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Mustafa Kemal, Cinema and Turkey: the Early Years (1919-1923)

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Mustafa Kemal, Cinema and Turkey: the Early Years (1919-1923) UvA-DARE (Digital Academic Repository) Performing modernity: Atatürk on film (1919-1938) Dinç, E. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Dinç, E. (2016). Performing modernity: Atatürk on film (1919-1938). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 Chapter 2 Mustafa Kemal, Cinema and Turkey: The Early Years (1919-1923) The establishment of the Army Film Shooting Center described in the previous chapter shows the Ankara government’s investment in the medium of film. Moreover, it demonstrates their leader Mustafa Kemal’s particular interest in cinema. Film footage from this period featuring Mustafa Kemal suggests that he had particular ideas about how to employ film to create a strong public image in order to influence public opinion with regard to the national struggle. In this chapter, I discuss the specific importance of film for Mustafa Kemal and his followers’ political agenda during the War of Independence and its aftermath. Specifically, I analyze the cultural symbols and messages that are employed in the films made in this period. This helps us to understand an essential part of the nationalists’ approach towards this medium. Despite its technical shortcomings, Mustafa Kemal and his followers were well aware of the political uses of cinema in this period for two main reasons. Firstly, film proved to have an immediate benefit as an effective propaganda tool during the war to influence public opinion at home and abroad. Secondly, film offered a supposed eyewitness account for future reference. Films shot in this period are often used as documentary evidence. The idea was that images recorded during the war would endure as visual proof even in the absence of the original referent. Moreover, being a technological medium capable of capturing movement in time and space, film connoted a certain feeling of presence, immediacy and reality for the audience.1 As Doane states, with cinema technology, the image “registered instantly, apparently without any intermediary, […] conveys a sense of immediacy of the real.”2 1 Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge: Harvard University Press, 2002), 151. 2 Ibid.. Mustafa Kemal and his followers made use of two domestic institutions to record the important events of the War of Independence: the Army Shooting Center and Kemal Film.3 The Army Shooting Center made a number of short films, including İzmir Zaferi (The Victory of İzmir, 1922), Dumlupınar Vekayi’i (The Incidents of Dumlupınar, 1922), İzmir Nasıl İstirdat Edildi (How was İzmir Taken Back? 1922), İzmir’in İşgali (The Occupation of İzmir, 1922), İzmir’deki Yunan Fecayii (The Disasters caused by Greeks in İzmir, 1922), İzmir Yanıyor (İzmir in Flames, 1922) and Gazi’nin İzmir'e Gelişi ve Karşılanışı (The Arrival and Reception of the Ghazi in İzmir, 1922) and İstiklâl (Independence, 1922).4 Şener suggests that Kemal Film shot forty-seven news films during this period.5 One of Kemal Film’s most important newsreels was Gazi Mustafa Kemal Paşa'nın İzmit Cephesini Teftişi (The Inspection of the İzmit Front by Ghazi Mustafa Kemal Pasha).6 It shows Mustafa Kemal inspecting the Turkish army before an offensive against the Greek army. After making the decision to start the offensive, Mustafa Kemal went to inspect the Kocaeli Grubu (Kocaeli Group) in the region of İzmit and Adapazarı between 12 and 24 June 1922.7 Besides inspecting the front, he gave some interviews to journalists about the Grand National Assembly’s view on the current situation. He also met the famous French author Claude Farrère on 18 June in İzmit to convey his ideas about the Turkish cause to the European public and to undermine enemy propaganda asserting that the Turks were persecuting the Christian population in Anatolia.8 International interest in the Greco-Turkish War was not limited to the French. The cameraman of Gazi Mustafa Kemal Paşa'nın İzmit Cephesini Teftişi, Cezmi Ar, noted that some American filmmakers came to Istanbul around this time in 3 Kemal Film was the first Turkish private film company, founded by Kemal and Şakir Seden brothers in Istanbul in 1922. See Erman Şener, Kurtuluş Savaşı ve Sinemamız (Dizi Yayınları, 1970), 23, 25. 4 Genelkurmay Başkanlığı, letter to author, July 16, 2012. See also Şener, Kurtuluş Savaşı ve Sinemamız, 26. 5 Ibid., 23. 