Figure 1
Our research route overlapping the travelling exhibitors’ route
Figure 2
A map showing the operations run by United States Information Service in cooperation with Educational Films Centre, 1952.61 The legend translates as follows: USIS, ■ Educational Films Centre, ▲ Regional Centres, ● Branches, ○ Branches to be established
Figure 3
Cinema Arı, a lounge cinema in a small Taurus Highland village (Arslanköy, Summer 2018)
Figure 4
The projection booth of an open-air cinema in the view of Taurus Mountains (Kızılbağ Village – Taurus Mountains, Summer 2018).
Figure 5
The ironwork screen of an open-air (terrace) cinema’s screen (Kızılbağ Village – Taurus Mountains, Summer 2018).
Figure 6
Re-enactment of a travelling cinema exhibition in a school garden – Cinema Nostalgia (Ali Efendioğlu Village - Tarsus Plateau, Summer 2019).
Figure 7
A travelling cinema projectionist controls the light intensity of a 35mm film projector, which is mounted on a truck bed, during the re-enactment of summer time open-air cinema (Böğrüeğri Village – the Taurus Mountains, Summer 2019)
Table 1
Conventions and patterns of films recalled.
| Blind Love,1968 | Fallow Deer, 1969 | Empty Cradle, 1969 | Dark Day, 1971 | Black Bridal Veil, 1972 | Hot Soil, 1973 | Proud and Bold, 1973 | Zeynep, the Girl of the Black Tent, 1979 | Gülüşan, 1985 | |
|---|---|---|---|---|---|---|---|---|---|
| The narrative built around nomad myths and/or local stories | - | + | + | - | + | - | + | + | + |
| The manifestation of nomadic traditions and customs | - | + | + | - | - | - | - | + | - |
| The manifestation of nomadic cultural elements to cinematography | - | + | + | - | - | - | - | + | - |
| The manifestation of the tradition of minstrel and/or folk songs as musical elements | + | + | + | + | + | - | + | + | - |
| Use of Taurus mountains and/or geographically similar places | - | + | + | + | + | - | + | + | + |
| Shot in Taurus highland villages and/or Yörük plains | - | + | + | + | + | - | - | - | + |
| Production, distribution and screening include local elements such as the Regional Business Model and/or travelling exhibition | - | + | - | + | + | + | + | + | + |
| Duration of the film (~minutes) | 88’ | 90’ | 72’ | 70’ | 70’ | 78’ | 71’ | 71’ | 75’ |
Table 2
A New Approach to Modernity, City, Cinema and Audience Relations
| Traditional / Conventional Approach | New Approach |
|---|---|
| The relationship between cinema, city and modernity | Cinema experience independent of urban settings |
| Uniform venues and screening practices | Movie theatres, terrace/rooftop cinemas, garden cinemas, highland cinemas, village squares, coffeehouses, tea gardens, schools etc. |
| Fixed-location, settled cinema venues and screening | Translocal, mobile and travelling cinema |
| Closure and cinema halls isolated from physical reality | Cinema spaces intertwined with openness and physical reality |
| Uniform audience and disciplined screening | Active and performative audience; various cinemagoing practices |