{"id":4061,"date":"2026-03-31T18:43:10","date_gmt":"2026-03-31T15:43:10","guid":{"rendered":"https:\/\/gundexia.com\/?p=4061"},"modified":"2026-03-31T18:43:13","modified_gmt":"2026-03-31T15:43:13","slug":"istanbul-modern-sessiz-sinemanin-buyusune-ev-sahipligi-yapiyor","status":"publish","type":"post","link":"https:\/\/gundexia.com\/?p=4061","title":{"rendered":"\u0130stanbul Modern Sessiz Sineman\u0131n B\u00fcy\u00fcs\u00fcne Ev Sahipli\u011fi Yap\u0131yor"},"content":{"rendered":"\n

\u0130stanbul Modern Sinema, 2\u20135 Nisan 2026 tarihleri aras\u0131nda d\u00fczenledi\u011fi \u201cSessiz Film G\u00fcnleri\u201d ile erken sineman\u0131n farkl\u0131 estetik ve tematik y\u00f6nelimlerini bir araya getiriyor. Eye Filmmuseum i\u015fbirli\u011fi ve Elif Rongen Kaynak\u00e7\u0131\u2019n\u0131n e\u015f k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde haz\u0131rlanan program, canl\u0131 m\u00fczik e\u015fli\u011finde g\u00f6sterimler ve \u00f6zel sunumlarla zenginle\u015fiyor.<\/p>\n\n\n\n

1918\u2019den ba\u015flayarak sinema tarihinin erken d\u00f6nemine uzanan 13 filmlik se\u00e7ki; emek ve \u00fcretim imgelerinden do\u011fay\u0131 soyutlayan avangart \u00e7al\u0131\u015fmalara, 20. y\u00fczy\u0131l ba\u015f\u0131n\u0131n moda d\u00fcnyas\u0131ndan sualt\u0131 sahneleriyle \u00f6ne \u00e7\u0131kan yap\u0131mlara kadar geni\u015f bir yelpaze sunuyor.<\/p>\n\n\n\n

\"'Defile<\/figure>\n\n\n\n

‘Defile \/ Sinema’<\/em><\/p>\n\n\n\n

Program\u0131n \u00f6ne \u00e7\u0131kan yap\u0131mlar\u0131 aras\u0131nda; Alman D\u0131\u015favurumculu\u011fu\u2019nun g\u00f6rsel esteti\u011fini do\u011fal oyunculuk anlay\u0131\u015f\u0131yla birle\u015ftiren Robert Wiene imzal\u0131 Raskolnikov<\/em> (1923); Brezilyal\u0131 y\u00f6netmen M\u00e1rio Peixoto\u2019nun 22 ya\u015f\u0131nda \u00e7ekti\u011fi ve sinema tarihinin en \u00e7arp\u0131c\u0131 avangart \u00f6rneklerinden biri kabul edilen Limite<\/em> (1931); \u201cbir Kiev senfonisi\u201d olarak an\u0131lan ve Mikhail Kaufman imzas\u0131n\u0131 ta\u015f\u0131yan Baharda (Vesnoi, 1929)<\/em> ile Muhsin Ertu\u011frul\u2019un Ukrayna Foto Sinema \u0130daresi\u2019nde \u00e7al\u0131\u015ft\u0131\u011f\u0131 d\u00f6nemde \u00e7ekti\u011fi ve 92 y\u0131l sonra yeniden g\u00fcn y\u00fcz\u00fcne \u00e7\u0131kan Tamilla<\/em> (1924) yer al\u0131yor.<\/p>\n\n\n\n

