Ulus Cinema (Source: Ankara Cımbızcısı)Soysal Apartment, together with the Ulus Cinema within it, had an important place in the cultural and artistic life of developing Ankara. The apartment and cinema also have an important place in the memories of a generation living their youth in Ankara. In her novel Adı Aylin, Ayşe Kulin describes the Soysal Apartment, where important figures of the period lived, as follows: “Soysal Apartment was undoubtedly the most modern and popular apartment building in Ankara, which was newly being built. It was a huge and modern building in the city’s elite district of Kızılay, facing the standing clock in the middle of the square, with four separate entrances, covering an entire block. The famous Süreyya Pavilion, Ulus Cinema and the Madam Marga Dance School, which taught ballet and rhythmic dance to the little girls of Ankara in the 1940s, were also located in this building. Soysal Apartment was a truly privileged apartment building with its pool garden where red fish swam on its terrace, a laundry drying area, a central heating system that was rare in Ankara in those years, and hot water that was provided every day…”
Güneri Cıvaoğlu, on the other hand, talks about the apartment and the cinema in his column in Milliyet Newspaper as follows: “Soysal Apartment… Ulus Cinema, a buffet, is located under this apartment… And Süreyya, the nightclub of a period… One spring, before entering the cinema, I was buying cigarettes from the buffet. We carried cigarettes in our pockets, imitating those early teenage years when our beards were just starting to sweat. While I was buying cigarettes from the buffet, something fell on my head… It jumped and rolled onto the counter in front of me. A plum… I lifted my head up. On the balcony on the top floor of Soysal Apartment, I came across a pair of large, very beautiful gray-green eyes. He was surprised by this accident. He seemed to apologize. Then… I noticed his very light brown hair, almost blond, and his beautiful face. I smiled at those who were like ‘No problem’. He smiled back. He must have been at the age of transition from childhood to adolescence. I entered the cinema, my mind was always on the beautiful girl on the balcony. I asked my friends inside. Pınar, the son of the famous soprano of the time, Belkıs Aran, knew him. Her name was Ayşe Kulin. She was studying at Arnavutköy Girls’ College.”
Sait Çelebi transferred Ulus Cinema to İzzet and Ali Cemali brothers in the year it opened. The cinema, which made its magnificent opening on January 20, 1939 with the film Lumieres Paris (Paris Lights), reached a select audience in Ankara with the quality films it screened during its existence. In addition to showing films, it also hosted concerts and other organizations attended by famous names of the period, as in other cinemas. In 1967, the three buildings of Soysal Apartment, including Ulus Cinema, were demolished and Soysal İş Hanı-Pasajı was built in its place.
Büyük Sinema - Hafta Tatili Licence Document (www.ergir.com)
Ankara Cinema, which Sait Çelebi took over the management of after Ulus Cinema, was opened in 1943 as a subsidiary of İş Bankası. It was located on the right side of the entrance from Sıhhiye Square to Necatibey Street. The total audience capacity was more than 1,100 people. Since the cinema screen was opposite the middle floor in the three-story cinema, those sitting on the lower and balcony floors had difficulty watching the movie. However, this did not negatively affect the number of viewers. After 1949, the cinema was completely operated by Ankara Cinema Works Limited Company for a while and then changed hands. Towards the end of the 70s, it surrendered to the sex movie craze. It was demolished in 1988. Ankara Passage and Balıkçıoğlu Business Center are now in its place.
Ankara-cinemas
Ankara Cinema (Source: Antoloji Ankara)
As Yalçın Ergir also mentioned in his blog, when the date was January 15, 1949, the country's agenda was stirred by the resignation of Prime Minister Hasan Saka and his cabinet. Despite this difficult environment, the opening of the Büyük Sinema was held two days later by the then President İsmet İnönü. The owners of the cinema were brothers Kazım Rüştü Güven and Hamdi Başaran. Hamdi Başaran had founded the gas company HABAŞ. His brother Kazım Rüştü Güven was known for his citrus and ice cube business in Mersin, as well as his collectorship and devotion to art. Vehbi Koç, the owner of the house on the corner where the current Divan Patisserie is located, used to tease the two brothers with whom they played bezük, saying, "One of you makes money from the air, the other from the water." Kazım Rüştü Güven was a well-known businessman in Ankara. Among his plans for Ankara was to establish a functional cultural center where operas could be performed. However, under Muhsin Ertuğrul’s guidance, he gave priority to cinema. Abidin Mortaş signed the architectural project. In the section above the cinema screen, there was Turgut Zaim and Nurettin Ergüven’s painting Çayda Çıra Oynayan Kızlar, and in the section overlooking the waiting hall of the Büyük Pastanesi, there was also a painting they had made together, Sadabad. Unfortunately, these paintings would be destroyed in a fire that broke out years later.
Büyük Sinema/ Çayda Çıra Oynayan Kızlar (Source: www.ergir.com)
The first film shown in the Büyük Sinema was Desception, starring Bette Davis. Until the last day it was closed, all films were shown in the cinema with their original sounds and subtitles. In addition to the films shown on its screen, the cinema also hosted many concerts and shows. The İstanbul City Theater staged most of its plays in Ankara here. Famous names of the period such as Vasfi Rıza Zobu, Şaziye Moral, Bedia Muvahhit, Reşit Rıza, Behzat Butak, Gülistan Güzey and stars of the theater such as Dormen Theater, Muammer Karaca, Yıldız and Müşfik Kenter, Zeki Alasya and Metin Akpınar also took the stage. The magnificent concerts given by artists such as Münir Nurettin Selçuk, Nesrin Sipahi, İnci Çayırlı, Zeki Müren, Behiye Aksoy, Dario Moreno, Cem Karaca and Barış Manço at the Büyük Sineması were creating a crowd. The situation was no different for foreign artists. Names such as Marc Aryan, Sylvie Vartan, Johnny Hallyday, Dizzy Gillespie, Dave Brubeck, Pepino DiCapri were also among the famous names who gave concerts at the Büyük Sineması. After their concerts, most of these famous names were hosted by Kazım Güven at his house on the fourth floor of the Büyük Apartman.
General view from the Grand Cinema (Source: www.ergir.com)
(Source: www.ergir.com)
In the following years, the cinema also hosted the Golden Microphone Song Contest of the Hurriyet Newspaper and the Inter-High School Music Contest organized by the Milliyet Newspaper. In addition to these events, the congresses of the Republican People's Party, the Democrat Party, the Justice Party and the Trust Party were also held here. After 1950, during the period when the Democrat Party was in power, İsmet İnönü, Adnan Menderes and Refik Koraltan were regulars of the Grand Cinema Lounge, where guests were not allowed with a ticket; while Fatin Rüştü Zorlu and Hasan Polatkan generally preferred to watch films from the balcony at the 18:30 matinee. Following the New Cinema in Ulus, the Grand Cinema also became a place frequented by state officials and leading politicians of the period. The cinemas where they chose to watch films were also in demand. Some of the films playing in the cinema were sent there to be played on the film screening machine in the Presidential Palace for Celal Bayar. The demand for the cinema was very high, but since Prime Minister Menderes did not allow it, the ticket prices of the cinema were not increased for years, and a telegram was sent to the Prime Minister for permission to increase the prices. On the first floor of the Büyük Sineması, which had Piknik, Goralı Sandviç, Özen, Boğaziçi and Kutlu Patisseries in its vicinity, was the Büyük Patisserie run by the White Russian Larissa Marika known as “Madam”. Along with other patisseries in Ankara, this was also an important social gathering place. Madam, who ran the patisserie between 1949 and 1964, was one of three Russians who left a big mark on Ankara, along with Baba Karpiç and Süreyya. Although Madam’s passing was a loss for the Büyük Sineması, she would open her own restaurant called “Madam’ın Yeri” under the İlbank Blocks in the 70s, and would always be supported by Kazım Güven and her daughter. On the second floor of the Büyük Sinema building was the “Ali Baba” pinball hall, and on the upper floor was the “Sergi Kitapevi” owned by Can Yayınevi founder Erdal Öz. In addition to Ankara intellectuals, Yakup Kadri Karaosmanoğlu also frequently came here to have his books signed.
