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Uluslar, Metinler ve Mecralar Arasında: Birinci Dünya Savaşı ve İstanbul’un İşgali ile Kurgulanan Sinema Seyirciliği
No full textConcomitantly with Western Europe and Northern America, the institutionalization of the cinema in Istanbul began after the opening of the first movie theaters between 1900 and 1910. This institutionalization includes the establishment of the first domestic film production companies, first publications of film magazines and of articles on movie stars. It also coincided with the collapse of the Ottoman Empire and the establishment of the Turkish nation-state. In this process, the transnational dynamics of the film market were in harmony with the multi-national and multi-religious structure of Istanbul of that time. The loss of the war, the occupation of Istanbul and then the national struggle for independence also changed the nationality of the films shown in the city. All of these triggered gender-based discrimination in the cultural reception of films, especially among the male writers. One of the distinctive approaches to the cinema in literature belongs to Halide Edip Adıvar. Her approach to films exhibits prevalent aesthetic similarities between literature and cinema, and this is done through the depiction of cognitive processes such as memory, remembering, daydreaming and the reception of films. As well as the gendering of the cinema audiences based on the literature of the male novelists of this period, this study analyzes the difference between cognitive processes and the reception of cinema based on Halide Edip's novels. Evaluating this gendering, its connections with the impact of wars on transnational film distribution are established. Thus, from a feminist perspective, the study focuses on the film and audience culture of Istanbul during and in the aftermath of World War I and the occupation of Istanbul. In order to do this, first of all, I have searched the newspapers and trade records for documenting the national/international characteristics of film distribution. Secondly, in order to understand the effects of these distribution practices, I have examined literary fiction
Sabahat Filmer ve Binnaz Filmi: Sinemasal Bir Palimpsestte Gerçek, Kurmaca ve Kadınların Eylemliliği
No full textThis essay focuses on the narratives and agencies of two women in the early period of cinema in the Ottoman/Turkish lands. One of these narratives is representational and based on fiction, while the other is based on first-person experience. One of these two women is the first woman film producer and assistant director, namely Sabahat Filmer, while the other is the main character of the only surviving silent film for which Sabahat Filmer worked. Entitled Binnaz, named after its leading character, this film is said to feature the first “femme-fatale” of Turkish cinema. An important overlap of these two women is that both appeared in the Istanbul film industry in 1919. The value of Binnaz for this article lies not only in the fact that it is among the first feature-length films in Sabahat Filmer’s filmography. Binnaz is also invaluable because it is the only available silent fiction film about women in Turkish film history to date
Islam, consciousness and early cinema: Said Nursî and the cinema of God
No full textThe early 20th century works of Kurdish Islamic thinker Said Nursî explore how cinema can provide access to the divine. Yet, considering the periods of Nursî’s life that were spent in prison, or in exile in remote locations, it is likely that the cinema he was discussing was, very specifically, the early silent cinema of attractions. Thus the distinctive format of this cinema can be uncovered in, and seen to structure, Nursî’s formulation of ‘God’s cinema’. With this proposition in mind, this article indicates something of the potential that an engagement with Nursî’s cinematic writing offers for reconsidering topics already much discussed in film-philosophy, such as that of time in the works of Gilles Deleuze
Transience, absurdity, dreams and other illusions: Turkish shadow play
No full textThe shadow theatre in Turkey was most commonly known as 'Karagöz'. Under the influence of Sufi thought with its references to the real world as mimicry of the world of ideas, Turkish shadow play might resemble Plato's cave. The prologue and the representational style of the play, its former and modern names 'Hayal' and 'Gölge Oyunu' ('shadow play') and the main character's name 'Karagöz' (literally, 'black eyed') demand an active mode of viewing. Karagöz shows constituted a social activity in which high and low classes took part on an equal basis. The show has long been recognised as one of the original sources of cinema in Turkey. This article aims to comprehend the style and mode of viewing of this traditional pre-cinematic tool with regard to the Ottoman spectatorship culture
Kaybederim kendimi ben filmin gidişinde: Nâzim Hikmet'te sinema izleği
No full textThis article aims to analyze how cinema was thematized in Nâzım Hikmet's literary works and columns. The theme of cinema in Nâzım Hikmet is closely related with his concept of consciousness. In examples wherein cinemafunctioned as an allegory of historical dynamics and conflicts, Nâzım Hikmet drew a parallel between social and / or individual consciousness and cinema. On the other hand, Nâzım Hikmet's discourse on the consciousness of the spectator was determined by the concept of anxiety of influence whereas the discussion was about gender, orientalism, colonialism and imperialism. This article also compares and contrasts Nâzım Hikmet's cinema to the representations of cinema in the works of Sait Faik, Peyami Safa, Fahri Celal and Mahmut Yesari
Imagining women at the movies: male writers and early film culture in Istanbul
No full textThis chapter examines early film culture in Istanbul by focusing on how Turkish male writers constructed cinema-going Turkish women in early twentieth-century and postwar Istanbul. The goal is to analyze gendered concerns about spectatorship emerging in the patriarchal imagination of that time. In order to understand the reception of early cinema in Turkey as well as the cultural status of Turkish cinema among the Ottoman/Turkish intelligentsia and the gender politics surrounding it, the chapter looks at novels, poems, and newspaper reviews. The discussion begins with an overview of film market in post-World-War I Istanbul and cinema-going as a public experience in the Ottoman capital. An analysis of female spectators depicted by male authors reveals a changing culture of spectatorship. This occurred concomitantly with the sociopolitical transition from the declining Ottoman Empire to the rise of the Turkish nation-state. The chapter argues that the change in gender politics during this period triggered the new anxieties that creative writers project onto the activity of filmgoing, and particularly that by cinema-going women
Sabahat Filmer
No full textSabahat Filmer’s name remains largely unknown today despite her dedication to the early film industry, women’s movement, and the nationalistic struggle in Turkey as well as her important role as one of the founders of an early film company there. According to Sabahat’s own words, her involvement with cinema began in 1918 during the occupation of Istanbul by the British, French,Italian, and Greek armies after the Ottoman Empire’s defeat in World War I (S. Filmer, Atatürk 34). The late 1910s was also the period in which the women’s movement became largely Muslim and Turkish, compared to earlier decades, in the Ottoman lands (Özdemir 291-325). Filmer, who self-identified as a Turkish secular nationalist, was an active member of the Society of Modern Women, which was established in the 1910s (S. Filmer, Atatürk 44). Given all this, it is not surprising that her pioneering work in the early film industry in Istanbul is bound up with her efforts in the women’s liberation movement as well as the nationalist struggle for independence
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