Canl\u0131 m\u00fczik e\u015fli\u011finde sessiz filmler<\/h3>\n\n\n\n

Program kapsam\u0131nda yedi sessiz film, \u0130talyan piyanist Andrea Goretti, Ekin Fil, Kornelia Binicewicz, Komos grubu, Gonca Varol ve Orhan Deniz & Onur Ba\u015fkurt canl\u0131 m\u00fczik performanslar\u0131 ve sunumlar\u0131 e\u015fli\u011finde izleyiciyle bulu\u015fuyor. Bu y\u0131l\u0131n temas\u0131, erken d\u00f6nem sinemada stencil-renk kullan\u0131m\u0131 olarak \u00f6ne \u00e7\u0131k\u0131yor. Bu renklerin restorasyonuna odaklanan Fantastik \u00c7i\u00e7ekler<\/em>, Defile Sinemas\u0131<\/em> ve Cyrano de Bergerac<\/em> gibi g\u00f6sterimler, Elif Rongen Kaynak\u00e7\u0131\u2019n\u0131n, Tamilla<\/em> filmi ise akademisyen Ahmet G\u00fcrata\u2019n\u0131n sunumlar\u0131yla izleyici kar\u015f\u0131s\u0131na \u00e7\u0131k\u0131yor.<\/p>\n\n\n\n

\"'Postac\u0131'\"\/<\/figure>\n\n\n\n

‘Postac\u0131’<\/em><\/p>\n\n\n\n

Ayr\u0131ca Dariush Mehrjui imzal\u0131, \u0130ran Yeni Dalgas\u0131\u2019n\u0131n kurucu \u00f6rneklerinden ve yak\u0131n zamanda restore edilen Postac\u0131 (Postchi, 1972)<\/em> filminin T\u00fcrkiye pr\u00f6miyeri, programda erken ve modern sinema aras\u0131nda g\u00fc\u00e7l\u00fc bir k\u00f6pr\u00fc kuruyor.<\/p>\n\n\n\n

PROGRAM<\/h3>\n\n\n\n

A\u015fk Sultan\u0131, 1919<\/h3>\n\n\n\n

Zalim h\u00fck\u00fcmdar Sultan Malik\u2019in ya\u015fama sevincini yeniden kazanmas\u0131 i\u00e7in \u00fc\u00e7 el\u00e7i, ona uygun bir e\u015f bulmak \u00fczere yola \u00e7\u0131kar. El\u00e7ilerden Kadjar, kom\u015fu krall\u0131kta Prenses Daoulah\u2019y\u0131 bulur; ancak gen\u00e7 kad\u0131n, saklad\u0131\u011f\u0131 bir s\u0131r nedeniyle sultan\u0131n tekliflerini reddeder. Film, Do\u011fu masallar\u0131n\u0131 and\u0131ran yap\u0131s\u0131yla a\u015fk, arzu ve iktidar temalar\u0131n\u0131 bir araya getirir. G\u00fcney Fransa\u2019da kurulan bir st\u00fcdyoda tasarlanan \u201cBinbir Gece\u201d atmosferi, pochoir (\u015fablon) renklendirme tekni\u011fiyle \u00f6ne \u00e7\u0131kar. Yap\u0131m, erken sineman\u0131n g\u00f6rsel zenginli\u011fini, Bat\u0131\u2019n\u0131n Do\u011fu\u2019ya dair egzotik ve indirgemeci bak\u0131\u015f\u0131n\u0131 yans\u0131tan bir temsil d\u00fcnyas\u0131nda sunar.<\/p>\n\n\n\n

Baharda, 1929<\/h3>\n\n\n\n
\".png\"\/<\/figure>\n\n\n\n

.png<\/em><\/p>\n\n\n\n

Dziga Vertov\u2019un karde\u015fi ve yak\u0131n \u00e7al\u0131\u015fma arkada\u015f\u0131 Mikhail Kaufman, Kiev\u2019i \u201ccine-eye\u201d yakla\u015f\u0131m\u0131yla g\u00f6zlemleyen bir \u015fehir portresi sunar. Film, kentin uyan\u0131\u015f\u0131n\u0131 g\u00fcndelik hayat\u0131n ritmi ile do\u011fan\u0131n lirik g\u00f6r\u00fcnt\u00fcleriyle birlikte ele al\u0131r. Vertov\u2019un sanayi ve teknoloji odakl\u0131 yakla\u015f\u0131m\u0131ndan farkl\u0131 olarak Kaufman\u2019\u0131n kameras\u0131 insan y\u00fczlerine, \u00e7ocuklara, hayvanlara ve mevsimsel d\u00f6n\u00fc\u015f\u00fcmlere y\u00f6nelir. Bu y\u00f6n\u00fcyle Baharda<\/em>, modern kent deneyimini \u015fiirsel ve insani bir bak\u0131\u015fla ele alan erken d\u00f6nem bir \u00f6rnek olarak \u00f6ne \u00e7\u0131kar.<\/p>\n\n\n\n

