International Istanbul Silent Cinema Days December 3–6, 2015

Istanbul Modern Cinema hosts the second International Istanbul Silent Cinema Days organized by Kino Istanbul with the contributions of its cinema sponsor, Türk Tuborg A.Ş. Bringing together pioneer examples of cinema accompanied by live music, the festival’s corporate partners are Italy’s world famous cinematheque, Cineteca di Bologna, and Eye Filmmuseum, the prestigious film museum of the Netherlands. The theme for this year’s festival is “Birth of the Modern Woman”, featuring many sections ranging from Diva films, Chaplin and Keaton classics, and never-before published images from the Ottoman era, to German expressionism, Suffragettes, and ‘colored silents’. This year, the festival also presents special screenings to celebrate French movie giant Gaumont’s 120^th anniversary and Buster Keaton’s 120^th birthday.

The screenings on December 3, 2015, are free for residents of Turkey.

For screenings on other dates, please purchase your tickets from Biletix.com.

 

TALK

SILENT CINEMA FROM THE ARCHIVES TO THE SCREEN

In the recent years major film festivals and mainstream press have shown an increasing interest for the rediscovery and restoration of silent films that were formerly believed lost. Considering that around 80% of the silent films worldwide are still believed to be lost, what do the ones that have survived tell us about film history, or history in general? What are the circumstances allowing these films to be seen, and what are the obstacles for them to remain obscure?

In this panel discussion our expert guests will talk about the increasing visibility of silent cinema, and the role of the archives, researchers, curators, festivals and the impact of digital technology, sharing their experiences from the past examples, and their vision for the future.

 

Speakers:

• Stefan Drössler, Director, Munich Filmmuseum
• Nezih Erdoğan, İstanbul Şehir University College of Communications, Cinema and Television Department
• Mariann Lewinsky Strauli, Independent Curator of Silent Film and programmer Il Cinema Ritrovato
• Elif Rongen-Kaynakçı, Curator of Silent Film, EYE Filmmuseum
• Jonathan Rosenbaum, film critic and author (Goodbye Cinema, Hello Cinephilia: Film Culture in Transition )
• Jay Weissberg, Film critic and Artistic director Giornate del Cinema Muto
• Tami Williams, University of Wisconsin-Milwaukee, author of Germaine Dulac; A Cinema of Sensations

DIVAS

In cinema, the adventure of Diva, which derives from Latin word “divine” meaning sublime and holy, started with Diva Films. The leading actress, namely Diva, was the most impressive character with her beauty, mysterious aura and acting skills. In that era, these actresses could determine their own characters, would be changing costumes for every scene, and would have the audiences applaude their every screen appearance.

 

RAPSODIA SATANICA, 1915 - 1917

Director: Nino Oxilia

Diva: Lyda Borelli

Restoration: Cineteca di Bologna

Musician: Stephen Horne

Italy | DCP, 45’ | Color |

*Introduction by Mariann Lewinsky

The synopsis of Rapsodia Satanica can be given in three words: Love brings death. Or if you want a longer version: Alba d'Oltrevita renounces love in exchange for eternal youth. When a wrinkle appears on her brow, she is again vulnerable, mortal, in love. Love - a terminal illness. --Mariann Lewinsky Strauli

 

ZEITGEIST

Today the success of the German Expressionism seems to have overshadowed the overall achievements of the Silent German Cinema. In reality during the Weimar period Germany was producing and exporting a great number of films in different genres; romantic comedies, historical epic films, experimental documentaries, or ‘Neue Sachlichkeit’-films tackling difficult subjects like abortion, prostitution or homosexuality were being produced around the same time.

