1In the 1950’s, the Institut français (IF) of İstanbul opened its doors in the Beyoğlu district of the city, near Taksim Square. At that time, it was known as the Centre culturel français (or the French Cultural Center). However, he IF’s activities did not reach wider audiences essentially until the beginning of the 1970’s. This was because Turkey was going through another period of political and economic instability when the IF of İstanbul was first opened. In this tense atmosphere full of censorship and restrictions, the IF acted as a refuge of sorts due to its location and ambience. The IF moreover functioned as a mediator to the rest of the world (particularly to France) by offering numerous activities, such as film screenings, exchanges and discussions.

2The following article will attempt to map out a brief overview of this institution, its cinema activity and the resources at its disposal that have over time made it a window to the rest of the world. It should be noted that it has been difficult to keep track of such initiatives. The IF of İstanbul has not (or has hardly) maintained archival records of its activities. Testimonials from “memories” of the IF have instead been relied on, that is to say oral histories from former employees and/or loyal supporters of French culture in İstanbul.

A place of culture in a multicultural environment

3As anthropologist Marc Augé points out, places can be defined as relational, historical or concerned with identity. In this respect, places reflect and forge a sense of movement, consumption and communication.1 This idea becomes all the more important when considering cinemas, which (like all other products of modernity) have attempted to become central spaces of communication. In this respect, the location of the Institut français of İstanbul and its theater become a quasi-crucial issue of audience attendance, as well as an issue of initiatives’ success.

4This is especially because the IF is located on the grounds of the Consulate General of France in İstanbul. The Consulate is situated in the Beyoğlu district of the city (formerly known as the Pera district), at the very beginning of İstiklal Avenue (formerly the Grande Rue de Péra) which connects Taksim Square to the Galata district of the city. The former district can be defined by what Marc Augé calls “non-places,” and is by far one of the liveliest and busiest parts of the city. As an area full of movement, consumption and communication, Pera has historically been populated by a cosmopolitan, mostly non-Muslim community for nearly five centuries.2 This high level of diversity can be guessed at from the various places of worship (i.e., churches and synagogues, as well as mosques and Mevlevi centers of worship, etc.), community-based and international schools, and consulates spread out all along the street. Ottoman authorities first brought in “Western modernity” into this capital city district during the 18^th century. In fact, Pera was the first (and only) “arrondissement” in İstanbul with its own local government built after the Parisian model starting in 1857.3 The concept of governing the district itself attests to İstanbul’s ability to integrate itself into the modern world. The Pera district grew and became busier from the commercial and cultural activities that developed there over the course of the 19^th century. Furthermore, the introduction of embassies there (which were later converted into consulates following the creation of the Republic in 1923) were from the 18^th century onwards another major draw for the diverse communities who were already involved in the cultural activities of surrounding neighborhoods. It was therefore no accident that in 1896 French Post-Impressionist painter Henri Delavallée organized Turkey’s first commercial, public cinematograph projection at the famous Sponeck beer hall, located in the heart of the Pera district.4 This is the same district where Théâtre Pathé Frère, İstanbul’s first cinema, was opened in 1908, followed by scores of other Europe-based theater chains such as Odéon, Gaumont, Cosmographe, Luxembourg, Éclair and others. By the 1950’s, the vast majority of Turkish production companies opened up on one particular street near the Sponeck beer hall: Yeşilçam Street. The film production companies located here would come to define the Golden Age of Turkish cinema, which was named after this very street. Moreover, the Pera district would later become the hub of different countries’ cultural centers, including institutions such as the Italian Institute of Culture, the Goethe-Institut, the Instituto Cervantes (or Cervantes Institute) and the Institut français of İstanbul (known at that time as the French Cultural Center). These cultural centers would come to further enrich the already vibrant cultural activities in the city and in the district. By hosting film screenings and establishing numerous partnerships with festivals, these cultural centers also helped develop a broader appreciation for European cinema in İstanbul.

The Institut français of İstanbul: a preeminent center of culture

5The Institut français of İstanbul first opened its doors on the premises of the Consulate General of France in 1956.

6The facility was constructed on the Beyoğlu district’s northern border by the Marseille Chamber of Commerce in the mid-19^th century. This era was a time of growth in the district, which went through many transformations over the years in order to adapt to the area’s changing needs.

7The building itself was originally used as a hospital: the Hôpital des français de Péra (or the French Hospital of Pera), then the Hôpital français de la peste de Péra (the French Plague Hospital of Pera) and finally the Hôpital Saint Louis (Saint-Louis Hospital). It was later used by the American Red Cross during World War I before becoming the French Embassy in 1920.5

8Following the proclamation of the Republic of Turkey in 1923, and after the French Embassy’s subsequent relocation to the new capital of Ankara, the facility was turned into the Consulate General of France in 1926. A few decades later, the Institut français of İstanbul was established there as well.

9At present, the facility consists of three interconnected parts: a new café, a new gallery space and a multifunctional auditorium that was completely renovated a few years ago. There is also has a large courtyard which makes coordinating gatherings and discussions easier for a wide variety of cultural activities (including film events).