Beyaz Fundal\u0131k, 1919<\/h3>\n\n\n\n

Lord Angus Cameron\u2019\u0131n kalenin kahyas\u0131 Marion Hume ile yapt\u0131\u011f\u0131 gizli evlilik, onun yeni hayat\u0131n\u0131n \u00f6n\u00fcnde engel olu\u015fturur. Bu evlili\u011fin tek kan\u0131t\u0131, \u201cBeyaz Fundal\u0131k\u201d adl\u0131 bat\u0131k bir yatta bulunan belgedir. Marion\u2019un \u00e7abalar\u0131 sonu\u00e7suz kal\u0131nca Cameron ve ona \u00e2\u015f\u0131k olan Alec McClintock belgeyi ele ge\u00e7irmek i\u00e7in bat\u0131\u011fa iner. Bu dal\u0131\u015f, sualt\u0131nda \u00f6l\u00fcmc\u00fcl bir y\u00fczle\u015fmeye d\u00f6n\u00fc\u015f\u00fcr. Melodram ile g\u00f6rsel ihti\u015fam aras\u0131ndaki gerilimi yans\u0131tan film, \u00f6zellikle sualt\u0131 sahneleriyle erken d\u00f6nem sineman\u0131n teknik ve anlat\u0131sal aray\u0131\u015flar\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n\n\n\n

Cyrano de Bergerac, 1925<\/h3>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

<\/p>\n\n\n\n

17. y\u00fczy\u0131l Fransas\u0131\u2019nda ge\u00e7en film, zek\u00e2s\u0131 ve cesaretiyle tan\u0131nan ancak fiziksel g\u00f6r\u00fcn\u00fcm\u00fc nedeniyle kar\u015f\u0131l\u0131ks\u0131z bir a\u015fka mahk\u00fbm olan Cyrano\u2019nun hik\u00e2yesini anlat\u0131r. Sevdi\u011fi kad\u0131n\u0131n, duygular\u0131n\u0131 ifade edemeyen yak\u0131\u015f\u0131kl\u0131 bir askere \u00e2\u015f\u0131k olmas\u0131 \u00fczerine Cyrano, kendi s\u00f6zlerini ba\u015fkas\u0131n\u0131n sesiyle dile getirerek bu a\u015fk\u0131n g\u00f6r\u00fcnmez yazar\u0131 olur. G\u00f6rkemli dekor ve kost\u00fcmlerinin yan\u0131 s\u0131ra, neredeyse b\u00fct\u00fcn\u00fcyle Path\u00e9 stencil color tekni\u011fiyle renklendirilmi\u015f olmas\u0131yla dikkat \u00e7eker. \u00dc\u00e7 y\u0131l s\u00fcren el boyamas\u0131yla tamamlanan yap\u0131m, uzun s\u00fcre kay\u0131p san\u0131ld\u0131ktan sonra 1996\u2019da yeniden ke\u015ffedilmi\u015ftir.<\/p>\n\n\n\n

Ejderha Ressam\u0131, 1919<\/h3>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

<\/p>\n\n\n\n

Sessue Hayakawa\u2019n\u0131n ba\u015frol\u00fcnde oldu\u011fu film, da\u011flarda m\u00fcnzevi bir ya\u015fam s\u00fcren ressam Tatsu\u2019nun hik\u00e2yesini anlat\u0131r. Ni\u015fanl\u0131s\u0131n\u0131n bir ejderha taraf\u0131ndan ka\u00e7\u0131r\u0131ld\u0131\u011f\u0131na inanan Tatsu\u2019nun bu saplant\u0131s\u0131, sanatsal ilham\u0131na d\u00f6n\u00fc\u015f\u00fcr. Yetene\u011fi ke\u015ffedildikten sonra \u00fcnl\u00fc ressam Kano Indara\u2019n\u0131n evine girer; ancak Kano\u2019nun k\u0131z\u0131nda kay\u0131p prensesini g\u00f6rmesi, giderek b\u00fcy\u00fcyen bir \u00e7at\u0131\u015fmaya yol a\u00e7ar. Romantik ve mitolojik unsurlar\u0131 bir araya getiren film, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Asyal\u0131 oyunculardan olu\u015fan kadrosuyla sessiz d\u00f6nem Hollywood\u2019un nadir \u00f6rneklerinden biridir.<\/p>\n\n\n\n