 

VARIETÉ, 1925

Director: Ewald André Dupont

Cast: Emil Jannings

Restoration: Friedrich Wilhelm Murnau Foundation

Musician: Stephen Horne & Frank Bockius

Germany | Blu-ray, Black & White, 95’

*Introduction by Jay Weissberg

Huller was a barker at a tawdry carnival, bored with his life and itching to go back to being a trapeze artist. Then Bertha-Marie arrives, a refugee, seemingly timid and modest but in reality fully aware of how to use her looks and body to get what she wants. Huller falls, he leaves his family, and they end up joining famed acrobat Artinelli in his high-class circus act. --Jay Weissberg

 

PEOPLE ON SUNDAY (MENSCHEN AM SONNTAG), 1930

Director: Curt & Robert Siodmak

Cast: Erwin Splettstößer, Brigitte Borchert, Wolfgang von Waltershause

Restoration: Eye Filmmuseum

Musician: Barkın Engin, Burak Tamer, Gökçe Akçelik, Selçuk Artut

Germany | DVD, Black & White 73’

*Introduction by Jonathan Rosenbaum

The film that stresses the fact that it is shot with non-professional actors, focuses on five young inhabitants of Berlin on a Sunday. We follow them on their free day; sunbathing, swimming, picknicking and listening to music. Next day we witness their reverse actions; as they go back to work. --Aslı Özgen Tuncer

FAUST: EINE DEUTSCHE VOLKSSAGE, 1926

Director: Friedrich Wilhelm Murnau

Cast: Emil Jannings, Lya de Putti, Maly Delschaft, Warwick Ward

Restoration: Friedrich Wilhelm Murnau Foundation

Musicians: Erdem Dijle & Utku Öğüt

Almanya | DCP, Black & White, 106’

*Introduction by Christian Lüffe

The film has a familiar story: Mephisto enters into a bet with an Archangel, claiming that he can take possession of any human being he wants, and sets his sights upon Faust, a righteous man. Faust loses his faith in God, and Mephisto draws closer to his goal. He will first take over Faust’s soul, and then the world itself. --Serdar Kökçeoğlu

 

ODE TO THE CINEMA PIONEERS

The festival has prepared a special programme for two groundbreaking names in silent cinema/ comedy. The programme sponsored by Braas Çatı Sistemleri pays tribute to Charlie Chaplin and Buster Keaton. The program combines a selection of short movies from the debut year of Chaplin in Keystone Studios and the latest restoration of Buster Keaton’s ‘One Week’.

 

CHARLIE CHAPLIN SHORTS, 1914

Restoration: Cineteca di Bologna

Musician: Uninvited Jazz Band

USA | DVD, Black & White,

*Introduction by Jay Weissberg

MABEL'S MARRIED LIFE

MABEL AT THE WHEEL

GETTING ACQUAINTED

HIS TRYSTING PLACES

 

TILLIE'S PUNCTURED ROMANCE , 1914

Director: Mack Sennett , Charles Bennett

Cast: Marie Dressler, Charlie Chaplin, Mabel Normand

Müzisyen: Flower Room

USA | DVD, Black & White, 82’

Tillie Banks, a country girl is deceived by a city slicker to steal her father’s money and run away with him to the city. Once there, the slicker takes her money and abandons her for Mabel.

 

BIRTH OF MODERN WOMAN

This year festival opens a discussion under the theme, ‘Birth of Modern Woman’ in the beginning of 20th century, from the different parts of the world; from the Ottoman Empire to the United States, from Europe to the Middle East.

 

PART 1- FUNNY LADIES

Before the WWI, when the films were short and comedies were most popular, many female comedians were already internationally recognized stars. This program contains Italian actresses like Lea Giunchi, Nilde Bracchi and Gigetta Morano, but also their American counterparts like Norma Talmadge and Flora Finch all portraying women that go against the social expectations.

Müzisyen: Ayşe Tütüncü

LEA AND THE BALL OF WOOL (LEA E IL GOMITOLO) |1913| Italy | 5’

THE NEW MAID IS TOO MUCH OF A FLIRT (LA NUOVA CAMERIERA E TROPPO BELLA)| 1912| Italy | 8’

MIRACULOUS SPRINGS (ACQUE MIRACOLOSE) | 1914| Italy| Archive: Eye, Desmet Collection |10’

A LADY AND HER MAID| 1913| USA | Archive: Eye, Desmet Collection |14’

PICKPOCKET | 1913|USA| Archive: Eye, Desmet Collection |13’

 

PART 2 - WOMEN AT WORK

Whereas women had difficulty being accepted for a job before the WWI, this changed drastically when all men went to the front. In fact the women became so important as workers that some films speculated about how the world would be in 2026 if women’s emancipation went on at this pace!

