist modernite nas\u0131l kendi hik\u00e2yesini aktar\u0131yorsa, Halil Da\u011f da halk\u0131n m\u00fccadelesini en ger\u00e7ek ve estetik bi\u00e7imde bizlere anlatt\u0131. Kendi s\u00f6zleriyle: \u201cKamera toplumun g\u00f6z\u00fc olmu\u015ftu, her yerde ger\u00e7e\u011fi g\u00f6sterebilmeliydi.\u201d Halil Da\u011f, \u201cA\u011fr\u0131 Da\u011f\u0131na Do\u011fru Y\u00fcr\u00fcyenler\u201d projesi i\u00e7in Bakur\u00ea Kurdistan\u2019da \u00e7al\u0131\u015fma y\u00fcr\u00fct\u00fcyordu. 1 Nisan 2008\u2019de ya\u015fam\u0131n\u0131 yitirene kadar da bu konudaki \u00e7abas\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr.<\/p>\n Her \u00fc\u00e7 isim, farkl\u0131 d\u00f6nemlerde ve farkl\u0131 sinema anlay\u0131\u015flar\u0131yla \u00fcretim yapm\u0131\u015f olsalar da ortak bir noktada bulu\u015fmaktad\u0131r: K\u00fcrt sinemas\u0131n\u0131 k\u00fclt\u00fcrel kimli\u011fin g\u00f6r\u00fcn\u00fcrl\u00fck alan\u0131na d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015flerdir. Diyebiliriz ki K\u00fcrt sinemas\u0131n\u0131n ba\u015far\u0131s\u0131 Y\u0131lmaz G\u00fcney\u2019in kurucu miras\u0131nda, Bahman Ghobadi\u2019nin evrenselli\u011finde ve Halil Da\u011f\u2019\u0131n m\u00fccadele \u00e7izgisinde sakl\u0131. Bu ger\u00e7eklikten hareketle son tahlilde K\u00fcrt ger\u00e7ekli\u011fi ba\u011flam\u0131nda g\u00f6rsel-i\u015fitsel ileti\u015fim, \u00f6zelde K\u00fcrt sinemas\u0131 yaln\u0131zca k\u00fclt\u00fcrel temsilin teknik bir arac\u0131 de\u011fil; toplumsal haf\u0131zan\u0131n yeniden \u00fcretildi\u011fi, kolektif kimli\u011fin g\u00f6r\u00fcn\u00fcr k\u0131l\u0131nd\u0131\u011f\u0131 ve tarihsel varolu\u015fun yeniden anlamland\u0131r\u0131ld\u0131\u011f\u0131 bir m\u00fccadele alan\u0131 olarak kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r.<\/p>\n Kapitalist modernitenin bireyselle\u015ftirici ve k\u00fclt\u00fcrel \u00e7\u00f6z\u00fclmeyi derinle\u015ftiren etkilerine, postkolonyal s\u00f6m\u00fcrge mekanizmalar\u0131na kar\u015f\u0131; demokratik modernite ve kom\u00fcnal ya\u015fam perspektifiyle geli\u015ftirilen her g\u00f6rsel ve i\u015fitsel \u00fcretim K\u00fcrt halk\u0131n\u0131n kendi tarihsel anlat\u0131s\u0131n\u0131, k\u00fclt\u00fcrel \u00f6znelli\u011fini ve kimlik in\u015fas\u0131n\u0131 g\u00fc\u00e7lendiren toplumsal bir direni\u015f prati\u011fine d\u00f6n\u00fc\u015fmektedir.<\/p>\n \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Mehmet Acar<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" K\u00fclt\u00fcrel kimlikler yaln\u0131zca s\u00f6zl\u00fc anlat\u0131lar ya da yaz\u0131l\u0131 metinlerle de\u011fil; g\u00f6rsel-i\u015fitsel anlat\u0131lar arac\u0131l\u0131\u011f\u0131yla da toplumsal bellekte yer edinir ve ku\u015faktan ku\u015fa\u011fa aktar\u0131l\u0131r. \u00d6zellikle dijital \u00e7a\u011fda sinema, belgesel, foto\u011fraf ve yeni medya ara\u00e7lar\u0131 k\u00fclt\u00fcrlerin g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fcn\u00fc sa\u011flayan en etkili ileti\u015fim bi\u00e7imleri h\u00e2line gelmi\u015ftir. \u0130nsanl\u0131k tarihinden yola \u00e7\u0131karak s\u00f6zl\u00fc anlat\u0131lar\u0131n, yaz\u0131l\u0131 metinlerin ve g\u00f6rsel ileti\u015fimin bir k\u00fclt\u00fcr\u00fc var […]<\/p>\n","protected":false},"author":2,"featured_media":11983,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":{"format":"standard","override":[{"template":"1","parallax":"1","fullscreen":"1","layout":"right-sidebar","sidebar":"default-sidebar","second_sidebar":"default-sidebar","sticky_sidebar":"1","share_position":"top","share_float_style":"share-monocrhome","show_featured":"1","show_post_meta":"1","show_post_author_image":"1","show_post_date":"1","post_date_format":"default","post_date_format_custom":"Y\/m\/d","show_post_category":"1","post_reading_time_wpm":"300","post_calculate_word_method":"str_word_count","zoom_button_out_step":"2","zoom_button_in_step":"3","show_post_tag":"1","show_prev_next_post":"1","show_popup_post":"1","number_popup_post":"1","show_author_box":"1","show_post_related":"0","show_inline_post_related":"0"}],"image_override":[{"single_post_thumbnail_size":"crop-500","single_post_gallery_size":"crop-500"}],"trending_post_position":"meta","trending_post_label":"Trending","sponsored_post_label":"Sponsored by","disable_ad":"0","subtitle":""},"jnews_primary_category":[],"jnews_social_meta":[],"jnews_review":[],"enable_review":"","type":"percentage","name":"","summary":"","brand":"","sku":"","good":[],"bad":[],"score_override":"","override_value":"","rating":[],"price":[],"jnews_override_counter":{"view_counter_number":"0","share_counter_number":"0","like_counter_number":"0","dislike_counter_number":"0"},"jnews_post_split":{"post_split":[{"template":"1","tag":"h2","numbering":"asc","mode":"normal","first":"0","enable_toc":"0","toc_type":"normal"}]},"footnotes":""},"categories":[1,44],"tags":[],"class_list":["post-11604","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analiz","category-kultur-sanat"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/berru.org\/wp-content\/uploads\/2026\/07\/photo_2026-07-10_11-56-13.jpg","_links":{"self":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts\/11604","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/comments?post=11604"}],"version-history":[{"count":2,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts\/11604\/revisions"}],"predecessor-version":[{"id":11985,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts\/11604\/revisions\/11985"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/media\/11983"}],"wp:attachment":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/media?parent=11604"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/categories?post=11604"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/tags?post=11604"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}