Talk
January 6, 2024 / 18:30
Pera Film, in collaboration with Altyazı Cinema Magazine, presents the Cinéma Vérité: The Truth of the Camera program, curated by Aslı Ildır.
As part of the program, following the screening of the film The Lovely Month of May on Saturday, January 6, documentary filmmaker and academician Can Candan will give a talk on 'Cinéma Vérité'.
In the discussion moderated by Aslı Ildır, Candan will outline a historical and theoretical framework for the “Cinéma Vérité” approach, which emerged as a documentary movement in France in the early 1960s, and will open up the topic for discussion through its differences with “Direct Cinema”, which emerged in North America during the same period.
The talk held in Pera Museum Auditorium will be in Turkish. Free admissions. Limited space, drop in, no reservations.
About Can Candan
Documentary filmmaker and academician Can Candan received his bachelor's degree in the field of cinema-television from Hampshire College in the USA; he also obtained his proficiency in arts (doctorate level) degree in the field of film and media arts from Temple University in the USA. He taught courses in film and media arts at various universities and institutions in the USA until 2000 and in Turkey thereafter. After returning to Turkey in 2000, he worked as a lecturer first at Istanbul Bilgi University and then at Sabancı University. In 2007, he joined the faculty of Boğaziçi University. His feature-length documentary films Duvarlar-Mauern-Walls (2000), 3 Saat (2008), and My Child (2013) have been shown in universities, film festivals, cinemas, and on television both domestically and internationally, winning various awards, and their international screenings and distributions continue. Candan, who compiled the book Kurdish Documentary Cinema in Turkey with Suncem Koçer, which was published in English in 2016, continues his research and book work on Turkish documentary cinema, while also working on his fourth feature-length documentary film, Nuclear alla Turca.
He had imagined the court room as a big place. It wasn’t. It was about the size of his living room, with an elevation at one end, with a dais on it. The judges and the attorneys sat there. Below it was an old wooden rail, worn out in some places. That was his place. There was another seat for his lawyer. At the back, about 20 or 30 chairs were stowed out for the non-existent crowd.
The second part of exhibition illustrates Alberto Giacometti’s relations with Post-Cubist artists and the Surrealist movement between 1922 and 1935, one of the important sculptures series he created during his first years in Paris, and the critical role he played in the art scene of the period.
A firm believer in the idea that a collection needs to be upheld at least by four generations and comparing this continuity to a relay race, Nahit Kabakcı began creating the Huma Kabakcı Collection from the 1980s onwards. Today, the collection can be considered one of the most important and outstanding examples among the rare, consciously created, and long-lasting ones of its kind in Turkey.
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On Wednesdays, the students can
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