{"id":49074,"date":"2026-09-09T12:54:37","date_gmt":"2026-09-09T09:54:37","guid":{"rendered":"https:\/\/www.merceknet.com\/tr\/?p=49074"},"modified":"2026-09-09T12:54:37","modified_gmt":"2026-09-09T09:54:37","slug":"m-ali-koseoglundan-gazeteciligin-vicdanina-ace-in-the-hole-uzerinden-guclu-bir-sorgulama","status":"publish","type":"post","link":"https:\/\/www.merceknet.com\/tr\/2026\/09\/09\/m-ali-koseoglundan-gazeteciligin-vicdanina-ace-in-the-hole-uzerinden-guclu-bir-sorgulama\/","title":{"rendered":"M. Ali K\u00f6seo\u011flu\u2019ndan gazetecili\u011fin vicdan\u0131na \u201cAce in the Hole\u201d \u00fczerinden g\u00fc\u00e7l\u00fc bir sorgulama"},"content":{"rendered":"

Gazeteci-yazar M. Ali K\u00f6seo\u011flu<\/strong>, Post Truth Dergi i\u00e7in kaleme ald\u0131\u011f\u0131 yeni yaz\u0131s\u0131nda, gazetecili\u011fin bug\u00fcn kar\u015f\u0131 kar\u015f\u0131ya bulundu\u011fu en temel etik meselelerden birini sinema \u00fczerinden ele ald\u0131.<\/p>\n

K\u00f6seo\u011flu\u2019nun 7 Eyl\u00fcl 2026<\/strong> tarihinde yay\u0131mlanan \u201cAce in the Hole Bug\u00fcn Bize Ne S\u00f6yl\u00fcyor?\u201d<\/strong> ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131n merkezinde, Billy Wilder\u2019\u0131n 1951 tarihli ve T\u00fcrk\u00e7eye \u201cB\u00fcy\u00fck Karnaval\u201d<\/strong> ad\u0131yla \u00e7evrilen Ace in the Hole<\/em> filmi bulunuyor.<\/p>\n

Ancak yaz\u0131 yaln\u0131zca bir film de\u011ferlendirmesi de\u011fil. K\u00f6seo\u011flu, filmde gazeteci Chuck Tatum\u2019un bir insan\u0131n ya\u015fad\u0131\u011f\u0131 felaketi kendi mesleki y\u00fckseli\u015fi i\u00e7in giderek b\u00fcy\u00fcyen bir medya g\u00f6sterisine d\u00f6n\u00fc\u015ft\u00fcrmesini, g\u00fcn\u00fcm\u00fcz\u00fcn dijital gazetecili\u011fi ve sosyal medya d\u00fczeniyle yan yana getiriyor.<\/p>\n

\"\"<\/p>\n

\u201cHaber de\u011feri ile izlenme de\u011feri aras\u0131ndaki s\u0131n\u0131r bulan\u0131kla\u015f\u0131yor\u201d<\/h3>\n

K\u00f6seo\u011flu, ge\u00e7mi\u015fte gazetelerin tiraj\u0131yla \u00f6l\u00e7\u00fclen ilginin bug\u00fcn saniye saniye takip edilen g\u00f6r\u00fcnt\u00fclenme, t\u0131klanma, payla\u015f\u0131m ve ekranda kalma s\u00fcrelerine d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcne dikkat \u00e7ekiyor.<\/p>\n

Filmde Chuck Tatum\u2019un \u00f6n\u00fcnde bug\u00fcnk\u00fc anlam\u0131yla bir algoritma bulunmad\u0131\u011f\u0131n\u0131 ancak davran\u0131\u015f\u0131n\u0131 y\u00f6nlendiren mant\u0131\u011f\u0131n algoritmalarla b\u00fcy\u00fck \u00f6l\u00e7\u00fcde ayn\u0131 oldu\u011funu belirten K\u00f6seo\u011flu, bunu \u201c\u0130nsanlar\u0131n bakmaya devam etmesini sa\u011flamak\u201d<\/strong> s\u00f6zleriyle \u00f6zetliyor.<\/p>\n

Gazetecili\u011fin bug\u00fcn yaln\u0131zca haber \u00fcretmedi\u011fini, ayn\u0131 zamanda \u00fcretti\u011fi i\u00e7eri\u011fin ne kadar ilgi g\u00f6rd\u00fc\u011f\u00fcn\u00fc s\u00fcrekli \u00f6l\u00e7t\u00fc\u011f\u00fcn\u00fc belirten K\u00f6seo\u011flu\u2019nun \u00fczerinde durdu\u011fu temel meselelerden biri de \u015fu:<\/p>\n