There are so many stories about the Büyük Sinema in the city of Memur. The cinema; the long lines in front of it, the tickets that went on the black market, the audience’s “Machiniiiiiist” shouts and whistles so that the broken films could be quickly glued back together and the movie could be continued, the projection room enthusiasts, the “Frigo Buz”, the “Frukos”, the roasted chickpea-soda duo, the patisserie chats before and after the movie, this place had obviously touched the lives of many people. The Aşk Hikâyesi (Love Story) shown in 1972 was perhaps the last movie to be crowded. The last concert of the cinema was given by Alpay and Lale Akad. The cinema was rented to its former projectionist İlhami Tuncay in 1976. It was completely closed two years later and converted into the Grand Bazaar. Most traces of the cinema were lost in the fire of 1997. The Grand Bazaar, which was later repaired, currently houses jewelers and bridal shops.
Grand Cinema (source: www.ergir.com)
Cinema culture is also developing along with Ankara
Ankara was developing in a way befitting the capital over the years. The people of Ankara had the opportunity to participate more actively in city life with Ulus and Ankara cinemas in the city center that shifted towards Yenişehir with the Jansen plan. In addition to open-air cinemas, everyone was in a good mood thanks to the independent cinemas that opened one after another. One of the names who criticized the films he watched one after another in Ankara in the 50s and wrote his thoughts in his diary was Nurullah Ataç, a man of emotion and thought. “He had watched Chaplin’s Limelight, and since he didn’t like sentimentalism, he wanted to “resist it, shrug his shoulders” at first, but he said he couldn’t do it. Because as he watched, he realized that he was “in front of a great artist, a great man” and he had given himself over to “the joy of this miracle” on the silver screen with great admiration. “I don’t think I’ll have time to see Limelight again,” he said. Yet he wanted to watch the film “many more times.” Another film he had watched, Pane Amore e Fantasia (Bread, Love and Dream), which was shown at the Grand Cinema, was very popular with Ataç. “The first thing he did when he got home at night after the film was to write about this Italian comedy. According to what he said, he really liked Vittorio de Sica’s acting in the film, found Gina Lollobrigida very beautiful, and especially loved the donkey in the film. He stated that he went to the movie two or three times in a row just to see this donkey, and the poor donkey's death at the end of the movie made the writer very sad." Nurullah Ataç, who generally liked to read and chat with his friends, was under the spell of cinema. On March 30, 1954, he would write in his diary: "Something happened to me this year: I started to like the cinema."
Ankara Cinemas That Have Stand the Test of Time Ⅲ: Bahçelievler and Yenimahalle
Cinemas Open One After Another in Bahçelievler and Yenimahalle
With the increase in population, new settlement areas were being created. The first constructions in the Bahçelievler district of Ankara were initiated according to the architectural plan known as the “Jansen Plan” covering the years 1929-1939. The Bahçelievler Construction Cooperative, which was established, ensured that the district was given the name we still use today. As a foreign architect/urban planner, Jansen tried to reflect the characteristics of the culture in which he was located in his plan. He approached the boundaries of the house cautiously, also taking into account social factors. Few examples of houses with large gardens built with care for privacy have survived to the present day. The area, which constitutes a small part of today’s Bahçelievler, has now become very unnoticeable when you look at a map. Because, in addition to the changes made, the district has reached six times the size of the period when it was first planned and built. With the increase in settlements in the Bahçelievler district, cinemas began to open one after another.
Yavuz İşcen’s articles on old cinemas in Ankara contain some very good information about old cinemas in the Bahçelievler district, which we will frequently include in this article. According to this information; in the 1940s, there was the Zevkli Cinema on Bahçelievler 3rd Street, right across from where the Bahçelievler Police Station used to be. Right next to it is the Tennis Club Building and tennis courts. It is known that the neighborhood youth played matches with Americans on these tennis courts, and that Beyazıt Ambar, the son of tennis coach Fuat Ambar, eventually became the Turkish champion while playing tennis under his father’s pressure. After the club closed, it was used as the “Bahçeli Gençlik Futbol Takım Kulübü” for a while, and then as a foosball hall until the year it was closed. Returning to the Zevkli Cinema, it was built as a summer cinema. Considering that the Ankara frost was very severe in those years when the climate was not so different, this idea was not very appealing for the business logic. Open-air cinemas could only attract viewers for about two months in Ankara. Despite this, the Zevkli Cinema continued to exist for a long time. Under the acacia trees, on one side there were tennis courts, sports areas for the youth of the neighborhood and sports enthusiasts, and on the other side, an open-air cinema with viewers of all ages… The Zevkli Cinema closed in the late seventies. The Retirement Fund building was built where the tennis courts were located, and the Migros Shopping Center was built where the Zevkli Cinema was located.
In the 1950s, there was another building known as the Gümüş Cinema at the intersection of Bahçelievler 7th Street and 29th Street, which served as an open-air cinema on its terrace. In the past, there were businesses known as Işık Bookstore and Gümüş Patisserie under this apartment building. It is assumed that they had the same owners due to the similarity of names. Since no records of Gümüş Cinema, one of the first cinemas in Bahçelievler, could be found for later years, it is thought that it did not last very long. Today, there are shops and fishmongers on the ground floor of this apartment building.
Renkli (Color)-1957 (Source: Antoloji Ankara)
The oldest indoor cinema in the district, Renkli Sinema, located just behind the police station on Bahçelievler 3rd Street, was opened in 1957. The names of Master Architect Naki Tınay and Architect Vedat Özsan are mentioned in relation to its architectural project. It is known that Tınay was the architect of many two-story houses in Mebus Evleri and Bahçelievler. The flower pot windows he made protruding on the side facades of the hall are considered to be one of the characteristic features of these houses, of which there are not many examples left today. The owner of Renkli Sinema was Tarık H. Koyutürk, who was doing his master's degree in urban planning abroad and was also the owner of the Ankara Çubuk Dam project. He lived in one of the two-story houses built in Bahçelievler according to the Jansen Plan. In an issue of Hayat magazine published in 1957, it was stated that the velvet curtain decorated with two swan patterns was 11 meters long and the sound system consisting of 9 speakers had a capacity of 1000 volts. We see similar socializing movements before or after the movie here. The Figaro Patisserie across from the cinema was a place frequented by students of Cumhuriyet High School, which was close to the cinema, before and after the movie. One of the most modern cinemas in Ankara, Renkli Sinema, continued its existence until 1966 under the ownership of Koyutürk. The building, which suffered a fire and was not repaired, was demolished after a while. The Bahçelievler Telekom Building is currently located on its site.
Renkli (Color) Cinema-1957 (Source: www.yavuzişcen.blogspot.com)
Perhaps the most important and most remembered of the cinemas in Bahçelievler was the Arı Cinema[1]. Located across from the National Library, at Bahçelievler Son Durak No. 169, the Arı Cinema opened in 1969. The cinema opened with the film La bataille de San Sebastian (The Balls of San Sebastian). As in the cinemas in Ulus, the films were shown here undubbed and with subtitles. Again, like most other cinemas in Ankara, the Arı Cinema hosted other concerts and events. The architectural project of the 1760-seat Arı Cinema was done by Rahmi Bediz and Demirtaş Kamçıl. The cinema consisted of three floors: a balcony, a club and a hall. The ceramic panels decorating the walls are by Prof. Dr. They were the works of Hamiye Çolakoğlu and ceramic artist Cemil Eren. Just to the left of Arı Cinema was Arılar Patisserie, another example of the close relationship between cinema and patisserie. The sections where the seats were located were entered through two different doors marked “singles” and “couples”. This situation, which was interpreted as singles and married or lovers, would continue to be the subject of discussion in other cinemas in the following years.
