By Enes Akdağ (Üsküdar University, Turkey)
This blog post seeks to critically evaluate Leon Sirochkin of Kadıköy, who significantly influenced the historiography of cinema in Turkey through his innovative management strategies, examined through five distinct historical cases.
Current scholarly discussions on the historiography of cinema in Turkey reveal a dichotomy between two traditions: Pera/Beyoglu, associated with non-Muslim merchants, and Şehzadebaşı/Suriçi, where Muslim communities integrated cinema into shadow theatre legacy. Kadıköy, once a holiday destination on the Anatolian side of Istanbul, became a melting pot for diverse ethnic groups following key events such as the Kuzguncuk Fire of 1872, the construction of Haidar Pasha Railway Station (1906-1908), and the Balkan Wars (1912-1913). This evolution positioned Kadıköy as a residential hub for influential figures in cinema. Cemil Filmer, founder of Lale Film, argued that Istanbul cinema originated in Kadıköy due to its unique demographic structure. Leon Sirochkin, a leading cinema manager in Kadıköy during the Armistice Period (1918–1922), provides a fertile ground for alternative cinema management practices in Istanbul.
Kadıköy during the Occupation of Istanbul (1918-1923)
Despite the existence of numerous cinema posters and written references to the Sirochkin brothers in early 20th-century printed sources, no photographs of them have surfaced. Historical evidence suggests that the Sirochkin brothers resided in Kadıköy/Moda, where they managed a variety of screening venues, including garden (summer) cinemas and some of the first indoor (winter) cinemas. While commonly referred to as the Sirochkin brothers, it appears that only Leon Sirochkin primarily managed cinema halls in Istanbul/Kadıköy and also Tehran/Iran. Notably, printed sources in Ottoman Turkish provide no information regarding the name or occupation of the other Sirochkin brother, highlighting a gap in the historical record.
Document issued by the Ottoman Ministry of the Interior, confirming Russian citizen Leon Sirochkin’s status as an Ottoman Subject
Key details about the Sirochkin brothers, believed to be of Jewish origin from a Russian family, are documented in various Russian sources. In many newspaper clippings, Leon Sirochkin is referred to as ‘Leonty Sirintsky.’ In 1920, he was evacuated from Soviet Russia to Istanbul/Kadıköy, though the reasons for this relocation remain unclear. Within two years, he took over the management of three major cinemas, garnering significant appreciation from the local community. By 1923, Sirochkin relocated to Paris, where he established the Chantecler cinema, which gained notable acclaim in Europe for screening innovative short films by renowned Russian directors, including Władysław Starewicz. By the early 1930s, Sirochkin had been operating total of twelve cinemas in central and peripheral Paris, accommodating a total of 7,500 seats and curating a film repertoire tailored to the substantial Russian diaspora and immigrant audience. It is noteworthy that Sirochkin’s promotional strategies—characterized by multilingual posters and a meticuluosly curated cinema programs were similarly employed in the cinemas he managed in Kadıköy.
Zamoglou/Zambaoglou Mansion’s Garden used as a venue for theatre performances and film screenings, during the Armistice Years
According to the memoirs of actor Ahmet Fehim Bey, the inaugural theater performances and film screenings in Kadıköy took place in the gardens of Mısırlıoglou, owned by the Mısırlıyan family of Armenian descent, and Zamoglou/Zambaoglou (Bayramyeri), owned by a Greek banker. Notably, program posters from 1909 indicate that a selection of short films by the Pathe brothers was screened at the Zamboglou garden during national and religious days. These cinema posters, originally written in French and Ottoman Turkish, were later adapted by Sirochkin to include Greek, Armenian, and German, reflecting the diverse ethnic make up of Kadıköy. Additionally, the posters reveals the first screenings of a propaganda film, Sultan Mehmet V Reshad’s Salute to the Ottoman Navy (1909), which was included among the French short films. Although Abdülhamid II had a personal interest in cinema, film screenings were largely restricted to Yıldız Palace due to security concerns; it was after 1908 that propaganda films began to be incorporated into cinema programs. Interestingly, Mısırlıoglu and Zamboglu garden cinemas, managed by Sirochkin, predominantly showcased comedies devoid of political content.