\u0130\u015f\u00e7i Tulumu, 1914 + \u0130plik Fabrikas\u0131nda, 1972<\/h3>\n\n\n\n

Macar sinemas\u0131ndan, aralar\u0131nda 58 y\u0131l bulunmas\u0131na ra\u011fmen tematik olarak birbirini tamamlayan iki film: \u0130\u015f\u00e7i Tulumu<\/em>, zengin bir fabrika sahibinin yolsuzluklar\u0131 ara\u015ft\u0131rmak i\u00e7in i\u015f\u00e7i k\u0131l\u0131\u011f\u0131na girmesiyle geli\u015fen melodramatik bir anlat\u0131 kurar. Uzun s\u00fcre yanl\u0131\u015f etiketlenmi\u015f bir kopya olarak dola\u015f\u0131mda kalan film, 2017\u2019de Eye Filmmuseum taraf\u0131ndan yeniden ke\u015ffedilip restore edilmi\u015ftir.<\/p>\n\n\n\n

\u0130plik Fabrikas\u0131nda<\/em> ise bir tekstil fabrikas\u0131nda \u00e7al\u0131\u015fan kad\u0131n i\u015f\u00e7ilerin g\u00fcndelik hayat\u0131n\u0131 g\u00f6zlemsel bir yakla\u015f\u0131mla ele al\u0131r. Fabrikan\u0131n ritmi ile ki\u015fisel anlat\u0131lar\u0131 bir araya getirerek eme\u011fin esteti\u011fini ve \u00e7al\u0131\u015fma ko\u015fullar\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n\n\n\n

Fantastik \u00c7i\u00e7ekler, 1906\u20131920<\/h3>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

<\/p>\n\n\n\n

\u00c7i\u00e7ek temas\u0131 etraf\u0131nda kurgulanan bu derleme, parklar, g\u00fcndelik ya\u015fam ve erken d\u00f6nem trick filmleri arac\u0131l\u0131\u011f\u0131yla \u00e7i\u00e7eklerin estetik ve simgesel kullan\u0131m\u0131n\u0131 bir araya getirir. Yak\u0131n planlar ve \u0131\u015f\u0131k oyunlar\u0131yla do\u011fa, anlat\u0131dan ba\u011f\u0131ms\u0131z bir g\u00f6rsel deneyime d\u00f6n\u00fc\u015f\u00fcr. Path\u00e9color ve benzeri \u015fablon teknikleriyle elde edilen canl\u0131 renkler, erken sineman\u0131n g\u00f6rsel zenginli\u011fini ortaya koyar.<\/p>\n\n\n\n

Defile \/ Sinema<\/h3>\n\n\n\n

Moda, performans ve sineman\u0131n kesi\u015fiminde yer alan bu se\u00e7ki, hareket eden beden ve giysi \u00fczerinden g\u00f6rselli\u011fi \u00f6ne \u00e7\u0131kar\u0131r. 1910\u2019lar ve 1920\u2019lerde Fransa\u2019da \u00fcretilen k\u0131sa moda filmleri, uzun metraj \u00f6ncesi g\u00f6sterilerek bir \u201cg\u00f6r\u00fcnt\u00fc dergisi\u201d i\u015flevi g\u00f6r\u00fcr. EYE Filmmuseum taraf\u0131ndan nitrat kopyalardan restore edilen yap\u0131mlar, \u00f6zg\u00fcn renklerini yeniden kazan\u0131r.<\/p>\n\n\n\n