Ankara Senator Hıfzı Oğuz Bekata, Zeki Müren and theater artists Ayla Algan and Ayten Gökçer at the reception given in Sophia Loren’s name. (Source: www.pusulahaber.com.tr)
Arı Cinema’s opening film poster - (Source: Yavuz İşcen)After the second ring of the gong, which rang a total of three times before the film started, the environment would begin to darken and the final seating would be completed. When you look up towards the ceiling, you would see the striking lighting system designed in the shape of a honeycomb. Arı Cinema had features and magnificence that would compete with other cinemas in Europe at the time. This situation must have been noticed abroad as well, because Arı Cinema hosted the world premiere of the film Le Voyage (The Journey), directed by the famous Italian director Vittorio De Sica and starring Sophia Loren and Richard Burton, in 1974. “On the single-channel television, everyone was in a dilemma about whether to watch David Janssen’s series The Contraband, who played the role of Dr. Richard Kimble, or to see Sophia Loren. Still, there was a large crowd in front of the cinema, accompanied by the consolation of ‘The Contraband is not escaping’.” Famous artists such as Zeki Müren, Ayla Algan and Müjdat Gezen also watched the film from the front rows with Sophia Loren at this important premiere. Yavuz İşcen, who lived through those days, recounts: “About a year had passed. I had gone to see the film ‘Three Days of the Condor’ directed by Sydney Pollack and starring Robert Redford and Faye Dunaway. The 1760-seat capacity Arı Cinema was sold out. The ticket clerk said, ‘There is only room in the first one.’ I was also undecided whether to buy a ticket or not. Because these were the cheapest seats in the cinema. When I was thinking of trying my luck at the matinee later, the clerk said, ‘My sister, even Sophia Loren watched her own movie in the first one.’”
Arı Cinema, which has an important place in our memories, continued its existence as a cinema until 1985. In 1985, it was rented by TRT for 49 years and converted into Arı Studio, preserving its architectural features. After the cinema closed, Arılar Patisserie moved to 7th Street. The Agricultural Credit Cooperatives Solidarity Union Center is located in the place of the patisserie today.
The last cinema we know of in Bahçelievler is Bahçelievler Dedeman Cinema [1]. Dedeman Cinemas were known as “Akay Dedeman” and “Bahçelievler Dedeman”. They opened in 1971. Akay Dedeman Cinema was located on Akay Street. In addition to film screenings, concert events were also held. Akay Dedeman Cinema closed in the late seventies. After being used as a casino and bar, its location was converted into a hospital building.
Bahçelievler Dedeman Cinema was located on Bahçelievler 3rd Street. The 1400-person capacity cinema was able to continue its existence despite the Arı Cinema in the same neighborhood. The Bahçelievler Dedeman Cinema building, which closed in the mid-seventies, was used as a cultural center for a while under the auspices of one of the political parties. In later years, it was renovated and converted into Bahçelievler On Cinema. Bahçelievler On Cinema started operating in the early 2000s under the Tüze Group. It had a cafe, bowling alley and playgrounds on its lower floor. The hall used the latest cinema technology and was a new attraction center with its comfortable seats. Tüze Group became a partner with Avşar Film in 2007. However, it withdrew from the cinema sector in 2008 after the economic crisis it experienced. Bahçelievler Tüze On Cinema also closed the same year. Today, Milyon Performance Hall is located in its place.
Bahçelievler On Cinema, which opened in place of Bahçelievler Dedeman Cinema (Source: emekbahceli.blogspot.com/)
The first children's cinema in Ankara started operating in 1951. It provided service in three sessions every Saturday in the Little Theater. Short documentaries, music videos and Mickey Mouse movies were shown on its screen. In addition to movies that appealed to their own age, older children sometimes went to the cinemas with their families and sometimes with their friends to escape and watch love, adventure and cowboy movies. Although children and young people were not particularly aware of the potential harms of cowboy and gangster movies, various negative effects of these movies were widely discussed and solutions were sought at the time. Muzaffer Tekel spoke about this issue as follows: “We did not yet know the shame of being enemies of the poor Native Americans with the imperial culture of the USA in those years.” In addition to being spectators, there were also child laborers working in cinemas. Cüneyt Arcayürek, who would become one of Turkey’s leading journalists in later years, said that after World War II, he worked as a lighting technician at the Halk Cinema to support his family financially, while his older brother cut tickets at the door of the same cinema. Children who worked in many jobs from carrying reels to being a movie projectionist also got to know the background of cinema. Cinema was very important for all ages and in every respect.
A Look at the Cinemas in Yenimahalle
While we are talking about old neighborhood cinemas, let’s not skip visiting Yenimahalle. We know that there were many cinemas in this district, especially in the 60s. There was the Yılmaz Open Air Cinema at Yenimahalle 8th Stop. Due to the difficulty of finding new films, films left over from the winter were usually shown. But the public's interest was still high. There was the Alemdar Cinema on 5th Street. The lower floor of the building was used as a closed cinema, the middle floor as a wedding hall and the terrace as a summer cinema. Foreign films were usually shown at the Alemdar Cinema. Later, this building would be used as the Alemdar Business Center and the cinema as a wedding hall.
Yenimahalle Alemdar Cinema (Source: sinasiyuksel.com)
There was the Seyran Cinema on Serdar Street. Local films were also shown at the Seyran Cinema. In the summer, the neighborhood would dive into other worlds with their sunflower seeds and chickpea sodas in their hands in the warm atmosphere of the wooden chairs of the open air cinemas, and in the winter, in the velvet seats of the closed cinemas. We also know that there were also the Güneş Cinema and the Akın Cinema in Yenimahalle in those years. However, unfortunately, they all lost their lives to time.
I would like to thank Cem Dedekargınoğlu for his contribution
Ankara Cinemas That Have Fallen to the Test of Time IV: The Era of Detached Apartments with Cinemas
Although most people are used to cinemas in shopping malls today, some Ankara viewers continue to be loyal to street cinemas. Enjoying a movie in a theater where there is no smell of food and no sound of the movie is mixed together provides a much more special experience. In this way, deep bonds are established between moviegoers and these independent cinemas. Over the years, a similar intimate bond was established between Ankara moviegoers and Kızılırmak Cinema. The cinema located on Kızılırmak Street in Kızılay started operating in 1960. At that time, it was opened for the use of those living on American bases in Ankara. The cinema would mostly show films with American nationalist themes during the weekdays, and the hall would be used as a church on the weekends. Kızılırmak Cinema was opened to the public after renovations in the 1970s. Over the years, the cinema tried to preserve its historical elements as much as possible. Many objects in the foyer section, from the poster frames to the marble on the floor, were preserved as they were. This classic-style cinema received a Cultural Initiative Certificate from the Ministry of Culture and Tourism. The cinema, which is also supported by Eurimages (European Audiovisual Works Support Fund) established to develop European Cinema activities, has been operated by the same family that has owned the property for three generations.
Kızılırmak Cinema
In the early years, there were no films to be shown. For this reason, the cinema deviated from the mainstream and turned to non-American films, creating its own alternative cinema audience. The cinema generally focuses on screening European and Independent Cinema examples and films that did not have the chance to be released. Kızılırmak Cinema also supports many festivals by hosting them. Some of these are: International Flying Broom Women's Film Festival, Human Rights Cinema Days, Workers' Film Festival, Ankara Film Festival and Travelling Festival. Films were shown all day long at the film festivals in the late 90s. The loyal festival followers who came to the movies almost never went home and watched films all day in their most comfortable clothes and ate the food they brought from home. Today, Kızılırmak Cinema is still being kept afloat by its loyal audience. It was on the verge of closing last year, but it has since reopened. Independent cinemas already had many problems, such as pirated CD and DVD production that started in the 2000s, monopolized film distribution, the abundance of shopping mall cinemas, the differentiation of the culture of watching movies, and the spread of digital cinema platforms. Although it is thought that their situation after the pandemic will not be very encouraging, it is hoped that Kızılırmak Cinema will be a place frequented by cinema and art lovers in Ankara for many years to come.
