The Demolition of the Russian Monument at St Stephen

Plot

This historic documentary short film captures the demolition of a Russian monument located at St. Stephen (Büyükada) in Istanbul shortly after the Ottoman Empire entered World War I. The film documents Turkish soldiers and civilians working together to remove the monument, which stood as a symbol of Russian influence in the region. The demolition was ordered as an act of defiance against Russia, with whom the Ottoman Empire had just entered into conflict. The camera records the systematic destruction of the monument, showing the tools and methods used in its removal. The footage serves as both a propaganda piece and a historical record of the patriotic fervor sweeping through Istanbul at the war's outset.

Historical Background

This film was created during a pivotal moment in world and Turkish history. November 1914 marked the Ottoman Empire's entry into World War I, a conflict that would ultimately lead to the empire's dissolution and the birth of modern Turkey. The film documents the immediate aftermath of this decision, capturing the anti-Russian sentiment that swept through Istanbul. The Russian monument itself had been erected decades earlier to commemorate Russian sailors who died during a cholera outbreak while their fleet was anchored in Ottoman waters. Its demolition symbolized the complete break between the two empires, which had been rivals for centuries. The film also represents the Ottoman military's early recognition of cinema's power as a propaganda medium, following the example of European powers who were already using film extensively for war documentation and recruitment.

Making Of

The making of this film was directly tied to the outbreak of World War I and the Ottoman Empire's decision to join the conflict on the side of the Central Powers. Enver Pasha, recognizing the power of cinema as a propaganda tool, established the Central Cinema Directorate and tasked Fuat Uzkınay with documenting significant war-related events. Uzkınay, who had experience with still photography, was given a movie camera and minimal training. The demolition of the Russian monument was chosen as an ideal subject because it symbolized the break with Russia and could be filmed safely in Istanbul. The filming process was rudimentary by modern standards - Uzkınay likely operated a hand-cranked camera, manually exposing each frame. The entire production was overseen by military officials who wanted to ensure the footage served their propaganda purposes. Despite these limitations, Uzkınay managed to capture clear, steady footage that documented the event comprehensively.

Visual Style

The cinematography of this film reflects the limitations and practices of early documentary filmmaking. Shot on what was likely a hand-cranked 35mm camera, the footage exhibits the characteristic stationary shots and long takes of newsreel-style cinematography of the 1910s. Uzkınay, working with minimal experience, employed straightforward, observational camera positioning, likely setting up his camera at a distance to capture the entire demolition process. The black and white footage shows the high contrast and occasional overexposure common in early film stock. Despite these technical limitations, the framing demonstrates an awareness of composition, with the monument positioned prominently within the frame. The camera work is steady and functional, prioritizing clear documentation over artistic expression. The cinematography serves its purpose effectively, providing a clear visual record of the historical event.

Innovations

While technically rudimentary by modern standards, this film represented several important achievements for its time and place. It was the first film shot by a Turkish director, marking a significant milestone in the development of indigenous film production in the Ottoman Empire. The successful documentation of a real-time event demonstrated that Turkish filmmakers could handle the technical challenges of location shooting and documentary work. The film also showed that the Ottoman military could organize and execute film production for propaganda purposes, establishing a model for future wartime filmmaking. The preservation of footage from this period is itself a technical achievement, given the fragility of early film stock and the political upheavals that followed in the region. The film's existence proves that cinematic technology had reached and was being utilized in the Ottoman Empire by the early 1910s.

Music

This film was produced during the silent era and contained no synchronized soundtrack. Like most films of 1914, it would have been accompanied by live music during screenings. For military or government screenings, this likely consisted of patriotic Ottoman military music or popular songs of the period. The musical accompaniment would have been chosen to enhance the film's propaganda value, with triumphant or martial themes accompanying the demolition scenes. In some cases, a narrator might have provided live commentary explaining the significance of what was being shown. The absence of recorded sound was typical for the era, and the film's documentary nature made it particularly suitable for live musical adaptation based on the screening context.

Memorable Scenes

• The climactic moment when the Russian monument finally topples after workers have been chipping away at its base with tools and ropes, capturing the symbolic destruction of Russian influence in Ottoman territory

What Critics Said

Contemporary critical reception is difficult to document due to the film's nature as a military production and the limited film press in the Ottoman Empire at the time. However, military officials and government authorities reportedly viewed the footage favorably, considering it successful in its propaganda mission. Modern film historians and critics recognize the film primarily for its historical significance rather than its artistic merits. Film scholars view it as a crucial document marking the birth of Turkish cinema, though they note that its value lies more in its existence than in its cinematic technique. The film is often discussed in academic works about early cinema and the development of national film industries, where it is typically analyzed in the context of wartime propaganda and the emergence of cinema in non-Western countries.

What Audiences Thought

The film was not shown to general commercial audiences in the modern sense, as it was produced for military and governmental purposes. It was likely screened for military officials, government personnel, and possibly at patriotic gatherings in Istanbul during the early months of World War I. Contemporary audiences who did see the footage reportedly responded with patriotic enthusiasm, as the demolition of the Russian monument was a popular act that resonated with anti-Russian sentiment following the outbreak of war. The film served to reinforce existing nationalist feelings and validate the Ottoman Empire's decision to enter the conflict. Today, the film is viewed primarily by film historians, students of cinema, and those interested in Turkish history, with audiences appreciating its historical value over its entertainment content.

You Might Also Like