6 Ibid. 7 In response to Mustafa Kemal’s inspection at İzmit front, the British installed an artillery unit on Alemdağı. See Sabahattin Özel, “Atatürk’ün Büyük Taarruz Öncesinde Adapazarı-İzmit Gezisi (12- 24 Haziran 1922),” Yakın Dönem Türkiye Araştırmaları, no: 5 (2004): 145, 174. 8 Ibid., 154-162. 50 order to make a documentary about the war.9 According to Şener, although the American cameramen’s arrival at the Pera Palace Hotel in Istanbul coincided with Mustafa Kemal Pasha’s inspection of the İzmit front, which was open to all journalists wanting to interview Mustafa Kemal, this news was hidden from the Americans and, instead, Cezmi Ar went to İzmit in order to film the event. 10 When Ar arrived, he first filmed Mustafa Kemal getting off the train. The next day, when Mustafa Kemal’s convoy went from İzmit to Gebze, the crew of Kemal Film, including Cezmi Ar and Şakir Seden, received permission to accompany it. There, Ar shot several more films, including close-ups of Mustafa Kemal. After leaving the convoy in Gebze, the Kemal Film crew went to Istanbul, where the films were immediately developed in the Kemal Film laboratory and distributed across the country.11 Ar’s story points to an important detail about the fierce journalistic competition that characterized the early twentieth century. In this period, such competition already went beyond the domestic level, so that journalists of one country sometimes had to compete not only with their local colleagues but also with foreign journalists. One of the most important reasons for this fierce competition was an important force in politics: public opinion. In fact, at the beginning of the twentieth century there was already an audience in Europe and the US that was fascinated with domestic and international public affairs, and the news agencies were trying to satisfy their demand by sending correspondents to remote parts of the world or buying news from local correspondents.12 Therefore, filming an important event such as Mustafa Kemal’s inspection of the İzmit Front, which may have caused a crucial change in international politics, could be of interest not only for the domestic, but also for the international news market. To give the exclusive to Kemal Film, the event was hid from the American cameramen. 9 Şener, Kurtuluş Savaşı ve Sinemamız., 23-24. 10 Ibid., 23. 11 Ibid., 23, 24, 25. 12 Oliver Boyd-Barrett and Terhi Rantanen, eds., The Globalization of News (London: Sage Publications, 1998). 51 The invention of cinema added a new dimension to conventional journalistic competition by enabling news reporting in motion pictures. Although the newspaper was still the most popular medium for the news report at the beginning of twentieth century, cinema gradually became a real competitor. In cinema’s initial years, the newspaper still had an important advantage over film.13 Since news could be transmitted very quickly by “the Victorian Internet,” the telegraph, newspapers were more up to date. Furthermore, producing news films was very complicated in the early years, demanding much time, effort and money. Consequently, newsreels played only a supporting role in conveying news to the public, overshadowed by the newspapers and the radio. As Pierre Sorlin states, in Europe and the US, the newsreels projected on the cinema screens in major cities at the beginning of the month reached small towns only at the end of the month.14 By the time audiences saw the newsreels, they were already old news. Thus, newsreels mostly did not convey new information, but visualized events that were already known through other media.15 What made newsreels so important, however, was not their informative value but their perceived capacity to make the world visible in a direct and sensible way. Furthermore, by presenting events and people in motion to audiences of millions simultaneously, they helped to create a national consciousness and assisted in the emergence of new “imagined communities.” Another important advantage of cinema over other media was that, by speaking a visual language, that is to say, the language of images, it allowed ordinary people to see distant events and famous men with their own eyes (and, by the end of the 1920s, also to hear them with their own ears). It was much easier for many people who were illiterate, semi-literate or did not have time to read to simply watch the news passing before their eyes in images. Thus, the news, reported through film, increasingly contributed to the participation of ordinary 13 Doane, The Emergence of Cinematic Time, 146.
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