Müzisyen: Gülşah Erol

 

SUFFRAGETTE MARCH IN LONDON | 1916 |1’

TELEPHONE GIRL |1912|USA| 9’

MANUFACTURING FOLDING FANS (FABRICATIE VAN KANTEN WAAIERS) | 1911 |France | 5’

HERSTELLUNG VON GRANATZUNDERN| 1918| Germany | 8’

MAKING A MAN OF HER | 1912 |Archive: Eye, Desmet Collection |14’

WHAT IS THE WORLD COMING TO? | 1926| USA |22’

 

PART 3 - ADVENTUROUS WOMEN

Some women get away with anything! Even making fun of themselves, like Musidora herself, parodying the succes of Les Vampires, or like Blanche(Berta Nelson) in Victory or Death!, jumping from an airplane to catch an evil spy!

Müzisyen: Gülşah Erol

THE SIX SISTERS DANIEF (SIX SOEURS DAINEF) | 1902| France |3’

LE TORCHON BRULE |1911| France | Archive:Eye, Desmet Collection |5’

LA GOURDETTE GENTLEMAN CAMBRIOLEUR ) |1916| France |23'

VICTORY OR DEATH! ( VITTORIA O MORTE!) | 1913| Italy| Archive: Eye, Desmet Collection |40’

 

SHOES, 1916

Director: LOIS WEBER

Cast: Mary MacLaren, Harry Griffith, Mattie Witting

Musician: Ruben Tenenbaum

Restoration: Eye Filmmuseum

USA| DCP, 60’| Tinted |

*Introduction by Mariann Lewinsky Strauli & Elif Rongen-Kaynakçı

Eva who works as a clerk in a shop, can not afford a new pair of shoes. In this movie the unreachable pair of shoes become a vehicle to show the class justice, poverty, hard working conditions, dreams of upward mobility, disappointments and runaway thoughts.

 

MISS EUROPE (PRİX DE BEAUTÉ), 1930

Director: AUGUSTO GENINA

Cast: Louise Brooks

Restoration: Cineteca di Bologna

Musician: Stephen Horne

France | DCP, Black & White, 113’

*Introduction by Nezih Erdoğan

Lucienne “Lulu” Garnier, who works as typist and has a relationship with a journalist named Andre, participates in a beauty contest organized by The Globe newspaper. Although it is evident that she will be the winner, due to Andre’s jealous reaction, she gives up and decides to go home. However, they do not not let her go and instead she gets a movie offer. First, she refuses and tears apart the contract, but then she leaves Andre and takes the first step on the road to stardom.

 

GERMAINE DULAC

Feminist, socialist, and pioneer filmmaker of the 1920s and 30s French avant-garde, Germaine Dulac (1882-1942) played a founding role in the evolution of cinema as both a lyrical art and a social practice. Over the course of her film career (1915–42), Dulac directed more than thirty silent era fiction films, many developing new cinematic tendencies from Impressionist to abstract, before going on to produce an equivalent number of non-fiction films during the early sound period. Drawing upon a wide array of innovative strategies, from contrasting acting styles to symbolic technical effects, Dulac develops an aesthetic of “suggestion,” rooted in her ontology of cinema as “life,” “movement,” and “rhythm,” to promote her progressive social ideals (of a “New Woman” and a “New Man”) in a conservative postwar context. Dulac’s classic films, La Souriante Madame Beudet (1923), La Coquille et le Clergyman (1927), considered the first feminist film and first Surrealist film, respectively, provide a rich introduction to her groundbreaking work, put in relief by her “abstract” musical short, Arabesque (1929).