One of the most preferred cinemas by Ankara moviegoers was the Metropol Cinema on Kızılay Selanik-2 Street. When passersby looked at the movie posters at the entrance of the cinema, they would often not be able to turn away the host who invited them in and would be caught up in the magic of the cinema without even thinking about it. However, this is now a thing of the past. Because; while the article on Ankara cinemas that have been defeated by time was being prepared for publication, the Metropol Cinema could not withstand the pandemic conditions and closed its curtains. The TMMOB Chamber of Mechanical Engineers Education and Culture Center is currently located in its place. Of the cinemas that we can now describe as independent cinemas in Ankara, only the Kızılırmak Cinema and Büyülü Fener Cinemas remain.
(Source: metropol-sinemas.business.site)
(Source: metropol-sinemas.business.site)
“Old cinemas in Ankara” is a vast subject. But when this subject is discussed, Kavaklıdere, Talip, Menekşe, Çankaya and Nergiz Cinemas, which come to mind almost everyone, have one thing in common: They are all ‘Cinema Apartments’ and their architect is Nejat Tekelioğlu. Architect Nejat Tekelioğlu and one of the mayors of Ankara, Architect Vedat Dalokay, had a professional partnership between 1958 and 1968. After the partnership, Tekelioğlu focused on his own projects and thus Ankara’s cinema apartments emerged. Known for making paintings and sculptures, being interested in literature and writing poems, Tekelioğlu and his mixed-use cinema apartments would add color to the cinema life in Ankara for many years.
Cinemas, which are Ankara’s cultural and entertainment venues, first shifted from Ulus to Kızılay, then to other districts and then to Kavaklıdere. Initially designed as Nergiz due to the Nergiz family who owned the building, the cinema was later named Kavaklıdere Cinema. Kavaklıdere Cinema, located on the ground floor of the nine-story Başkent Apartment on Tunalı Hilmi Street in Kavaklıdere, met its audience in 1969. Its two-story hall was divided into four halls in the following years. Kavaklıdere Cinema provided Ankara residents with many memories for many years. It hosted festivals. After 1991, Denk Agency, which also owns Büyülü Fener Cinemas, took over the management of the cinema. Kavaklıdere Cinema, an indispensable stop for festivals, attracted attention with its “night cinema” and “first children’s cafe” applications. The cinema was also supported by Eurimages-Europa Cinemas, an affiliate of the Council of Europe, for showing quality European and Turkish films. It received the Mass Communication Award given by the Ankara Film Festival in 1999 for its contributions to the viewing of quality cinema. However, these could not prevent its closure and Kavaklıdere Cinema also closed its curtains in 2007. Although Kavaklıderem Association tried to reopen it in the past, it can now only greet people passing by with its sign.
Kavaklıdere Cinema (January-2020)
Talip Cinema, one of Tekelioğlu's apartment buildings with cinemas, was also located on Tunalı Hilmi Street. The apartment was designed in 1969. In order to make room for the shops and the cinema, the entrance of the nine-story building's residential floors was arranged in a way that would take up less space. This arrangement reflected the characteristic feature of apartment buildings with cinemas. You would go down to the basement by passing between the apartment entrance and the shops, and from there you would enter the cinema. Talip Cinema added value to Tunalı Hilmi Street, where it is located, together with Kavaklıdere Cinema for thirty years. In addition to showing films, Talip Cinema also hosted theater shows and various concerts. For example, in 1993, the Ankara leg of the 'Cursed Concerts' organized in Istanbul for metal music lovers was held at Talip Cinema. During the concert, a fight broke out between young people and the environment was calmed down by police intervention. Talip Cinema was also one of the cinemas that lost the life of time. Although there is a parking lot in its place now, the ceramic wall coverings from the time it was built are still on the walls.
Talip Cinema wall coverings (February-2021) | We would like to thank ceramic artist Özgür Ceren Can for his consultancy in defining the wall coverings.
Çankaya Cinema in Chile Square and Nergiz and Menekşe Cinemas on Menekşe Street were other examples of Architect Nejat Tekelioğlu's cinema apartment concept. Çankaya Cinema was opened in 1967 by Mehmet and Refik Erdoğan brothers. The second President İsmet İnönü also attended its opening. With a seating capacity of 850 people, it embraced theater plays as well as film screenings. Devekuşu Kabare, Kent Oyuncuları and Haldun Dormen met theatergoers on this stage. The cinema operated in an area of 1500 square meters with a balcony floor and a large foyer until 1987. After being rented out, the cinema was used as a disco, restaurant and then Çakıl Gazinosu over the years. However, there was a pleasing development last year. The venue returned to the culture and art scene under the name “Çankaya Sahne” and opened with the play Socrates’ Last Night on October 4, 2019. The words of Çankaya Sahne’s General Art Director Mehmet Atay are very meaningful: “This is a venue that brings back different moments in many of your memories. Several generations experienced different voices, different visuals and excitements here. Those who created this venue as a cinema may not have been able to experience continuity in their dreams due to the reflection of the crises our country is experiencing on art, but they prepared the ground for it to continue its life as an art center because they wanted the lyrics, musical pieces and film frames embedded in the walls and stairs of the venue they meticulously built to always remain fresh in memories. We are proud to bring together this cult venue, which will almost be remembered with its name, with an artistic energy after many years. We set out alone, but we are sure that you will not leave us alone.”
Çankaya Cinema (Source: www.ayrancım.org.tr)
Nergiz Cinema was located in Nergiz Apartment, built in 1967 on Menekşe-1 Street. In the seventies, Nergiz Cinema usually screened family and adventure films. In the early nineties, despite the discomfort of watching the film from a chair, the long queue for the film Rambo-3 was worth seeing. In addition to showing films, the cinema also opened its stage to theater and other cultural and artistic events such as Devekuşu Kabare. However, it could not hold on for long as interest in cinema decreased over the years. This cinema, which is from the pocket cinema school, started to screen only erotic films in its last years and then closed.
E.T. ticket quoue-1984 (Source: Antoloji Ankara)
The Menekşe Cinema, whose architectural project was prepared by Nejat Tekelioğlu and Özdemir Çakıner in 1966, was located in the Orkide Apartments, a little below the Nergiz Cinema, close to the Modern Bazaar. The Menekşe Cinema was an important cinema until the late 90s. Here, emotions and cinema lived together. In the last scene of a hard-hitting movie, when the protagonist gets beaten up a bit and then gets up with a big comeback and kicks his opponent for the first time, the whole theater gets excited with an excitement resembling a Mexican wave, saying, “This is it.” The children who entered the movie Big Trouble in Little China, directed by John Carpenter, were enchanted by that fantastic movie, held their elders’ hands at the end of the movie and ate their fill at Konya Mutlu Kebap on Sümer Street, are now in their forties. Menekşe Cinema, after it was closed, became an art center used by private theaters in the following years.
“Love Story” movie is shown in Kavaklıdere and Nergiz Cinemas-1970 (Source: yeşilçam cinema/twitter)
As stated in the article by Assoc. Prof. Umut Şumnu; “The apartment buildings with cinemas designed by Architect Nejat Tekelioğlu in Ankara are important examples of civil architecture. They are all important elements of our city memory. These apartments are an architectural heritage that should be protected and preserved both in terms of the stores and cinema spaces on their lower floors, the apartments in the apartment block, the information they provide about the housing policy of the years these apartments were built, and the original design approaches and architectural details in all these spaces.”