\u201cHaber de\u011feri ile izlenme de\u011feri aras\u0131ndaki s\u0131n\u0131r her ge\u00e7en g\u00fcn biraz daha bulan\u0131kla\u015f\u0131yor.\u201d<\/strong><\/p>\n

\u201cBu panay\u0131r\u0131n meydan\u0131 art\u0131k telefon ekranlar\u0131m\u0131zd\u0131r\u201d<\/h3>\n

Yaz\u0131n\u0131n en \u00e7arp\u0131c\u0131 b\u00f6l\u00fcmlerinden biri, filmde bir insan\u0131n ya\u015fad\u0131\u011f\u0131 felaket etraf\u0131nda olu\u015fan kalabal\u0131kla bug\u00fcn\u00fcn sosyal medya d\u00fczeni aras\u0131nda kurulan ba\u011flant\u0131.<\/p>\n

K\u00f6seo\u011flu, Ace in the Hole<\/em>\u2019daki ma\u011fara \u00f6n\u00fcnde kurulan \u201cpanay\u0131r\u201d\u0131n modern d\u00fcnyadaki kar\u015f\u0131l\u0131\u011f\u0131n\u0131n art\u0131k cep telefonu ekranlar\u0131 oldu\u011funu belirtiyor.<\/p>\n

Deprem, sava\u015f, cinayet, kaza ya da ki\u015fisel bir trajedinin dakikalar i\u00e7inde g\u00f6r\u00fcnt\u00fc, yorum, ba\u015fl\u0131k ve sosyal medya payla\u015f\u0131m\u0131na d\u00f6n\u00fc\u015febildi\u011fine i\u015faret eden K\u00f6seo\u011flu, \u201cBu panay\u0131r\u0131n meydan\u0131 art\u0131k telefon ekranlar\u0131m\u0131zd\u0131r\u201d<\/strong> diyor.<\/p>\n

Ancak ele\u015ftirisini yaln\u0131zca gazeteciye ve medya kurulu\u015flar\u0131na y\u00f6neltmiyor.<\/p>\n

K\u00f6seo\u011flu\u2019na g\u00f6re seyircinin de bu sistemin olu\u015fmas\u0131nda pay\u0131 bulunuyor. Bir trajedinin en mahrem g\u00f6r\u00fcnt\u00fclerini merak etmek, do\u011frulanmam\u0131\u015f bilgileri payla\u015fmak veya ac\u0131ya ili\u015fkin g\u00f6r\u00fcnt\u00fcleri yeniden dola\u015f\u0131ma sokmak medya ekonomisini besleyen k\u00fc\u00e7\u00fck fakat etkili tercihlere d\u00f6n\u00fc\u015f\u00fcyor.<\/p>\n

Bu nedenle \u015fu soruyu g\u00fcndeme getiriyor:<\/p>\n

\u201cMedya bunu neden yay\u0131ml\u0131yor?\u201d diye sorarken bir ba\u015fka soruyu da sormam\u0131z gerekiyor: Biz bunu neden seyrediyoruz?<\/strong><\/p>\n

\"\"<\/p>\n

\u201cGazetecinin g\u00f6revi ger\u00e7e\u011fi daha etkileyici h\u00e2le getirmek de\u011fildir\u201d<\/h2>\n

Yaz\u0131n\u0131n ana eksenlerinden bir di\u011feri ise gazetecinin hakikatle kurdu\u011fu ili\u015fki.<\/p>\n

K\u00f6seo\u011flu, gazetecinin g\u00f6revinin olaylar\u0131 daha dramatik hale getirmek de\u011fil, ger\u00e7e\u011fi oldu\u011fu \u015fekliyle ortaya koymak oldu\u011funu vurguluyor.<\/p>\n

Bunun yaln\u0131zca a\u00e7\u0131k yalanlarla ilgili bir mesele olmad\u0131\u011f\u0131na dikkat \u00e7eken K\u00f6seo\u011flu; ba\u015fl\u0131\u011f\u0131n haber metninden daha sert hale getirilmesini, bir ihtimalin kesinle\u015fmi\u015f ger\u00e7ek gibi sunulmas\u0131n\u0131, s\u0131radan a\u00e7\u0131klamalar\u0131n \u201cbomba a\u00e7\u0131klama\u201d olarak duyurulmas\u0131n\u0131 veya birka\u00e7 sosyal medya yorumundan \u201ckamuoyu aya\u011fa kalkt\u0131\u201d sonucu \u00e7\u0131kar\u0131lmas\u0131n\u0131 ayn\u0131 anlay\u0131\u015f\u0131n farkl\u0131 bi\u00e7imleri olarak de\u011ferlendiriyor.<\/p>\n