10According to testimonials from “memories” of the IF, going to see film screenings was not always a driving force behind attendance, undoubtedly because it requires specialized and costly equipment. However, the cinema at the IF of İstanbul has always played an important role, and has furthermore made the institution which houses it essential in developing a sense of cinephilia in Turkey’s cultural capital.

Film Screenings

11First and foremost, it should be pointed out that there were film screenings at the Institut français of İstanbul long before a proper cinema had been constructed in 1975. Without knowing the exact date when film programming started at the IF, attendee testimonials reveal that the film screenings which did take place could be described as mobile. That is to say, a small moveable projection screen and audience seating were set up in the library from time to time and were stored away once the show was over. Eventually a cinema was installed, in the middle of which was a heating system. As explained by Alex Senkopopovski, this theater space acted as, “an attraction for the elderly who also came to warm up.”

12Beginning in 1972, the IF of İstanbul hired a “proper” film projectionist, or in other words, a trained film professional.6 This new hire replaced a technician who had formerly been in charge of coordinating activities at the cultural center. After they retired, a Francophone technician – who was already the head of programming at a nearby cinema) joined the team at the IF. From this point on, the management at the IF aimed to make film screenings more regular and integrate them into French language and culture education.

13This was all taking place during the Golden Age of Turkish cinema. Indeed, cinema was the predominant form of entertainment in Turkish society7 beginning in the 1960’s. For the vast majority of the population, “going to the cinema” was not only a day-to-day activity, but it also meant voraciously consuming all types of film. This was also the same period when passionate debates about the identity of Turkish cinema were taking place, debates about what sort of model should be implemented for it to thrive.8 Cine-clubs were also being formed, bringing together young cinephiles and film professionals who wanted to see alternative films rather than large-scale productions. It is worth noting that film screenings were programmed more regularly at the IF during this atmosphere of intense film consumption. However, despite this modest effort, the lack of a proper cinema made it so IF film showings had to be outsourced. Thus, screenings were held weekly at the nearby Saray cinema9 free of charge. As Alex Senkopopovsky elaborates, “at the time, the Cultural Center did not have a cinema. Consequently, they would come every Thursday night and screen films for free, on behalf of the Center.”

14This was not the only kind of outsourcing that took place. The Institut français of İstanbul collaborated with other institutes (i.e., the Goethe-Institut) and consulates (i.e., the Consulate General of Italy) in order to use their projection spaces while the small cinema at the IF was being constructed. The theater was finally opened in the mid-1970’s. Such “logistical” collaborations with other organizations would later lead to partnerships with film festivals and other important cultural events in the city.

15In effect, the first small cinema of 99 seats was not opened at the IF until 1975. It was equipped with technologies of the time – namely a 35 mm projector (the Italian Cinemecanica) and an additional 16 mm projector (the French Hortson). While certainly limited in size, the space nevertheless enabled the French Cultural Center to diversify its activities and collaborate more easily with local organizations.

Illustration 1. The two old film projectors at the Institut français of İstanbul.

16However, like so many other institutions’ cinema spaces, the one at the IF of İstanbul is multifunctional. That is to say, it is used for various cultural activities. As Alain Peksöyler explains, these activities could include for example “a discussion on literary publishing taking place in the morning, a theater performance in the afternoon and a film projection or presentation in the evening, accompanied by a gallery showing in the room next door.” He cites the specific example of up-and-coming filmmaker Nuri Bilge Ceylan’s first ever photography exhibition at the IF of İstanbul, who later went on to win several awards at the Cannes Film Festival.

Illustration 2. Photography exhibition by Nuri Bilge Ceylon, 1986 (Personal archive of Alain Peksöyler.

17The cinema space at the IF was still insufficient for the increasing number of activities taking place there. Motivated by the rising number of attendees at such events, and encouraged by the IF Director, the theater underwent a major construction project to expand operations in 1991.10 As it stands today, the Institut theater has a maximum capacity of 161 seats. In 2015, it became one of fifty cinemas across the world to join the CNC [the Centre national du cinéma et de l’image animée, or the National Centre for Cinema and the Moving Image] network of digitized cinemas.11

Frequency of film screenings

18As mentioned above, when the theater was first opened, film screenings were only scheduled occasionally, about once or twice a month. In any case, such irregular projections enabled the IF to develop a cinema policy. Through the weekly screenings at the cinema next door, audiences were exposed to French cinema and Institut français film programming. The opening of the IF cinema in 1975 naturally changed the practical details of film programming. Films started being shown three times a week, with one projection every Tuesday, Thursday and Friday. Although the number of film screenings could increase if film festivals and other events were being hosted by the IF of İstanbul.

19Furthermore, the time and frequency of screenings were sometimes limited by the location of the Institut français in İstanbul. Since the IF was situated at the same complex as the Consulate General of France, safety measures restricted the scope of programming and oversaw entrances onto the property. At present, the cinema only regularly welcome moviegoers on weekends for film series put on by the Başka Sinema program.12 The cinema occasionally hosts screenings on different days of the week as part of international film festivals and other sorts of retrospectives. Having said that, the lively activity at the Institut français of İstanbul made it in 2016 the ninth most active Institut branch in the world in terms of films projected per year, with 221 films shown in that year alone.13

Who is watching what?