Another apartment building with a cinema in Ankara; Karınca Apartment and Karınca Cinema was located at number 70 on Esat Street. Karınca Apartment was designed by Architect Fehmi Doğan and Architect Mehmet Ünal. The architectural project was approved in 1967 and the building was completed in 1969. With a renovation in 1977, the use of the cinema was changed according to the need. The entrance to the cinema was taken from Esat Street, from the middle section of the building and connected to the foyer with the entrance hall. The entrance to the balcony part of the cinema hall was from the foyer. The hall was reached from the foyer by a staircase. In a new foyer created in the basement where the hall was located, the staircases at both ends of the building were directed to the cinema exits at both ends of the building. This single-screen, high-ceilinged, red velvet-curtained cinema was also closed. Karınca Pasajı continues its life. It is known that there were also Dilek Cinema and Ferah Open Air Cinema on Esat Street, but they did not survive to the present day.
In the past, some of the rising scenes of the films or the endings, if they were pleasing, were applauded by the entire hall. Even if the film crew was not aware of this, the satisfaction felt with what was watched was shown by applause. When there was a technical problem, shouts of ‘Hoop Makiniiiissst’ would be heard. There would be a state there, independent from the outside, close to the magical world of what was being watched. Unlike the cinemas that were entered mostly to pass the time, the culture of watching movies more carefully, on time, without disturbing anyone, and respectfully and quietly was widespread.
Zamana Yenik Düşen Ankara Sinemaları V:
When you look at old Ankara photographs about cinema, a very memorable frame stands out. In the photo taken in the sixties, there are people forming a long queue in front of the cinema. That cinema is the Gölbaşı Cinema in Demirtepe, and the long queue is the line for the movie Hancı starring Turgut Özatay and Aysel Tanju, which was playing at a sold-out box office. The photo shows how cinema touched people's lives in those days and how much interest the public had in cinema. Gölbaşı Cinema continued to attract attention for many years. It especially hosted festival films and quality European films for a while. It was a very respectable cinema. However, as we approached the present day, this cinema also bowed to the known reasons and closed its curtains. The Telecommunications Authority building currently stands in its place.
The physical conditions of As Cinema, located under Gölbaşı Cinema, were not as good as Gölbaşı Cinema and it could not survive to the present day. Kerem Cinema, right next to it, failed to succeed in the sector and switched to showing erotic films and then closed. Eti Art Center mainly screened art films. It ended like Kerem Cinema. In the 70s, Maltepe, which was neighboring Demirtepe, had Maltepe, Alemdar, Başkent, Bulvar, Mini and Burç cinemas. It is really remarkable that there were so many cinemas in these neighborhoods in those years. In the place of these cinemas, there are now wedding halls known by the same names.
Gölbaşı Cinema (Source: Ankara Cımbızcısı)
Maltepe Alemdar Cinema (Source: Ankara Antoloji)
One of the cinemas that is most remembered is Akün Cinema. The cinema opened its curtains on May 1, 1975 with the excitement of Hababam Sınıfı. The Hababam Sınıfı movie was shown for 26 weeks. Akün culture had a special place for the people of Ankara. Akün Cinema was preferred due to its modernity, original decor, comfortable and large seats, and the screen where the movie could be watched beautifully from every angle. Akün Cinema, which has a capacity of 911 seats, did not divide or spoil the only movie theater it had while it was open. With its wide-stepped outdoor stairs where you can sit and its imposing stance, it has also become a meeting point for many people. This beautiful cinema, which was the only place where ‘frigo ice’ was sold, managed to survive for 27 years despite everything. Haldun Armağan describes Akün, which has lived as a cinema for a quarter of a century, as follows: “Cinemas like Akün, which have now transformed into completely different places, were examples of architectural styles with their independent identities. However, Ankara has lost Akün Cinema, which was an example of neo-classical architecture and was built with aesthetic care from the ceramics in its foyer to the ceiling decorations. If the State Theaters had not bought Akün, it would have been a shopping mall.” Akün could not withstand the other cinemas with multiplexes and the economic crisis it was experiencing. Akün Cinema showed Hababam Sınıfı, which it showed to its audience on the day it was born, as its last film on the day it died. After this sudden closure, which shocked us all at the time and made people cry in its last session, the venue was transferred to the State Theaters and met with theatergoers under the name “Akün Sahne” 2 years later. It had only been 11 years since it was converted into a theater when it was decided to sell it. After 2013, the Akün Stage was put up for sale by tender five times, along with the Şinasi Stage. It could not be sold for a while because it was offered below its value. During this process, the idea of selling these two stages for other purposes was repeatedly protested and tried to be prevented by art lovers and civil society organizations in Ankara. In 2014, the buildings where the stages were located were purchased by businessman Ahmet Meriç. The fears did not come true and fortunately, these two stages continue to be among the most important venues of Ankara's cultural and artistic life today.
There is another venue that saddens us with its signboard, like Kavaklıdere Cinema: Mithatpaşa Show Center. Despite its uncomfortable seats, it was a preferred cinema by the audience due to its affordable ticket prices. It closed in the early 2000s. With its old, yellowed movie posters and sign, it is waiting to return one day.
Mithatpaşa Show Center (November/2020)We should not forget the Ziraat Culture Center above Mithatpaşa Street. In 1995-1996, I watched many good movies, such as Tarantino's Pulp Fiction, with invitations brought by our neighbor who worked at Ziraat Bank. As far as I know, this centrally located cinema could only be visited by invitation. I remember that whenever I went, the hall was very crowded. With the renovation of the cinema hall belonging to the General Directorate of Ziraat Bank, the venue was transferred to the State Theaters in 2015 and is still one of the most preferred stages.
Ziraat Culture Center (Source: www.ankabar.com)The Ankapol and Megapol cinemas affiliated with the Tüze Group were also well-known cinemas. The Ankapol Cinema was opened in 1997. It stood out with its “Cinematek” identity. It usually screened select European films and festival films. It was very enjoyable to watch movies from its balcony. After the Tüze Group, the cinema was operated for a while by the Ankara Cinema Culture Association, but it was sold in 2008 due to the debts of the owner Tüze Group. The Jolly Joker Performance Hall is currently located in the location of the cinema.
The Megapol Cinema was also located on Konur Street. It had three small halls: red, blue and green. In the late 90s, it became indispensable for the students of the university preparatory schools in the area. Although it received support from students, this was not enough and Megapol Cinema also joined the list of cinemas that were closed.
Megapol Cinema (November/2020)
Derya Sineması (Kaynak: Antoloji Ankara)
Derya Cinema located on Necatibey Street was another cinema that is etched in memories. Although it was not as popular as other cinemas closer to the center in the mid-seventies, it was a place loved for the quality films it screened and the concerts held on its stage after the eighties. It had a peaceful atmosphere with its large hall and balcony. I remember watching many films at Derya Cinema, especially in the nineties. These were the years when shopping mall cinemas were not yet everywhere, seating was indicated with lanterns and the attendant holding the lantern was tipped. It was very difficult to find a seat at the screenings for some films. For example, we had a hard time finding tickets for Titanic and watched the film very intimately with the people sitting on the stairs. We also lost Derya Cinema due to the problems of the cinema sector and the inability to keep up with technological developments. It was purchased by the Chamber of Civil Engineers in 2005, together with the eight-story building it was located in. The location of the cinema is used as a multi-purpose conference hall within IMO.