K\u00f6seo\u011flu\u2019nun bu noktadaki tespiti \u015f\u00f6yle:<\/p>\n

\u201cHakikat b\u00f6ylece bozulmadan da tahrif edilebilir.\u201d<\/strong><\/p>\n

Ve ard\u0131ndan gazetecilik eti\u011fi a\u00e7\u0131s\u0131ndan yaz\u0131n\u0131n temel c\u00fcmlelerinden birini kuruyor:<\/p>\n

\u201cGazetecilik yaln\u0131zca yalan s\u00f6ylememek de\u011fildir. Ger\u00e7e\u011fin \u00f6l\u00e7\u00fcs\u00fcn\u00fc bozmamak da gazetecili\u011fin ahl\u00e2k\u0131na d\u00e2hildir.\u201d<\/strong><\/p>\n

\"\"<\/p>\n

H\u0131z, rekabet ve teyit aras\u0131ndaki \u00e7at\u0131\u015fma<\/h3>\n

Dijital gazetecili\u011fin getirdi\u011fi h\u0131z\u0131n da ele al\u0131nd\u0131\u011f\u0131 yaz\u0131da, ge\u00e7mi\u015fte ertesi g\u00fcn\u00fcn gazetesini bekleyen haber d\u00fczeninin yerini saniyeler i\u00e7erisinde yay\u0131n yap\u0131labilen bir sisteme b\u0131rakt\u0131\u011f\u0131na dikkat \u00e7ekiliyor.<\/p>\n

Ancak K\u00f6seo\u011flu\u2019na g\u00f6re h\u0131z\u0131n artmas\u0131 beraberinde \u00f6nemli bir tehlike getiriyor:<\/p>\n

Teyit i\u00e7in ayr\u0131lan s\u00fcre azal\u0131yor, rekabet artt\u0131k\u00e7a ba\u015fl\u0131\u011f\u0131n sesi y\u00fckseliyor.<\/strong><\/p>\n

Buna kar\u015f\u0131l\u0131k hakikatin sesinin \u00e7o\u011fu zaman bu kadar y\u00fcksek olmad\u0131\u011f\u0131na dikkat \u00e7ekiliyor.<\/p>\n

K\u00f6seo\u011flu\u2019nun yaz\u0131s\u0131nda gazetecilik i\u00e7in \u00f6nerdi\u011fi temel \u00f6l\u00e7\u00fc ise olduk\u00e7a a\u00e7\u0131k:<\/p>\n

\u201cHaberin merkezinde gazetecinin ba\u015far\u0131s\u0131 yerine insan ve hakikat bulunmal\u0131d\u0131r.\u201d<\/strong><\/p>\n

\"\"<\/p>\n

\u201cAc\u0131y\u0131 seyirli\u011fe \u00e7evirmeden g\u00f6r\u00fcn\u00fcr k\u0131lmak\u201d<\/h3>\n

Yaz\u0131n\u0131n sonunda mesele yeniden insan haysiyetine geliyor.<\/p>\n

Bir insan\u0131n hik\u00e2yesinin gazetecili\u011fin en g\u00fc\u00e7l\u00fc ara\u00e7lar\u0131ndan biri olabilece\u011fini belirten K\u00f6seo\u011flu, \u201cinsani ilgi\u201dnin ayn\u0131 zamanda gazetecilik a\u00e7\u0131s\u0131ndan ciddi bir etik risk ta\u015f\u0131d\u0131\u011f\u0131 g\u00f6r\u00fc\u015f\u00fcnde.<\/p>\n

Bir ki\u015finin ya\u015fad\u0131\u011f\u0131 felaketin toplumsal bir meseleyi daha iyi anlamay\u0131 sa\u011flayabilece\u011fi gibi ilgi u\u011fruna b\u00fcy\u00fct\u00fcld\u00fc\u011f\u00fcnde o insan\u0131n ac\u0131s\u0131n\u0131n seyirlik hale getirilebilece\u011fine dikkat \u00e7ekiyor.<\/p>\n

K\u00f6seo\u011flu, Ace in the Hole<\/em>\u2019un 75 y\u0131l sonra gazetecili\u011fe y\u00f6neltti\u011fi soruyu \u015f\u00f6yle ifade ediyor:<\/p>\n

\u201cGazeteci, ac\u0131y\u0131 hakikatin \u0131\u015f\u0131\u011f\u0131na m\u0131 \u00e7\u0131karmal\u0131 yoksa kalabal\u0131\u011f\u0131n merak\u0131na m\u0131 teslim etmeli?\u201d<\/strong><\/p>\n

