Age, Biography and Wiki

Metin Erksan (Ismail Metin Karamanbey) was born on 1 January, 1929 in Canakkale, Turkey, is a director,writer,producer. Discover Metin Erksan's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 83 years old?

Popular As Ismail Metin Karamanbey
Occupation director,writer,producer
Age 83 years old
Zodiac Sign Capricorn
Born 1 January, 1929
Birthday 1 January
Birthplace Canakkale, Turkey
Date of death 4 August, 2012
Died Place Istanbul, Turkey
Nationality Turkey

We recommend you to check the complete list of Famous People born on 1 January. He is a member of famous Director with the age 83 years old group.

Metin Erksan Height, Weight & Measurements

At 83 years old, Metin Erksan height not available right now. We will update Metin Erksan's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

Family
Parents Not Available
Wife Not Available
Sibling Not Available
Children Not Available

Metin Erksan Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Metin Erksan worth at the age of 83 years old? Metin Erksan’s income source is mostly from being a successful Director. He is from Turkey. We have estimated Metin Erksan's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income Director

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Timeline

1929

Born in 1929, Metin Erksan is one of the first Turkish filmmakers who saw cinema as an art form apart from a mass entertaining medium. Having studied art history in Istanbul University and being the brother of a little known director named Cetin Karamanbey, Erksan found himself at a very early age in a favourable position to combine film practice with aesthetic concerns.

1950

He worked as his elder brother's assistant for a short while and made his first debut with the script of "Binnaz" (1950) shot for Atlas Film Production Company. As many other filmmakers of the era who took the seventh art seriously, Erksan worked as a columnist in papers and film periodicals before engaging in active filmmaking.

1952

Metin Erksan's first film as a director that also heralded the unique and controversial place he would later occupy in the history of Turkish cinema was 'Asik Veysel' in "Hayati" (1952). Telling the dramatic life of the famous blind poet and song writer Asik Veysel, the film was later prohibited by the censure committe for showing the Turkish land as "infertile".

1960

With the advent of the social realist movement following the 1960 Coup d'Etat in Turkey, Erksan established himself as the "enfant prodige" of the post 60 era. Among the best films made during this period (including the Golden Bear Awarded Susuz Yaz (Dry Summer)) Erksan's work occupy a central place. His films are the fruits of an eclectic mixture of modernist themes (i. e. individual loneliness), metaphysics (the fight of good vs evil), and notions of Marxism. As other "engagé" directors of the era who did not only saw them as artists but also as "social engineers", Erksan played a major role in the foundation of the Union of Turkish Film Workers and the Association of Turkish Filmmakers.

1965

He was also Turkish Labour Party's candidate of Istanbul in the General Elections of 1965.

But it is important to stress that Erksan's films are primarily praised for their aesthetic maturity which coexisted (until 1965) with a firm social commitment. Like other filmmakers who had to work within the narrow confines of the Turkish film industry, Erksan also shot commercial films to survive within the liberal minded Pine Tree (Yesilcam) system.

After 1965, he gradually abandoned his social outlook and made either market oriented popular films or violent personal phantasies focusing on themes of loneliness and obsessive love.