Director: Jean Vigo
Cast: Michel Simon, Dita Parlo, Jean Dasté, Gilles Margaritis, Louis Lefebvre, Raphaël Diligent
France, 1934, 89’, black & white; French with Turkish subtitles
Imagine a film directed from a deathbed, with the director dying shortly after the premier. That’s L’Atalante (eponymous with a character from Greek mythology); it is also one of the most important films of the history of cinema with its poeticism, which also inspired Emir Kusturica’s Underground. In order to break free of life’s monotony, Juliette marries Jean, who operates a steamboat. Old Père Jules makes life on the steamboat particularly difficult. Egged on by a peddler, Juliette runs off to discover Paris. Her husband first gets mad at her, then leaves her, and finally ends up in depression. After a while, Père Jules goes after Juliette, finds her, and together they return to the steamboat.
Trailer
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
Following the opening of his studio, “El Chark Societe Photographic,” on Beyoğlu’s Postacılar Caddesi in 1857, the Levantine-descent Pascal Sébah moves to yet another studio next to the Russian Embassy in 1860 with a Frenchman named A. Laroche, who, apart from having worked in Paris previously, is also quite familiar with photographic techniques.
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