Kendi gazetecilik anlay\u0131\u015f\u0131n\u0131 ise \u015fu s\u00f6zlerle ortaya koyuyor:<\/p>\n

\u201cAc\u0131y\u0131 seyirli\u011fe \u00e7evirmeden g\u00f6r\u00fcn\u00fcr k\u0131lmak, hakikatin \u00f6l\u00e7\u00fcs\u00fcn\u00fc bozmadan anlatmak ve kalabal\u0131\u011f\u0131n merak\u0131ndan \u00f6nce insan\u0131n haysiyetini g\u00f6zetmek.\u201d<\/strong><\/p>\n

\"\"<\/p>\n

M. Ali K\u00f6seo\u011flu\u2019nun yaz\u0131s\u0131n\u0131n tamam\u0131 \u015f\u00f6yle:<\/h2>\n

\u201cAce in the Hole\u201d Bug\u00fcn Bize Ne S\u00f6yl\u00fcyor?<\/h3>\n

Gazetecilik, sadece olup biteni aktarmak de\u011fildir.<\/p>\n

Olan\u0131 art\u0131rmadan ya da eksiltmeden anlamland\u0131rmak, insan\u0131, \u015fehri ve toplumu kendi derinli\u011fi i\u00e7inde kavramaya \u00e7al\u0131\u015fmakt\u0131r ayn\u0131 zamanda. Kalemin ahl\u00e2kla, bilginin hikmetle, haberin vicdanla bulu\u015ftu\u011fu yerde ger\u00e7ek gazetecilik ba\u015flar. G\u00fcr\u00fclt\u00fcn\u00fcn de\u011fil anlam\u0131n, h\u0131z\u0131n de\u011fil hakkaniyetin pe\u015finde olan her \u00e7aba, yar\u0131na b\u0131rak\u0131lm\u0131\u015f k\u0131ymetli bir izdir.<\/p>\n

Son zamanlarda IMDb (\u0130nternet Film Veritaban\u0131) puanlar\u0131 hayli y\u00fcksek olsa da izlemeye ba\u015flad\u0131\u011f\u0131m baz\u0131 filmlerin sonunu getiremiyorum. Buna kar\u015f\u0131l\u0131k 1950\u2019lerden siyah-beyaz bir yap\u0131m \u00e7ok daha sahici gelebiliyor. Bakmay\u0131n siyah-beyaz olduklar\u0131na; bug\u00fcn\u00fcn h\u0131zla t\u00fcketilen, pop\u00fclerli\u011fi \u00e7o\u011fu zaman yar\u0131na \u00e7\u0131kamayan yap\u0131mlar\u0131n\u0131n yan\u0131nda s\u00f6z\u00fc ve meselesi h\u00e2l\u00e2 diri filmler var. Ben bunlardan \u00f6zellikle gazetecilikle ilgili olanlar\u0131 dikkatle izliyor, f\u0131rsat bulduk\u00e7a haklar\u0131nda yazmaya \u00e7al\u0131\u015f\u0131yorum.<\/p>\n

Billy Wilder\u2019\u0131n 1951 tarihli Ace in the Hole<\/em> filmi de bunlardan biri.<\/p>\n

Film, senaryosuyla Oscar aday\u0131 olmu\u015f\u2026 Jan Sterling\u2019e National Board of Review En \u0130yi Kad\u0131n Oyuncu \u00d6d\u00fcl\u00fc\u2019n\u00fc getirmi\u015f, Venedik Film Festivali\u2019nde de Uluslararas\u0131 \u00d6d\u00fcl\u2019e de\u011fer g\u00f6r\u00fclm\u00fc\u015f bir yap\u0131m.<\/p>\n

Ace in the Hole<\/em> yetmi\u015f be\u015f y\u0131l sonra bile eskimi\u015f g\u00f6r\u00fcnm\u00fcyorsa bunun sebebi, gazetecili\u011fin teknik meselelerinden \u00e7ok insan tabiat\u0131na bakmas\u0131d\u0131r. Gazete de\u011fi\u015fmi\u015f, televizyon gelmi\u015f, ard\u0131ndan internet ve sosyal medya (buna bir de yapay zek\u00e2y\u0131 ekleyin) b\u00fct\u00fcn haber d\u00fczenini yeniden kurmu\u015f olabilir. Fakat insan\u0131n felakete bakma bi\u00e7imi, ba\u015fkas\u0131n\u0131n ac\u0131s\u0131n\u0131 seyirlik h\u00e2le getirme zaaf\u0131 ve medyan\u0131n bu zaaf\u0131 kazanca d\u00f6n\u00fc\u015ft\u00fcrme i\u015ftah\u0131 pek de\u011fi\u015fmemi\u015ftir.<\/p>\n

