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

Niko Pirosmani

Niko Pirosmani

“A nameless Egyptian fresco, an African idol or a vase from Crete: we should behold Pirosmani’s art among them. Only this way it is possible to conceive it genuinely … …You see Pirosmani – you believe in Georgia”.
Grigol Robakidze

Fragments of Identity

Fragments of Identity

The Academy of Fine Arts in Sarajevo was founded in 1972 as the first Academy of Fine Arts in Bosnia and Herzegovina and became one of the forerunners in Bosnian contemporary art. Academy continued its operation throughout the war years (1992-1995) in besieged Sarajevo and participated in important international art projects.

The Search for Form

The Search for Form

A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.