Powerful storytellıng ıs a source of solıdarıty
Interview with S. Buse Yildirim Kundura Cinema Could you tell us a bit more about Kundura Cinema’s...
KUNDURA HAFIZA CELEBRATES 27 OCTOBER UNESCO THE WORLD DAY FOR AUDIOVISUAL HERITAGE!
Kundura Memory Project, which launched in 2015 with cooperation of the History Foundation and has be...
KUNDURA CINEMA AND ALTYAZI CINEMA MAGAZINE TALKS – INTERVIEW WITH THE DIRECTOR MARIANN LEWINSKY STRAULI BY BERKE GÖL
How did you first come across the footage and photographs from Ella Maillart’s journey to India? H...
KUNDURA CINEMA AND ALTYAZI CINEMA MAGAZINE TALKS – INTERVIEW WITH THE DIRECTOR PAYAL KAPADIA BY FIRAT YUCEL
Two of your films are being screened in Kinoscope and Kundura Sinema’s program called ‘Rüyanın...
Uncanny Valley
We mostly think of robots as work machines, as efficient and precise executors of tasks. In German i...
‘I AM NOT A ROBOT’ AT THE UNCANNY VALLEY
The guest of the online program of Kundura Stage (Kundura Sahne located in Istanbul, at the Beykoz K...
KUNDURA CINEMA AND ALTYAZI CINEMA MAGAZINE TALKS – ON ‘OVERSEAS’ WITH THE DIRECTOR SUNG-A YOON
The award-winning documentary “Overseas” by South Korean director and artist Sung-A Yoon...
KUNDURA CINEMA AND ALTYAZI CINEMA MAGAZINE TALKS – ON ‘WOMEN MAKE FILM’ WITH THE DIRECTOR MARK COUSINS
Kundura Cinema’s online screening platform Kundurama published the 14-hour documentary “Wome...
ARTHOUSE AND INTROSPECTION: AN INTERVIEW WITH JACQUELINE LENTZOU
by Scout Tafoya In just seven short films — including the recently lauded “Fox” (2016), “H...
LOSING GROUND: LUCRECIA MARTEL’S ZAMA
by Tanner Tafelski Nine long years have elapsed since the release of The Headless Woman (2008), L...
KUNDURA CINEMA CELEBRATES THE UNESCO WORLD DAY OF AUDIOVISUAL HERITAGE!
The Brilliant Biograph is now online! Join for free to watch! Running parallel to the World Day for ...
CINEMA’S FIRST EPIDEMIC: FROM CONTAGIOUS TWITCHING TO CONVULSIVE LAUGHTER
By Maggie Hennefeld There was no funnier sight gag in early cinema than the catastrophe of epidemic...
AFRICAN-AMERICAN WOMEN IN THE SILENT FILM INDUSTRY
In the first decades of the twentieth century, five African-American women filmmakers helped to esta...
WHY SOME LIKE IT HOT IS THE GREATEST COMEDY EVER MADE
by Nicholas Barber In 1958, Tony Curtis was at a Hollywood party when Billy Wilder took him aside. W...
FILMATIQUE: INTERVIEW WITH PRANTIK NARAYAN BASU
Intervıew by Rıtıka Bıswas Guest Curator, Fılmatıque Prantik Narayan Basu is an Indian screenw...
‘PANDORA’S BOX WITH THE LID OFF!’: LULU’S MISADVENTURES IN LONDON
by Pamela Hutchinson This is an extended version of a paper that I gave at the British Silent Film F...
PARIS BELONGS TO US: NOTHING TOOK PLACE BUT THE PLACE
by Luc Sante Paris Belongs to Us, Jacques Rivette’s first feature, was written in 1957 and shot f...
WHERE TO BEGIN WITH EARLY WOMEN FILMMAKERS
Movies inspire a lot of passion, but the back catalogue of film history can be daunting. For every ...
EARLY MURNAU REVIEW: A SET FOR THE SILENT CINEPHILE TO LINGER OVER
by Pamela Hutchinson The concept of “Early Murnau” is a little bittersweet. The German director ...
DR. WISE ON INFLUENZA: PUBLIC INFORMATION FILMS AND THE ‘FLU EPIDEMIC OF 1918
by Lawrence Napper “Whilst many persons are railing against the cinema as a disseminator of di...
BEYKOZ KUNDURA: FROM FACTORY TO CREATIVE HUB
The opening of Beykoz Kundura’s cinema not only offers cinephiles a unique selection of movies, it...
SHAPING THE CRAFT OF SCREENWRITING: WOMEN SCREENWRITERS IN SILENT ERA HOLLYWOOD
In a 1921 Picturegoer article, Jeanie Macpherson advised prospective writers not to worry about subm...
WOMEN AS CAMERA OPERATORS OR “CRANKS”
During the silent era there does not appear to have been much serious thought given to the question ...
FRENCH FILMS COLORISTA
Perhaps the earliest production work available to women in the film industry was coloring work—han...
EARLY MURNAU REVIEW: A SET FOR THE SILENT CINEPHILE TO LINGER OVER
The concept of “Early Murnau” is a little bittersweet. The German director had such a short care...