Ace in the Hole\u2019dan on y\u0131l \u00f6nce Citizen Kane filminde gazete patronu Charles Foster Kane \u00e7oktan h\u00fckm\u00fcn\u00fc vermi\u015fti: \u201cMan\u015feti yeterince b\u00fcy\u00fct\u00fcrsen, haber de yeterince b\u00fcy\u00fcr.\u201d<\/p>\n

Gelelim Ace in the Hole filmine\u2026<\/p>\n

T\u00fcrk\u00e7e\u2019ye B\u00fcy\u00fck Karnaval olarak \u00e7evrilen filmin merkezindeki gazeteci Chuck Tatum, mesle\u011finde yeniden y\u00fckselmek i\u00e7in b\u00fcy\u00fck bir haber aramaktad\u0131r. Onun d\u00fcnyas\u0131nda k\u00f6t\u00fc haberin ayr\u0131 bir k\u0131ymeti vard\u0131r; \u00e7\u00fcnk\u00fc k\u00f6t\u00fc haber satar.<\/p>\n

Kar\u015f\u0131s\u0131na \u00e7\u0131kan bir kaza, Tatum\u2019un elinde yaln\u0131zca haber olmaktan \u00e7\u0131k\u0131p giderek b\u00fcy\u00fct\u00fclen, uzat\u0131lan ve seyirci toplayan bir g\u00f6steriye d\u00f6n\u00fc\u015f\u00fcr. Onu izlerken akl\u0131m\u0131za gelen soru \u015fudur:<\/p>\n

Gazeteci olay\u0131 m\u0131 anlat\u0131r, yoksa daha \u00e7ok ilgi g\u00f6rmek i\u00e7in olay\u0131n kendisini de bi\u00e7imlendirmeye mi ba\u015flar?<\/strong><\/p>\n

G\u00fcn\u00fcm\u00fcz medyas\u0131na bakt\u0131\u011f\u0131m\u0131zda bu soru \u00e7ok daha yak\u0131c\u0131d\u0131r.<\/p>\n

\u00c7\u00fcnk\u00fc art\u0131k haber yaln\u0131zca yay\u0131mlanm\u0131yor; ayn\u0131 zamanda \u00f6l\u00e7\u00fcl\u00fcyor. Ka\u00e7 ki\u015fi t\u0131klad\u0131, ne kadar izlendi, ka\u00e7 dakika ekranda kal\u0131nd\u0131, ka\u00e7 kez payla\u015f\u0131ld\u0131, hangi ba\u015fl\u0131k daha fazla merak uyand\u0131rd\u0131\u2026<\/p>\n

Haber de\u011feri ile izlenme de\u011feri aras\u0131ndaki s\u0131n\u0131r her ge\u00e7en g\u00fcn biraz daha bulan\u0131kla\u015f\u0131yor.<\/strong><\/p>\n

Bir zamanlar gazetenin bask\u0131 say\u0131s\u0131yla (tiraj) \u00f6l\u00e7\u00fclen ilgi, art\u0131k saniyesi saniyesine takip edilen bir veriye d\u00f6n\u00fc\u015fm\u00fc\u015f durumda.<\/p>\n

Ace in the Hole<\/em> tam da burada \u00e7a\u011fda\u015fla\u015f\u0131yor.<\/p>\n

Chuck Tatum\u2019un \u00f6n\u00fcnde bir algoritma yoktur\u2026 Fakat algoritman\u0131n mant\u0131\u011f\u0131 vard\u0131r: \u0130nsanlar\u0131n bakmaya devam etmesini sa\u011flamak.<\/p>\n

Felaket ne kadar s\u00fcrerse haber de o kadar b\u00fcy\u00fcyecektir. Kalabal\u0131k artt\u0131k\u00e7a olay\u0131n ekonomik de\u011feri y\u00fckselir. \u0130nsanlar gelir, gazeteler sat\u0131l\u0131r, e\u011flence ba\u015flar, ticaret canlan\u0131r. B\u00f6ylece bir insan\u0131n ba\u015f\u0131na gelen felaket, \u00e7evresinde b\u00fcy\u00fcyen bir panay\u0131ra d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Ace in the Hole<\/em>\u2019un bir insan\u0131n\u0131n s\u0131k\u0131\u015f\u0131p kald\u0131\u011f\u0131 ma\u011fara \u00f6n\u00fcnde kurdu\u011fu bu panay\u0131rdan yirmi be\u015f y\u0131l sonra, Sidney Lumet\u2019in Network<\/em> filmindeki Howard Beale sanki Chuck Tatum\u2019a cevap verir: \u201cTelevizyon hakikat de\u011fildir. Televizyon kahrolas\u0131 bir e\u011flence park\u0131d\u0131r.\u201d<\/p>\n