The Bati (Western) Cinemas were located on the Kızılay road, in a location frequently seen on Atatürk Boulevard. Unforgettable films were shown on its screen. The movie Braveheart attracted a lot of attention when it was released and stayed on for about a year, causing “Victory Week” posters to be hung outside the cinema. It was operated by the operator of Derya Cinema for a while. It also hosted the Gezici Festival in 2009. Although the Western Cinema in the Western Passage was closed, its sign and posters of old films were not removed for a long time. It tried very hard not to close, but unfortunately it could not escape this fate.
Bati Cinema Entrance-1980s (Source: Antoloji Ankara)
Panzers in front of the Bati Cinema-Atatürk Boulevard after September 12 (Source: Antoloji Ankara)Apart from these; In the Abidinpaşa district, there was the Türkiş Open Air Cinema, in Cebeci, next to the Faculty of Law, there was the Sun (Elvan) Cinema in the same neighborhood as the Site Cinema, while proceeding from Cebeci to Hamamönü, there was the Cebeci Cinema, which generally showed foreign films, and the Melek Cinema in Cebeci Dörtyol, which showed local films, the Uzay Cinema, which was built later than the others and looked more modern, right next to the Melek Cinema, Saray Cinema, which was close to the maternity hospital and generally showed local films, the İnci Cinema near Kurtuluş, the Konak Cinema on Kurtuluş Umut Street, Sinema70 and Cep Cinema behind Güvenpark.
Melek Cinema-Cebeci Dörtyol/1965 (Source: Ankara Antoloji)
Cebeci Cinema-1980 (Source: Ankara Cımbızcısı)
Arzum Open Air Cinema at the Keçiören Mecidiye stop; Cem Cinema, Şato Cinema at the Gazino stop; an open air cinema at the Yakacık stop; In Kavaklıdere, there was the Hanif Cinema, Yeni Ulus Cinema, Ses Cinema and Lale Cinema; in Ulus and Dışkapı, there were the Stad, Nur and Atlas Cinemas; in Aydınlıkevler, there was the Süreyya Cinema; in Çankaya Yıldız, there was the Yıldız Cinema; in Seyranbağları, there was the Seyran Open Air Cinema; in Altındağ, there was the Altındağ Open Air Cinema; in an area opposite the Ders Aletleri Yapım Merkezi in Gazi Mahallesi, there was the Ümit Open Air Cinema.
Altındağ Open Air Cinema (Source: Ankara Tıpızcısı)
Altındağ Open Air Cinema (Source: Ankara Cımbızcısı)
CONCLUSION
Çiğdem Kaya Çayır
"I would like to thank Murat Çayır, Seren Erciyas and Pınar Aslantaş for their contributions."
Yakup Kadri Karaosmanoğlu expresses the effect of the films shown in the Ankara novel and the current affairs films before them as follows: “Cinemas […] had now given up on making vulgar, vulgar and tasteless films that appealed to the lower emotions of the people and always tickled the animal side of humanity, and instead they had started making satirical and epic films that served national causes. The people watched these with the same interest and concern, and they knew how to cry and laugh while watching them as much as Greta Garbo cried for her lovers or Charlie Chaplin laughed at his falls and rises. Especially the national current affairs films that showed the draining of a swamp somewhere in Anatolia, the operation of the first train on a new railway line or the cotton from the Seyhan field coming to the Kayseri cloth factories and coming out of there in the form of white calico or colored calico, made the cinema atmosphere ring with applause and shouts of joy.”
Ankara Republic Boulevard-1937 (www.eskiturkiye.net)
After the foundation of the Republic, the cinemas that were opened one after another in Ankara, the capital, to support the cultural development of the people and the country, realized the cultural revolution that was expected of them. These cinemas did not only show movies, but also welcomed activities such as theater plays, cabarets, musicals, concerts, etc. As a result, the increasing knowledge of the people created an intellectual city. Perhaps the intergenerational heritage that resulted from all of this brought the concept of “Ankara audience” to these days.
According to sources, there were around two hundred cinemas and open-air cinemas that opened and closed in Ankara from the 1920s to the 2000s. If only we had a time machine and could visit the magical atmosphere of all of them, even if only for a single movie. Preparing an article about cinemas that have been defeated by time was a saddening experience. There are always ‘if onlys’ after those who have left, and I also have ‘if onlys’ about these closed cinemas. I have watched many films from the cinemas that have been defeated by time that were still standing. But I wish I had more chance. The structures and cultural and artistic movements that are engraved in the memories of those people, along with their people, form an important part of the city's spirit. Ankara is very special to me, as it is to many people living here. Because I spent a large part of my life in this city. The important moments of my personal history and the things I remember are hidden in this city where I live. That's why my eyes look for old shops, bookstores, cafes, cinemas and other structures on the streets I walk. The reminders of the roads I walk on are saddening. Sometimes the roads lead to friendly conversations at Blues, Gölge or Sinema Bar, sometimes to Pizzeria, Net Piknik or Ofis Piknik, and sometimes to the movies I watched at Derya, Kavaklıdere or Akün Cinema. Although cinemas have been defeated by time, they are buried in people's memories along with other venues that have closed.
With the hope that the other values remaining in the city will no longer be defeated by time, will not remain only in our memories and will always be before our eyes...
CREDITS
The cover illustration of the Ankara Cinemas Defeated by Time series was prepared by: Rüya İğit
"I would like to thank Murat Çayır, Seren Erciyas and Pınar Aslantaş for their contributions."
SOURCES
Ankara Sinemaları Tablosu
Tabloda eksik kalan kısımları okurların desteğiyle tamamlamak isteriz. Katkılarınız için editor@lavarla.com adresine mail atabilirsiniz. Teşekkür ederiz.