Limite, 1931<\/h3>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

<\/p>\n\n\n\n

M\u00e1rio Peixoto\u2019nun 22 ya\u015f\u0131nda \u00e7ekti\u011fi tek uzun metraj\u0131 Limite<\/em>, avangart sineman\u0131n erken \u00f6rneklerinden biridir. Denizde s\u00fcr\u00fcklenen bir adam ve iki kad\u0131n\u0131n hik\u00e2yesi, geri d\u00f6n\u00fc\u015flerle a\u00e7\u0131lan ge\u00e7mi\u015fleri \u00fczerinden ilerler. Par\u00e7al\u0131 anlat\u0131 yap\u0131s\u0131 ve g\u00fc\u00e7l\u00fc g\u00f6rsel imgeleriyle lineer hik\u00e2ye anlat\u0131m\u0131n\u0131 reddeden film, sineman\u0131n anlat\u0131dan ba\u011f\u0131ms\u0131z bir d\u00fc\u015f\u00fcnme alan\u0131 olabilece\u011fini g\u00f6sterir.<\/p>\n\n\n\n

Postac\u0131, 1972<\/h3>\n\n\n\n

Dariush Mehrjui, \u0130nek<\/em> (1969) filminin ard\u0131ndan bu yap\u0131mda \u0130ran\u2019\u0131n h\u0131zl\u0131 Bat\u0131l\u0131la\u015fmas\u0131n\u0131n yaratt\u0131\u011f\u0131 k\u0131r\u0131lmalar\u0131 ele al\u0131r. \u00c7ekingen bir postac\u0131 olan Taghi\u2019nin hayat\u0131, Bat\u0131\u2019dan d\u00f6nen bir giri\u015fimcinin m\u00fcdahalesiyle sars\u0131l\u0131r. Hiciv ve alegoriyi bir araya getiren film, toplumsal bask\u0131n\u0131n yan\u0131 s\u0131ra karakterin zihinsel \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcn\u00fc g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n\n\n\n

Raskolnikov, 1923<\/h3>\n\n\n\n
\".png\"\/<\/figure>\n\n\n\n

.png<\/em><\/p>\n\n\n\n

Dostoyevski\u2019nin Su\u00e7 ve Ceza<\/em> roman\u0131ndan uyarlanan film, i\u015fledi\u011fi cinayetin ard\u0131ndan su\u00e7luluk duygusuyla y\u00fczle\u015fen bir gencin hik\u00e2yesini anlat\u0131r. Moskova Sanat Tiyatrosu oyuncular\u0131n\u0131n yer ald\u0131\u011f\u0131 yap\u0131m, tiyatro ile sinema aras\u0131nda \u00f6zg\u00fcn bir ge\u00e7i\u015f alan\u0131 kurar. Nat\u00fcralizmi reddeden ifadeci g\u00f6rsel diliyle, d\u00f6nemin estetik aray\u0131\u015flar\u0131n\u0131 yans\u0131tan \u00f6nemli bir \u00f6rnek olarak \u00f6ne \u00e7\u0131kar.<\/p>\n\n\n\n

Tamilla, 1924<\/h3>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

<\/p>\n\n\n\n

T\u00fcrkiye tiyatro ve sinemas\u0131n\u0131n \u00f6nc\u00fc isimlerinden, Dar\u00fclbedayi\u2019nin kurucusu Muhsin Ertu\u011frul\u2019un Ukrayna Foto Sinema \u0130daresi\u2019nde (VUFKU) \u00e7al\u0131\u015ft\u0131\u011f\u0131 d\u00f6nemde \u00e7ekti\u011fi Tamilla<\/em>, Ferdinand Duch\u00eane\u2019in roman\u0131ndan uyarlanan, 1920\u2019lerde Frans\u0131z s\u00f6m\u00fcrgesi alt\u0131ndaki Cezayir\u2019de ge\u00e7en trajik bir kad\u0131n hik\u00e2yesini anlat\u0131r. K\u00fc\u00e7\u00fck ya\u015fta babas\u0131 taraf\u0131ndan para kar\u015f\u0131l\u0131\u011f\u0131nda evlendirilen Tamilla, y\u0131llar boyunca farkl\u0131 erkeklere \u201csat\u0131larak\u201d s\u00fcren bir s\u00f6m\u00fcr\u00fc d\u00f6ng\u00fcs\u00fcne hapsolur; annelik, yoksulluk ve \u015fiddetle \u00f6r\u00fcl\u00fc ya\u015fam\u0131 onu geri d\u00f6n\u00fc\u015f\u00fc olmayan bir yaln\u0131zl\u0131\u011fa s\u00fcr\u00fckler. Uzun y\u0131llar kay\u0131p oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen film, Ukrayna ar\u015fivlerinde bulunarak T\u00fcrkiye\u2019de ilk kez 2019\u2019da Antalya Alt\u0131n Portakal Film Festivali\u2019nde g\u00f6sterildi. Filmin Almanya Federal Ar\u015fivi\u2019nde (Bundesarchiv) bulunan alt\u0131 makaral\u0131k daha uzun versiyonu ise T\u00fcrkiye\u2019de ilk kez bu programda izleyiciyle bulu\u015fuyor.<\/p>\n\n\n\n