Bu panay\u0131r\u0131n meydan\u0131 art\u0131k telefon ekranlar\u0131m\u0131zd\u0131r.<\/p>\n

Bir deprem, cinayet, sava\u015f, kaza yahut ki\u015fisel trajedi birka\u00e7 dakika i\u00e7inde g\u00f6r\u00fcnt\u00fclere, ba\u015fl\u0131klara, yorumlara ve payla\u015f\u0131mlara b\u00f6l\u00fcnebiliyor. Ayn\u0131 g\u00f6r\u00fcnt\u00fcn\u00fcn tekrar tekrar dola\u015f\u0131ma sokulmas\u0131, ac\u0131n\u0131n ba\u011flam\u0131ndan kopar\u0131l\u0131p bir \u201ci\u00e7erik\u201d h\u00e2line getirilmesi, Ace in the Hole<\/em>\u2019daki kalabal\u0131\u011f\u0131n modern kar\u015f\u0131l\u0131\u011f\u0131 gibidir.<\/p>\n

Film bu y\u00fczden yaln\u0131z gazeteciyi su\u00e7lamaz.<\/p>\n

Seyirciyi de rahats\u0131z eder.<\/p>\n

\u00c7\u00fcnk\u00fc Tatum\u2019un kurdu\u011fu d\u00fczen, izleyen olmad\u0131\u011f\u0131 m\u00fcddet\u00e7e ya\u015fayamaz. Felaketin \u00e7evresinde toplanan insanlar\u0131n merak\u0131 gazetecinin ihtiras\u0131n\u0131 besler. Wilder burada \u00e7ok daha zor bir ahl\u00e2k\u00ee meseleye dokunur:<\/p>\n

Medyan\u0131n bize sundu\u011fu \u015feylerden ne kadar medya, ne kadar biz sorumluyuz?<\/p>\n

\u201cMedya bunu neden yay\u0131ml\u0131yor?\u201d diye sorarken bir ba\u015fka soruyu da sormam\u0131z gerekiyor:<\/p>\n

Biz bunu neden seyrediyoruz?<\/strong><\/p>\n

Bir ba\u015fkas\u0131n\u0131n ac\u0131s\u0131n\u0131n en dramatik \u00e2n\u0131n\u0131 g\u00f6rmek istemek, olay\u0131n en mahrem ayr\u0131nt\u0131s\u0131n\u0131 merak etmek, hen\u00fcz do\u011frulanmam\u0131\u015f bilgiyi payla\u015fmak, insanlar hakk\u0131nda h\u00fckm\u00fc pe\u015finen vermek, trajediye ait g\u00f6r\u00fcnt\u00fcy\u00fc yeniden dola\u015f\u0131ma sokmak\u2026<\/p>\n

Bunlar\u0131n her biri g\u00f6r\u00fcn\u00fc\u015fte k\u00fc\u00e7\u00fck davran\u0131\u015flard\u0131r.<\/p>\n

Fakat medya ekonomisinin y\u00f6n\u00fcn\u00fc biraz da bu k\u00fc\u00e7\u00fck tercihler belirler.<\/strong><\/p>\n

Filmin g\u00fcn\u00fcm\u00fcze s\u00f6yledi\u011fi ikinci \u00f6nemli \u015fey ise gazetecinin hakikat kar\u015f\u0131s\u0131ndaki konumuyla ilgilidir.<\/p>\n

Gazetecinin g\u00f6revi ger\u00e7e\u011fi daha etkileyici h\u00e2le getirmek de\u011fildir. Ger\u00e7e\u011fi oldu\u011fu gibi ortaya \u00e7\u0131karmakt\u0131r.<\/strong><\/p>\n

Haber dramatik de\u011filse dramatikle\u015ftirmek, olay yeterince b\u00fcy\u00fck de\u011filse b\u00fcy\u00fctmek, hik\u00e2yenin devam\u0131 u\u011fruna ger\u00e7e\u011fin ak\u0131\u015f\u0131na m\u00fcdahale etmek veya edilmesi gereken yerde m\u00fcdahaleyi geciktirmek, gazetecili\u011fin s\u0131n\u0131r\u0131n\u0131n a\u015f\u0131ld\u0131\u011f\u0131 yerdir.<\/p>\n

Buradan \u201ct\u0131k habercili\u011fine\u201d uzanan olduk\u00e7a d\u00fcz bir \u00e7izgi vard\u0131r.<\/p>\n