| Sinema | Açılış Tarihi | | Bulunduğu Yer |
| Millet Bahçesi Sineması | 1920.. | Millet Bahçesi içerisinde | Ulus |
| Kulüp Sineması | 1927 | | Ulus |
| Yeni Sinema | 1928 | | Ulus |
| Halk Sineması | 1937 | Eski Kulüp Sineması’nın adı değiştirilerek | Ulus |
| Sus Sineması | 1938 | | Ulus |
| Sümer Sineması | 1940 | | Ulus |
| Park Sineması | 1941 | Yanan Halk Sineması’nın yerine | Ulus |
| Ulus Sineması | 1939 | | Kızılay |
| Ankara Sineması | 1943 | | Sıhhiye |
| Büyük Sinema | 1949 | | Kızılay |
| Zevkli Sinema | 1940.. | | Bahçelievler |
| Gümüş Sineması | 1950.. | | Bahçelievler |
| Cebeci Sineması | 1950 | | Cebeci |
| Nur Sineması | 1952 | | Dışkapı-Ulus |
| Renkli Sinema | 1957 | | Bahçelievler |
| Kızılırmak Sineması | 1960 | | Kızılay |
| Menekşe Sineması | 1966 | | Kızılay |
| Nergiz Sineması | 1967 | | Kızılay |
| Çankaya Sineması | 1967 | | Şili Meydanı |
| Arı Sineması | 1969 | | Bahçelievler |
| Kavaklıdere Sineması | 1969 | | Tunalı Hilmi |
| Talip Sineması | 1969 | Projelendirme yılı, açılış yılı bulunamadı. | Tunalı Hilmi |
| Karınca Sineması | 1969 | | Küçükesat |
| Dedeman Sineması(Bahçelievler) | 1971 | | Bahçelievler |
| Dedeman Sineması (Akay) | 1971 | | Kızılay |
| Akün Sineması | 1975 | | Atatürk Bulvarı |
| Ankapol | 1997 | | Kızılay |
| On Sineması | 2000 | Eski Dedeman Sineması’nın adı değiştirilerek | Bahçelievler |
| Metropol Sineması | | | |
| Yılmaz Açıkhava Sineması | ? | | Yenimahalle |
| Seyran Sineması | ? | | Yenimahalle |
| Güneş Sineması | ? | | Yenimahalle |
| Akın Sineması | ? | | Yenimahalle |
| Megapol | ? | | Kızılay |
| Dilek Sineması | ? | | Küçükesat |
| Ferah Açıkhava Sineması | ? | | Küçükesat |
| Derya Sineması | ? | | Sıhhiye |
| Ziraat Kültür Merkezi | ? | | Kızılay |
| Mithatpaşa Gösteri Merkezi | ? | | Kızılay |
| As Sineması | ? | | Demirtepe |
| Kerem Sineması | ? | | Demirtepe |
| Gölbaşı Sineması | ? | | Demirtepe |
| Maltepe Sineması | ? | | Maltepe |
| Alemdar Sineması | ? | | Maltepe |
| Burç Sineması | ? | | Maltepe |
| Başkent Sineması | ? | | Maltepe |
| Bulvar Sineması | ? | | Maltepe |
| Mini Sinema | ? | | Maltepe |
| Eti Sanat Merkezi | ? | | Demirtepe |
| Melek Sineması | ? | | Cebeci |
| Batı Sineması | ? | | Kızılay |
| Türkiş Açıkhava Sineması | ? | | Abidinpaşa |
| Sun (Elvan) Sineması | ? | | Cebeci |
| Site Sineması | ? | | Cebeci |
| Uzay Sineması | ? | | Cebeci |
| Saray Sineması | ? | | Cebeci(Doğumevi yanında) |
| İnci Sineması | ? | | Kurtuluş |
| Konak Sineması | ? | | Kurtuluş |
| Sinema 70 | ? | | Kızılay |
| Cep Sineması | ? | | Kızılay |
| Arzum Açıkhava Sineması | ? | | Keçiören |
| Cem Sineması | ? | | Keçiören |
| Şato Sineması | ? | | Keçiören |
| Yakacık Açıkhava Sineması | ? | | Keçiören |
| Hanif Sineması | ? | | Kavaklıdere |
| Yeni Ulus Sineması | ? | | Kavaklıdere |
| Ses Sineması | ? | | Kavaklıdere |
| Lale Sineması | ? | | Kavaklıdere |
| Stad Sineması | ? | | Dışkapı-Ulus |
| Nur Sineması | ? | | Dışkapı-Ulus |
| Atlas Sineması | ? | | Dışkapı-Ulus |
| Süreyya Sineması | ? | | Aydınlıkevler |
| Yıldız Sineması | ? | | Yıldız-Çankaya |
| Seyran Açıkhava Sineması | ? | | Seyranbağları-Çankaya |
| Altındağ Açıkhava Sineması | ? | | Altındağ-Çankaya |
| Ümit Açıkhava Sineması | ? | | Gazi Mahallesi-Beşevler |
KAYNAKÇA
Ali Esat Bozyiğit, “Eski Ankara Sinemaları”, Kebikeç Dergi, Sayı 9, 1999.
Burcu Bilgin, “Sinemalar tarih oldu“, Hürriyet, 26 Temmuz 2007.
Ekin Taneri ve Ayberk Boztepe, “Samimiyetin Adresi Olan Sinema: Kızılırmak”, Bilkent Post, 6 Mayıs 2016.
Görkem Barındık, “Mustafa Kemal Atatürk ve Sinema (19 Mayıs özel)“, Sinetürkiye, 2019.
Gülseren Mungan Yavuztürk, “Ataç’ın Ankara’daki Sinema Günleri”, Ankara Araştırmaları Dergisi, s. 180-188, 2016.
İbrahim Demirkan, “Ankara Sinemaları“, Tercümanı Ahval, 7 Ekim 2015.
Semih Gökatalay, “Erken Soğuk Savaş Ankara’sında Sinema Kültürü”, Ankara Araştırmaları Dergisi, 2019.
Suavi Aydın, Ömer Türkoğlu, Kudret Emiroğlu, Ergi Deniz Özsoy, Küçük Asya’nın Bin Yüzü: Ankara, Dost Kitabevi Yayınları, 2019.
Umur Gerenli, “Şimdide saklanan bir geçmiş: Kızılırmak Sineması“, Haber Ne Diyor?, 16 Kasım 2019.
Umut Şumnu, “Nejat Tekelioğlu’nun Sinemalı Apartmanları: Talip ve Başkent (Kavaklıdere)”, Ankara’da İz Bırakan Mimarlar: Vedat Dalokay ve Nejat Tekelioğlu, Koç Üniversitesi Yayınları, 2019.
Yakup Kadri Karaosmanoğlu, Ankara, İletişim, 2004.
Yaşar Sökmensüer, “Hababam merhaba Akün, hababam hoşçakal Akün“, Hürriyet, 23 Temmuz 2014.
Bloglar ve Websiteleri
Sivil Mimari Bellek Ankara 1930-1980
Ankara’da İz Bırakan Mimarlar
AnkaBar
Ankara Cımbızcısı
Antoloji Ankara
Emek-Bahçelievler Eski Dostlar
İlgilik
Haldun Armağan
Kamera Arkası
Karşı Açı
Sinan Akbulut
Şinasi Yüksel
Yavuz İşcen
Yalçın Ergir
wowturkey.com
Wikipedia
Büyülü Fener Sinemaları
Fotoğraf Açıklamaları ve Kaynakları
Foto-1: Millet Bahçesi Sineması (Yavuz İşçen, yavuziscen.blogspot.com)
Foto-2: Millet Bahçesi ve içindeki sinemanın yeri-1935 (Yavuz İşçen, yavuziscen.blogspot.com)
Foto-3: Kulüp Sineması (Yavuz İşçen, yavuziscen.blogspot.com)
Foto-4: Bilet ve İlanlar (Yavuz İşçen, yavuziscen.blogspot.com)
Foto-5: Yeni Sinema (Yavuz İşçen, yavuziscen.blogspot.com)
Foto-6: Sümer Sineması şimdiki hali ve ilan (Yavuz İşcen, yavuziscen.blogspot.com)
Foto-7: Ulus Sineması (Ankara Cımbızcısı)
Foto-8: Kızılay Soysal Apartmanı terasından Kavaklıdere yönüne bakış, arkada Uybadin Köşkü (Antoloji Ankara)
Foto-9: Kızılay Meydanı/Soysal Apartmanı ve Uybadin Köşkü (Antoloji Ankara)
Foto-10: Ankara Sineması (Antoloji Ankara)
Foto-11: Büyük Sinema-Hafta Tatili Ruhsat Teskeresi (Yalçın Ergir, www.ergir.com)
Foto-12: Büyük Sinema/Çayda Çıra Oynayan Kızlar (Yalçın Ergir, www.ergir.com)
Foto-13: Büyük Sinema genel görünüm (Yalçın Ergir, www.ergir.com)
Foto-14: Marc Aryan Büyük Sinema’da verdiği konserden çıkışı Kazım Güven’in evinde (Yalçın Ergir, www.ergir.com)
Foto-15: Büyük Sinema Genel Görünüm (Yalçın Ergir, www.ergir.com)
Foto-16: Renkli Sinema-1957 (Antoloji Ankara)
Foto-17: Renkli Sinema (Yavuz İşçen, yavuziscen.blogspot.com)
Foto-18: Arı Sineması’nda oynayan ilk film San Sebastian’ın Topları afişi (Yavuz İşcen, yavuziscen.blogspot.com)
Foto-19: Le Voyage (Yolculuk) filminin Arı Sineması’ndaki galası/1974 (www.pusulahaber.com.tr)
Foto-20: Arı Sineması’nın yerine açılan Arı Stüdyosu (Yavuz İşçen, yavuziscen.blogspot.com)
Foto-21: Bahçelievler Dedeman Sineması’nın yerine açılan On Sineması, (emekbahceli.blogspot.com)
Foto-22: Yenimahalle Alemdar Sineması (www.sinasiyuksel.com)
Foto-23: Yenimahalle Seyran Sineması (www.sinasiyuksel.com)
Foto-24: Kızılırmak Sineması (Pınar Aslantaş)
Foto-25: Kızılırmak Sineması (Pınar Aslantaş)
Foto-26: Kızılırmak Sineması (Twitter/Ankara Apartmanları)
Foto-27: Metropol Sineması (www.metropol-sinemas.business.site)
Foto-28: Metropol Sineması (www.metropol-sinemas.business.site)
Foto-29: Kavaklıdere Sineması, 70’li yıllar (Antoloji Ankara)
Foto-30: Kavaklıdere Sineması, Kasım/2019 (Yazara ait)
Foto-31: Çankaya Sineması (Antoloji Ankara)
