Views of Ottoman Empire Selection

  • December 4, 2015 / 14:00
  • December 4, 2015 / 16:00

1911-1928, Black & White and Color
Restoration: EYE Filmmuseum, Cineteca di Bologna, Yugoslovenska Kinoteka, Filmmuseum Austria, Imperial War Museum, Filmarchiv Austria, Library of Congress, British Film Institute
14:00 First Session Music: Çiğdem Borucu Erdoğan, Güniz Alkaç, Nurcan Betül Arısoy
16:00 Second Session Music: Grup Burgaz'dan Sonra Heybeliada

Any city that has ever been part of the Ottoman Empire, even if it had separated from the imperial territory decades before the discovery of cinematography, can be included if the images reflect its Ottoman heritage.

The film will be introduced by Elif Rongen-Kaynakçı.

For further info about İstanbul Silent Cinema Days, please click here.

(Sur)real Colors

(Sur)real Colors

Fantasia of Color in Early Cinema

Fantasia of Color in Early Cinema

Nathan the Wise

Nathan the Wise

Different from the Others

Different from the Others

Views of Ottoman Empire Selection

Views of Ottoman Empire Selection

Charlie Chaplin Shorts

Charlie Chaplin Shorts

One Week

One Week

Hundred Year Old Films for Pera Museum's 10th Year Fantasia of Color

Hundred Year Old Films for Pera Museum's 10th Year Fantasia of Color

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Loading Limit

Pera Museum presented a talk on Nicola Lorini’s video installation For All the Time, for All the Sad Stones, bringing together the artists Nicola Lorini, Gülşah Mursaloğlu and Ambiguous Standards Institute to focus on concepts like measuring, calculation, standardisation, time and change.

A Solitary Eagle in the Sinai Desert

A Solitary Eagle in the Sinai Desert

John Frederick Lewis is considered one of the most important British Orientalist artists of the Victorian era. Pera Museum exhibited several of Lewis’ paintings as part of the Lure of the East exhibition in 2008 organized in collaboration with Tate Britain.

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.