Ba\u015fl\u0131\u011f\u0131n metinden daha sert olmas\u0131, ihtimalin kesinlik gibi sunulmas\u0131, s\u0131radan bir s\u00f6z\u00fcn \u201cbomba a\u00e7\u0131klama\u201d diye verilmesi, birka\u00e7 sosyal medya yorumundan \u201ckamuoyu aya\u011fa kalkt\u0131\u201d sonucu \u00e7\u0131kar\u0131lmas\u0131 ayn\u0131 zihniyetin daha hafif g\u00f6r\u00fcnen bi\u00e7imleridir.<\/p>\n

Burada ger\u00e7ek mutlaka yok edilmez.<\/p>\n

Fakat ger\u00e7e\u011fin \u00fczerine heyecan, korku, \u00f6fke ve merak boca edilir.<\/p>\n

Hakikat b\u00f6ylece bozulmadan da tahrif edilebilir.<\/strong><\/p>\n

Belki Ace in the Hole<\/em>\u2019un en \u00f6nemli uyar\u0131s\u0131 budur.<\/p>\n

Gazetecilik yaln\u0131zca yalan s\u00f6ylememek de\u011fildir. Ger\u00e7e\u011fin \u00f6l\u00e7\u00fcs\u00fcn\u00fc bozmamak da gazetecili\u011fin ahl\u00e2k\u0131na d\u00e2hildir.<\/strong><\/p>\n

\u0130leti\u015fim teknolojileri gazeteciyi ge\u00e7mi\u015fe g\u00f6re \u00e7ok daha h\u0131zl\u0131, fakat ayn\u0131 \u00f6l\u00e7\u00fcde k\u0131r\u0131lgan bir konuma getirdi. Bir haberi yay\u0131mlamak i\u00e7in ertesi sabah\u0131 beklemek gerekmiyor. Bazen birka\u00e7 dakikal\u0131k, hatta birka\u00e7 saniyelik gecikme bile \u201cgeride kalmak\u201d say\u0131labiliyor.<\/p>\n

H\u0131z artt\u0131k\u00e7a teyit i\u00e7in ayr\u0131lan zaman<\/strong> azal\u0131yor; rekabet artt\u0131k\u00e7a ba\u015fl\u0131\u011f\u0131n sesi y\u00fckseliyor.<\/p>\n

Oysa hakikatin sesi \u00e7o\u011fu zaman bu kadar y\u00fcksek de\u011fildir.<\/p>\n

Ace in the Hole<\/em>, tam da bu nedenle yaln\u0131z eski gazetecili\u011fe ili\u015fkin karanl\u0131k bir hik\u00e2ye de\u011fildir. Her d\u00f6nemin gazetecisine basit ama zor bir ilkeyi hat\u0131rlat\u0131r:<\/p>\n

Haberin merkezinde gazetecinin ba\u015far\u0131s\u0131 yerine insan ve hakikat bulunmal\u0131d\u0131r.<\/strong><\/p>\n

Wilder\u2019\u0131n filmi sonunda bize medyadan daha b\u00fcy\u00fck bir \u015feyi g\u00f6steriyor: \u0130nsanlar\u0131n felakete bakma arzusunu.<\/strong><\/p>\n

Tatum bunu, b\u00fcy\u00fck felaketlerde y\u00fczlerce, binlerce hatta milyonlarca insan\u0131n \u00f6l\u00fcm\u00fcn\u00fcn bir gazete haberi olarak g\u00f6z\u00fcm\u00fcz\u00fcn \u00f6n\u00fcnden ak\u0131p gidebildi\u011fini; fakat tek bir insan\u0131n hik\u00e2yesinin bizi kendisine ba\u011flad\u0131\u011f\u0131n\u0131 s\u00f6yleyerek anlat\u0131r. Bir ki\u015fi farkl\u0131d\u0131r. Onun kim oldu\u011funu, ne ya\u015fad\u0131\u011f\u0131n\u0131, sonunun ne olaca\u011f\u0131n\u0131 bilmek isteriz. \u201c\u0130nsani ilgi\u201d<\/strong> denilen \u015fey biraz da budur.<\/p>\n

Fakat gazetecili\u011fin hem imk\u00e2n\u0131 hem tehlikesi tam burada ba\u015flar.<\/p>\n

Bir insan\u0131n hik\u00e2yesi bizi hakikate yakla\u015ft\u0131rabilir\u2026 Onun ac\u0131s\u0131n\u0131 daha iyi anlamam\u0131za vesile olabilir. Ayn\u0131 hik\u00e2ye, ilgi u\u011fruna b\u00fcy\u00fct\u00fcld\u00fc\u011f\u00fcnde bir insan\u0131n felaketini seyirli\u011fe de d\u00f6n\u00fc\u015ft\u00fcrebilir.<\/p>\n