 

THE SMILING MADAME BEUDET (LA SOURIANTE MADAME BEUDET ), 1922

Director: GERMAINE DULAC

Cast: Germaine Dermoz, Alexandre Arquillière

Müzisyen: Cihan Gülbudak

Restoration: Eye Filmmuseum

France | DVD, Black & White, 38’

Dulac’s feminist and Impressionist masterpiece, La Souriante Madame Beudet, based on a successful avant-garde play by Denys Amiel and music lover André Obey, employs specifically cinematic means to present the “inner life” of a modern woman longing to escape an oppressive petit-bourgeois marriage in a provincial town. Accentuated by contrasting performance styles, associative editing and technical effects, the heroine’s interiority and modern dreams and desires are communicated creatively through the musicality of gesture, movement, and rhythm, along with allusions to symbolist poetry, music and painting, inviting a comparison between the unique expressive capacity of this new medium to that of the other arts.

 

THE SEASHELL AND THE CLERGYMAN (LA COQUILLE ET LE CLERGYMAN), 1927

Director: Germaine Dulac

Cast: Alex Allin, Genica Athanasiou

Musician: Cihan Gülbudak

Restoration: Eye Filmmuseum

Introduction by Tami Williams’

France | DVD, Black & White, 31’

*Introduction by Tami Williams

Upon its first public projection, February 9, 1928 at the Studio des Ursulines (Paris), La Coquille et le Clergyman, based on a screenplay by surrealist poet Antonin Artaud, became the object of a sharp and lively polemic long used to discredit Dulac. While certain considered the film’s subversion of surrealist masculine heroism a betrayal, it can also be reread in the context of Dulac’s conception of cinema as an essay on rhythm. The print presented here was restored using four different 35mm copies by EYE (Film Instituut Nederland).

 

CINEGRAPHIC STUDY OF AN ARABESQUE, 1929

Director: Germaine Dulac

Cast: Marie-Anne Malleville

Restoration: Eye Filmmuseum

Musican: Cihan Gülbudak

France | DVD, Black & White, 7’

In 1929, the year that synchronized sound permeated French film production, Dulac directed three silent musically inspired “abstract” films. Based on Debussy’s “Deux arabesques,” this study, which Dulac refers to as a “ballet cinégraphique,” is composed of visual variations on the arabesque found in music, decor and choreographic dance: arcs of light, water spouts, spider webs, burgeoning trees, flowers and foliage, a woman's smile, arms stretching, a leg that rhythms a rocking chair. Arabesque is a prime example of Dulac’s notion of a “cinéma pur” that gains its political force through its capacity for visualization, significantly, of the “abstraction of sentiments,” thus “leaving more space for sensations and dreams.” --Tami Williams

 

CITIES ON WATER

Cities on water are particularly photogenic. Right from the start of the cinematography, even the heaviest cameras could record wonderful and haunting images, when put on board of a floating boat.

Müzisyen: Burak Ayrancı

*With the support of Amsterdam Municipality

PRINSENGRACHT | 1899| Holland |1’

PICTURESQUE SCENES ON THE PRINCIPAL WATERWAYS |1915| Holland |2’

ICE SKATING IN NORTH (HOLLAND IJSVERMAAK IN HET NOORD-HOLLANDSCHE WATERLAND) |1917 |Holland |4’

AROUND THE HARBOUR OF AMSTERDAM (AMSTERDAM IN EN OM DE HAVEN) | 1920 | Holland |4’

BEAUTIFUL AMSTERDAM |1927 | Holland |6’

SANTA LUCIA |1910 | Italy | Archive: Eye Desmet Collection | 5’

LES BOUCHES DE CATTARO |1926 |France |Pathé-revue n° 52| 3’

GEOGRAFIE: CONSTANZA |1920|France|2’

SUR LE BOSPHORE |1912 | Archive: Eye Filmmuseum| 4’

FOUNTAINS OF ISTANBUL (LES FONTAINES SACRÉES À CONSTANTİNOPLE ) | 1926 |Archive: Eye Filmmuseum |5’

CONSTANTINOPLE: LANDSCAPES OF THE LARGEST CITY IN SOUTHERN EUROPE (CONSTANTINOPEL, NATUUROPNAME VAN DE GROOTSTE STAD VAN ZUID-EUROPA) |1920 | Archive: Eye Filmmuseum |10’