Foto-32: Talip Sineması Duvar Kaplamaları Şubat/2021 (Yazara ait)
Foto-33: Çankaya Sineması (ayrancım.org.tr)
Foto-34: Nergiz Sineması-Nergiz Sineması önünde E.T. kuyruğu, 1984 (Antoloji Ankara)
Foto-35: Kavaklıdere ve Nergiz Sinemalarında Love Story filmi gösterimde (Twitter/yeşilçam sineması)
Foto-36: Ulus Sineması-ilan (Yavuz İşcen, yavuziscen.blogspot.com)
Foto-37:Çankaya ve Gölbaşı sinemaları ilan (ayrancim.org.tr)
Foto-38: Sinema salonları gazete reklamı (Ankara Cımbızcısı)
Foto-39: Gölbaşı Sineması (Ankara Cımbızcısı)
Foto-40: Maltepe Alemdar Sineması (Antoloji Ankara)
Foto-41: Akün Sineması-veda bileti (www.kameraarkası.org)
Foto-42: Akün Sineması (www.ntv.com)
Foto-43: Mithatpaşa Gösteri Merkezi- Kasım/2020(Yazara ait)
Foto-44: Ziraat Kültür Merkezi (www.ankabar.com)
Foto-45: Megapol Sineması-Kasım/2020 (Yazara ait)
Foto-46: Derya Sineması (Antoloji Ankara)
Foto-47: Derya Sineması (Antoloji Ankara)
Foto-48:Batı Sineması girişi, 1980’li yıllar (Antoloji Ankara)
Foto-49: Batı Sineması önünde panzerler-Atatürk Bulvarı 12 Eylül sonrası (Antoloji Ankara)
Foto-50: Melek Sineması-Cebeci Dörtyol, 1965 (Antoloji Ankara)
Foto-51: Cebeci Sineması, 1980 (Ankara Cımbızcısı)
Foto-52: Altındağ Açıkhava Sineması (Ankara Cımbızcısı)
Foto-53: Ankara Cumhuriyet Bulvarı-1937 (www.eskiturkiye.net)
NOTES
[1] SOURCE
Bahçelievler Dedeman Cinema
Dedeman Cinemas, known as “Akay Dedeman” and “Bahçelievler Dedeman”, opened in mid-1971. Akay Dedeman was located on Akay Street in Bakanlıklar district and had a capacity of 1500 people. In addition to movies, concerts were also frequently held here. I remember Edip Akbayram, Nilüfer and Cem Karaca concerts. Among the movies I watched in this cinema, I was very impressed by Stanley Kubrick’s “2001 A Space Odyssey”. The crowd at the door is still in my mind. Akay Dedeman Cinema closed after the mid-70s. Its location was first converted into a casino, then a bar and finally a hospital building.
Bahçelievler Dedeman Cinema, located in Bahçelievler, had a capacity of 1400 people. The cinema, located at Bahçelievler 3. Cadde No: 38-41, managed to maintain its existence for a while despite opening during a crisis in the cinema sector and having a strong competitor in the same neighborhood, Arı Cinema. I remember trying not to miss the movies that came to this cinema. In fact, one time Levent Kırca came to watch a movie with a friend and coincidentally sat in the seat in front of me. I don’t remember the exact date the cinema closed. It must have been in the mid-70s. The cinema building remained closed for a while. It was used as a cultural center affiliated with the MHP for a while. After it was closed in 1980, the cinema building remained empty for a long time. It was later restored and reopened in the early 2000s under the name Bahçelievler On Cinema. Bahçelievler On Cinema, which had a bowling alley downstairs, didn’t last long either. Tüze Group, which also owns many cinemas in Ankara and all over Turkey, bought this place and started operating it under the name Bahçelievler Tüze On Cinema. Tüze Group became a partner with Avşar Film in 2007. However, after the economic crisis, it withdrew from the cinema sector in 2008. Bahçelievler Tüze On Cinema was also closed in the same year.
[2] SOURCE
Not only Ankara’s, but Turkey’s largest cinema
From 1920, when the first cinema opened in Ankara, to 1969, when Arı Cinema opened, the city’s largest and most modern cinema was undoubtedly the Grand Cinema in Kızılay. This reign of the Grand Cinema with a capacity of 1550 seats continued until the opening of Arı Cinema with 1760 seats in 1969.
The architectural project of Arı Cinema was made by Rahmi Bediz and Demirtaş Kamçıl, two of the well-known architects of the period. The project, which was approved in 1968 and registered by the Ankara Branch of the Chamber of Architects in the same year, bore the signature of Yılmaz İnkaya as the secretary member. The architectural office founded by Rahmi Bediz and Demirtaş Kamçıl in Ankara in 1952, carried out many projects that we know closely until 1980. These include the Israeli Houses, MTA, TPAO, TRT General Directorate building, French Culture, And Bazaar, Onur Bazaar, Moda Bazaar, Soysal Han, Kuğulu Arcade and Arı Cinema.
The Arı Cinema building, which was built on a construction area of 12 thousand square meters, had the Arılar Patisserie with its rich variety and seating area just to the left of the entrance. Those who wanted could spend time here until movie time and eat and drink something. Arı Cinema was notable for its interior arrangement as well as its complex architectural design. The cinema had 3 floors called Balcony, Club and Hall. The entrance to the cinema was made from a front section where the ticket booths and film promotion boards were located. The wooden tray with two rotating compartments at the ticket booth was quite new for us. You would put money in one compartment and the ticket attendant would put your ticket in the other compartment. When the tray was turned, the money and ticket would switch places. Thus, after purchasing your ticket, you could enter the cinema from the middle floor called the club.
Ceramic panels adorned the walls at the entrance of the cinema and in the foyer. The panel at the entrance of the cinema was the work of Prof. Dr. Hamiye Çolakoğlu, while the others were the work of our ceramic artist Cemil Eren. There were two small pools in the foyer, one in the club and the other in the hall. Since these pools were filled with shiny pebbles and covered with a transparent plastic material, the pool looked like it was full of water. I don’t think there is anyone who hasn’t tried to touch these stones after going to the Arı Cinema. The sections where the seats were located were entered through two separate doors marked “singles” and “couples”. The issue of singles and couples had been interpreted as singles or married and lovers for many years and made into a joke. Right behind the doors, there were thick burgundy velvet curtains to prevent light from seeping through from the foyer.
The gong would ring three times before the movie started. After the second one, the lights in the hall would gradually dim and change color. There was a very different and interesting lighting system on the ceiling of the hall, consisting of panels placed in a way that reminded us of honeycombs. Watching the honeycombs change color was an event in itself. Then, the large honey-colored curtain with the Ziraat Bank logo on it would slowly open and the film would start. Before the film started in the Arı Cinema, an advertisement for Ziraat Bank and a news clip prepared by the same bank would be shown. The background music for the advertisement and the news clip was Gioachino Rossini’s ‘Sevil Baby Opera’ overture. This music had become so ingrained in our ears that even today, when I hear it somewhere, I immediately think of Ziraat Bank and Arı Cinema.
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