\u201cVah\u015fi A\u015fk\u201d se\u00e7kisi, 1912\u20131913<\/h3>\n\n\n\n

Aslan Terbiyecisinin \u0130ntikam\u0131, 1912<\/h3>\n\n\n\n

Bir sirk g\u00f6sterisinin y\u0131ld\u0131z\u0131 olan aslan terbiyecisi Herman ile asistan\u0131 Cleo\u2019nun ili\u015fkisi, a\u015fk ve k\u0131skan\u00e7l\u0131k ekseninde geli\u015fir.<\/p>\n\n\n\n

Aslan Terbiyecisi Nelly, 1912<\/h3>\n\n\n\n

Aslan terbiyecisi Nelly\u2019nin bir aristokratla ka\u00e7ma karar\u0131, k\u0131sa s\u00fcrede pi\u015fmanl\u0131k ve y\u0131k\u0131ma d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n\n\n\n

M\u00fctebessim Kad\u0131n, 1912<\/h3>\n\n\n\n

Gizemli bir kad\u0131n, iki hayran\u0131 aras\u0131ndaki rekabeti mesafeli bir tebess\u00fcmle izler.<\/p>\n\n\n\n

Kri Kri Afyon \u0130\u00e7iyor, 1913<\/h3>\n\n\n\n

Yanl\u0131\u015fl\u0131kla afyon i\u00e7en Kri Kri\u2019nin hal\u00fcsinasyonlar\u0131, erken sineman\u0131n deneysel anlat\u0131m\u0131n\u0131 \u00f6ne \u00e7\u0131kar\u0131r.<\/p>\n\n\n\n

\"\"\/<\/figure>\n\n\n\n

https:\/\/www.haberturk.com\/istanbul-modern-sinemada-sessiz-film-gunleri-3873559<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u0130stanbul Modern Sinema, 2\u20135 Nisan 2026 tarihleri aras\u0131nda d\u00fczenledi\u011fi \u201cSessiz Film G\u00fcnleri\u201d ile erken sineman\u0131n farkl\u0131 estetik ve tematik y\u00f6nelimlerini bir araya getiriyor. Eye Filmmuseum i\u015fbirli\u011fi ve Elif Rongen Kaynak\u00e7\u0131\u2019n\u0131n e\u015f k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde haz\u0131rlanan program, canl\u0131 m\u00fczik e\u015fli\u011finde g\u00f6sterimler ve \u00f6zel sunumlarla zenginle\u015fiyor. 1918\u2019den ba\u015flayarak sinema tarihinin erken d\u00f6nemine uzanan 13 filmlik se\u00e7ki; emek ve \u00fcretim […]<\/p>\n","protected":false},"author":3,"featured_media":4062,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-4061","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat"],"jetpack_featured_media_url":"https:\/\/gundexia.com\/wp-content\/uploads\/2026\/03\/960x540-2-7.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/gundexia.com\/index.php?rest_route=\/wp\/v2\/posts\/4061","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gundexia.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gundexia.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gundexia.com\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/gundexia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4061"}],"version-history":[{"count":1,"href":"https:\/\/gundexia.com\/index.php?rest_route=\/wp\/v2\/posts\/4061\/revisions"}],"predecessor-version":[{"id":4063,"href":"https:\/\/gundexia.com\/index.php?rest_route=\/wp\/v2\/posts\/4061\/revisions\/4063"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gundexia.com\/index.php?rest_route=\/wp\/v2\/media\/4062"}],"wp:attachment":[{"href":"https:\/\/gundexia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4061"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gundexia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4061"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gundexia.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4061"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}