In the case of Aisha Barim, let's walk from the conclusion to the introduction.
\nExperts say, \u201cArt is a way of expressing one's feelings, thoughts and inner world.
\nand restricting this process can have a profound impact on a person's mental health.\u201d So creative
\nThe prevention of expression can have serious psychological effects.
\nIn Nietzsche's words, \u201cArt makes the chaotic and painful nature of life bearable.\u201d
\nAn artist who cannot perform his art is deprived of this source of meaning and is in an existential
\nmay face a feeling of emptiness. This can lead to hopelessness, loss of motivation and
\ncan lead to depressive symptoms such as feelings of worthlessness.
\nThe suicides of actresses Merve Kayaalp and Seda Fettaho\u011flu, monopolization in the sector, unemployment,
\nIt has brought to light problems such as competition and nepotism that have not been voiced until now.
\nFor years, the work traffic between the management agency, the casting director, the producer and the channel with the same actors in a narrow circle has made it difficult for the actors who could not get a place in the ID agency's cast, who stayed at home and took refuge in depression medication, to continue their lives.
\nThe theater and cinema departments, which graduate dozens of students every year, have multiplied this congestion many times over. Players who were unemployed for a long time turned to other jobs to pay their bills. The fierce competition caused by monopolization in the sector has reached such a level that managers
\nto work as a casting director and to include their own actors in the projects they work on.
\nstarted. While this scheme made the producer's job easier, the problem of unemployed actors grew like an avalanche.
\nWage inequality has created \u201cthe main boy and the main girl\u201d who move up in class with each project. Professional ethics and team spirit were forgotten or non-existent.
\nThe \u201cmain boy and the main girl\u201d who talked about the difficult working conditions when astronomical stamps were on the agenda and who appeared during the Gezi protests ignored the injustice on the sets.<\/p>\n
Hasan Karatay, 28, who was working as a decor worker on the set of the Netflix series Atiye, was seriously injured when he fell from a ladder while painting. Karatay, who was hospitalized after the accident, died on April 9, 2019. It was revealed that there was no ambulance or occupational safety specialist on the set and that Karatay was employed without insurance.<\/p>\n
Serkan Taki, a 43-year-old production supervisor who was trying to intervene in a fire that broke out in the mansion on the set of the TV series \u015eakir Pa\u015fa Aileesi on April 2025, died of a heart attack due to smoke inhalation. The D\u0130SK-affiliated Cinema Workers' Union stated that the incident was caused by production companies' greed for profit and inadequate OHS measures.<\/p>\n
Erta\u00e7 Sevim (26), \u00d6mer Pekta\u015f (26) and Abdullah Pekta\u015f (49), who were working as decor workers on the set of the TV series February, broadcast on TRT 1, had a traffic accident on their way back to Izmit on the second day of the holiday. These workers, who work for Eflatun Film, were working hard
\ndue to the pace and lack of sleep, they had an accident and lost their lives. The incident occurred
\nas a result of long working hours (20-21 hours) and precarious conditions
\nevaluated.<\/p>\n
Cengiz Demira\u011f, a pickup truck driver working on the set of the TV series Kuzgun, swerved in Avc\u0131lar
\nwas killed after hitting the concrete pillar of the overpass as a result of being squeezed by a throwing car.
\nlost his leg. Demira\u011f, whose leg was severed in the accident, could not be saved. Three people who caused the accident fled the scene.<\/p>\n
25, who worked as a set assistant in TV series such as Poyraz Karayel and Hayat Yolunda in Bursa
\nSerkan Topal, a year-old man, was killed by the people he had a quarrel with over a debt-for-credit issue.
\nstabbed to death. An attempt was made to destroy his body by burning it. Beyond the precarious working conditions of set workers, this incident also highlights the social risks in the sector.
\nthe workplace. Better planning and OHS measures to prevent set accidents and occupational homicides
\nand strengthening trade union rights is critical.
\nAlthough Ay\u015fe Bar\u0131m and ID \u0130leti\u015fim have an important place in the Turkish entertainment industry, the conscience of the gap created by monopolization is a heavy responsibility. Management and casting directors require different specializations. Training and licenses should be mandatory and supervised for both.
\nThose who seek \u201cjustice\u201d for Ay\u015fe Bar\u0131m should also seek it for the workers in the sector and shout out loudly.<\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
Ay\u015fe Bar\u0131m olay\u0131nda sonu\u00e7tan giri\u015fe do\u011fru y\u00fcr\u00fcyelim. Uzmanlar, \u201cSanat bireyin duygular\u0131n\u0131, d\u00fc\u015f\u00fcncelerini ve i\u00e7sel d\u00fcnyas\u0131n\u0131 d\u0131\u015fa vurmas\u0131n\u0131n bir yolu ve bu s\u00fcrecin k\u0131s\u0131tlanmas\u0131 ki\u015finin ruh sa\u011fl\u0131\u011f\u0131n\u0131 derinden etkileyebilir\u201d diyor. Yani yarat\u0131c\u0131 ifadenin engellenmesi, ciddi psikolojik etkiler do\u011furabilir. Nietzsche\u2019nin s\u00f6ylemiyle, \u201cSanat, ya\u015fam\u0131n kaotik ve ac\u0131 dolu do\u011fas\u0131n\u0131 katlan\u0131l\u0131r k\u0131lar.\u201d Sanat\u0131n\u0131 icra edemeyen bir sanat\u00e7\u0131, bu anlam […]<\/p>\n","protected":false},"author":10,"featured_media":279519,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[286],"tags":[],"class_list":{"0":"post-279520","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-yazarlar"},"_links":{"self":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts\/279520","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/comments?post=279520"}],"version-history":[{"count":5,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts\/279520\/revisions"}],"predecessor-version":[{"id":279525,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts\/279520\/revisions\/279525"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/media\/279519"}],"wp:attachment":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/media?parent=279520"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/categories?post=279520"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/tags?post=279520"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}