D\u00fcn gazete man\u015fetleriyle meraklar\u0131 t\u00f6rp\u00fclenen kalabal\u0131klar vard\u0131.<\/p>\n

Bug\u00fcn ekran\u0131n ba\u015f\u0131nda milyonlar var.<\/p>\n

D\u00fcn gazeteci kalabal\u0131\u011f\u0131n ilgisini s\u0131cak tutmaya \u00e7al\u0131\u015f\u0131yordu\u2026 Bunu art\u0131k haber merkezleriyle birlikte algoritmalar da yap\u0131yor.<\/p>\n

Ara\u00e7lar de\u011fi\u015fiyor, mecralar de\u011fi\u015fiyor, kalabal\u0131\u011f\u0131n topland\u0131\u011f\u0131 \u2018meydan\u2019 de\u011fi\u015fiyor.<\/p>\n

De\u011fi\u015fmeyen ise insan\u0131n merak\u0131 ve bu merak\u0131 kazanca \u00e7evirme ihtiras\u0131.<\/p>\n

Bu y\u00fczden Ace in the Hole<\/em>, yetmi\u015f be\u015f y\u0131l sonra gazetecili\u011fe belki de en eski ve en sade sorusunu yeniden soruyor:<\/p>\n

Gazeteci, ac\u0131y\u0131 hakikatin \u0131\u015f\u0131\u011f\u0131na m\u0131 \u00e7\u0131karmal\u0131 yoksa kalabal\u0131\u011f\u0131n merak\u0131na m\u0131 teslim etmeli?<\/em><\/p>\n

Benim gazetecilikten anlad\u0131\u011f\u0131m da budur: Ac\u0131y\u0131 seyirli\u011fe \u00e7evirmeden g\u00f6r\u00fcn\u00fcr k\u0131lmak, hakikatin \u00f6l\u00e7\u00fcs\u00fcn\u00fc bozmadan anlatmak ve kalabal\u0131\u011f\u0131n merak\u0131ndan \u00f6nce insan\u0131n haysiyetini g\u00f6zetmek.<\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Gazeteci-yazar M. Ali K\u00f6seo\u011flu, Post Truth Dergi\u2019de yay\u0131mlanan \u201cAce in the Hole Bug\u00fcn Bize Ne S\u00f6yl\u00fcyor?\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131nda, Billy Wilder\u2019\u0131n 1951 yap\u0131m\u0131 \u201cAce in the Hole\u201d filminden hareketle g\u00fcn\u00fcm\u00fcz gazetecili\u011fini, t\u0131k ekonomisini, sosyal medyan\u0131n trajedileri birer \u201ci\u00e7eri\u011fe\u201d d\u00f6n\u00fc\u015ft\u00fcrmesini ve gazetecinin hakikat kar\u015f\u0131s\u0131ndaki sorumlulu\u011funu tart\u0131\u015ft\u0131. K\u00f6seo\u011flu, gazetecili\u011fin yaln\u0131zca yalan s\u00f6ylememekle s\u0131n\u0131rl\u0131 olmad\u0131\u011f\u0131n\u0131 vurgulayarak, \u201cGer\u00e7e\u011fin \u00f6l\u00e7\u00fcs\u00fcn\u00fc bozmamak da gazetecili\u011fin ahl\u00e2k\u0131na d\u00e2hildir\u201d de\u011ferlendirmesinde bulundu.<\/p>\n","protected":false},"author":2,"featured_media":49081,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3483,10],"tags":[15537,6179,15536],"class_list":["post-49074","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-4-bolge","category-kultur-sanat","tag-aceinthehole","tag-gazetecilik","tag-medyaetigi"],"yoast_head":"\nM. 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Ali K\u00f6seo\u011flu, Post Truth Dergi\u2019de yay\u0131mlanan \u201cAce in the Hole Bug\u00fcn Bize Ne S\u00f6yl\u00fcyor?\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131nda, Billy Wilder\u2019\u0131n 1951 yap\u0131m\u0131 \u201cAce in the Hole\u201d filminden hareketle g\u00fcn\u00fcm\u00fcz gazetecili\u011fini, t\u0131k ekonomisini, sosyal medyan\u0131n trajedileri birer \u201ci\u00e7eri\u011fe\u201d d\u00f6n\u00fc\u015ft\u00fcrmesini ve gazetecinin hakikat kar\u015f\u0131s\u0131ndaki sorumlulu\u011funu tart\u0131\u015ft\u0131. 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