Illustration 3. December 1987 program of cultural activities.

20According to Hülya Uğur Tanrıöver and Saadet Ersin, the films shown at the IF were, until the 1990’s, selected by cultural department administrators, under the direction of the Cultural Attaché at the French Embassy in Ankara.14 Tanrıöver indeed elaborates that the goal here was to “screen films from the archives of the Cultural Department at the French Ministry of Foreign Affairs, and the vast majority of these were French productions. We had lists of films [stacks of large format pages].” Tanrıöver moreover affirms that these lists were laid out across her desk so she could choose which films to project, making note of them with a marker. She explains that she would then have to wait for a response from the French Ministry of Foreign Affairs to verify if “the films were available for the desired period. Keep in mind that this was the era of 35 mm” and film reels were shipped via diplomatic couriers and were also being used in other countries as well.15

21As the above brochure [in Illustration 3] illustrates, cinema programs consisted of “black and white” films, classics and a few contemporary films that were very popular with French audiences in particular. Tanrıöver thus explains that in reaching her programming aims, she was, “especially careful not to schedule films that had recently been screened [at the French Cultural Center or elsewhere] … this meant that old film programs had to be taken into account and compared to the proposed series. I tried to ‘combine genres’ and styles… which of course means choosing some films that are arthouse, but also some that are more popular [such as comedies and melodramas].” As Saadet Ersin [Executive Assistant at Institut français the of İstanbul] specifies, films were often shown without subtitles or were “subtitled in English when they were provided by the Ministry. They thus targeted predominantly Francophone audiences, made up of mostly middle-aged, Levantine spectators who could be described as coming from an elite class.” A Mr. Senkopopovsky furthermore points out in his testimonial that such spectators “were different [and] knew what quality was.”16

22The public was fairly loyal, and attended IF events without too many qualms, since they knew that “what they were going to see was bound to be good.” According to Hülya Uğur Tanrıöver, another audience profile stood out, that of “audiences […] who frequented […] other hotspots of cinema culture, such as the Turkish Cinematheque, and were also regulars at the İstanbul International Film Festival.”

23Collected testimonials additionally mentioned students from nearby French-language schools attending screenings, as well as students enrolled in French courses at the IF. As stated above, many Levantines, expatriates and young schoolchildren live in or visit this district of İstanbul. For some of them, the films they discovered at the IF determined their futures, and they later went on to become professionals in the field. Nonetheless, it should be noted that such film screenings reach a limited public. As Mr. Senkopopovsky suggests, “these beautiful films were brought in for us, and were often ‘shot’ for nearly empty seats… There were even times when screenings were cancelled.”

24Audience profiles started to diversify beginning in 1991, while the number of available film titles increased. Subtitles were also being added to films, making them easier for audiences to understand. Numerous cultural collaborations enabled audiences who were unfamiliar with the IF to visit a little more regularly. According to the former projectionist at the IF of İstanbul, “these changes somewhat affected the quality of visitors.” Reflecting on the makeup of the general public, he noted that audiences started to consist of spectators who do not know how to dress, nor how to behave themselves in a cinema: “in the past, the butcher from around the corner would come and see films with his wife, all dressed up in their Sunday best. You would never have guessed that he was a butcher. Young people today stretch their legs out over the seats in front of them.”

25This was also the era when Unifrance started to collaborate more with the IF of İstanbul. As a result, more recently released films were shown and a proper ticketing office was set up.

26Saadet Ersin and Alain Peksöyler furthermore stated that in addition to regulars who enjoyed dropping by the IF to socialize or relax without really knowing what was playing, IF members were more aware of monthly film programming by receiving published newsletters mailed directly to them. Additionally, these newsletters were distributed in French-language schools in the district, and a large poster advertising cultural programming was put up at the IF’s entrance, thus facing the major road of İstiklal Avenue.

27To conclude, the growth of the IF’s cinema activities arguably depended on, and still depends on the ambitions of the Director and the Attachés. All initiatives are undertaken with the aid of the French Embassy and the head office of the Institut français in Paris. Nevertheless, IF branches are given leeway in decision-making, but their activities and level of engagement depend on the wishes of the branch Director. Besides projecting films on site, the IF fosters very strong relationships with local organizations, with whom they arrange French film screenings.

28It is additionally important to note, as Christophe Pécot does, that since the Institut français is located on the same premises as the Consulate General of France, attendance is limited. This is due to increased security measures implemented in 2015,17 which tend to confuse the ordinary spectator. It goes without say, however, that the Institut français of İstanbul’s commitment towards promoting cinema culture has made it a “place of worship for cinephiles.” It can be concluded, in citing the testimonial of the former projectionist at the IF of İstanbul, “if it had not been for the Institut, the Turkish public would have been slow to discover the art of cinema, to learn that film has a language.”