The Apollon Theatre & Cinema (a.k.a. Cine Hale) illustrated as, “Theatre d’hiver” translated as “winter theatre” in 1248 numbered parcel of Charles Eduard Goad’s insurance map
During the armistice years (1918-1923), Sirochkin managed the Apollon and Kusdili (Milli) Cinemas, as well as the Yeldegirmeni Cinema in Kadıköy. The Apollon Theatre & Cinema, marked as the ‘Winter Cinema’ -originally Theatre d’hiver– on Charles Edouard Goad’s insurance maps from 1904-1906, is recognized as the oldest film theatre in Kadıköy. It notably hosted Afife Hanım, the first Turkish-Muslim female actress, who performed under the pseudonym Jale in Yamalar [Patches], in autumn 1920. Following positive public reception, Istanbul Municipality Theatre Unit (Darülbedayi) officials allowed her to perform as Afife Hanım in Tatlı Sır [Sweet Secret], although this would be interrupted by police intervention. At a time when stage performances were largely limited to non-Muslim women from minority communities -largely Armenian theatre actress such as Siranush Nigosya, Eliza Binemeciyan, – Afife Jale’s involvement was made possible by Sirochkin’s support. He became a key figure in promoting women’s participation in the arts, even hid Afife Jale and Darülbedayi officials in his house, amid frequent police raids.
First Muslim Turkish theatre actress Afife Jale
Inaugurated in 1920 by Sirochkin, the Moda Parc (Summer) Cinema garnered attention for its mixed-gender audience and diverse film repertoire. The cinema primarily showed French films and magazine shorts prior to the main screenings, allowing both women and men to experience films simultaneously. Notably, while the first film explicitly featuring male and female audiences, Şarlo: Prisoner of Death was screened at the İzmir Ankara (Winter) Cinema on 27 July 1923, it is evident that mixed gender audience screenings had already been established in Kadıköy, particularly in its summer cinemas equipped with balconies and terraces. During the 1920s, when cinematic exhibitions were typically segregated by gender and scheduled on different days and times, Sirochkin’s initiative significantly contributed to the integration of women into public life.
Multilingual cinema posters of Moda Parc (Summer) Cinema in Kadıköy
The oldest cinema in the Yeldeğirmeni district, Yeldeğirmeni Cinema, was initially named Tepe Cinema in 1921 and later Lux Cinema (1931) followed by the Zafer Cinema (1940), and was associated with its manager, Sirochkin, known for his unusual strategies. European films screened at the Apollon/Hale and Kusdili cinemas were also shown at Yeldeğirmeni Cinema. Sirochkin reportedly scheduled matinee performances for all three cinemas simultaneously and divided a single film reel into three parts, with a child responsible for transporting the reels between screening venues. Delays occasionally occurred due to street play, leading to prolonged intermissions. Additionally, it is said that Sirochkin increased session numbers and accelerated screenings during holidays to boost attendance.
The Kusdili (Milli) Cinema, managed by influential figures in Turkish cinema such as Kâmil Bey, Cevat Boyer, Fuat Uzkınay, Cemil Filmer, and Sirochkin, exemplifies early monopolization in film exhibition. In response to the success of these influential names; Sirochkin, owner of the Apollon Theatre & Cinema in Kadıköy, initially sought a partnership with its owners-managers. In his memoirs, Cemil Filmer conveys that Sirochkin even lodged a complaint with the occupying forces in Istanbul, alleging that ‘three military officers are running a cinema in Kadıköy.’ This complaint led to the closure of the Kusdili Cinema during the armistice years, during which it was repurposed as a stable for a period.
To sum up, Sirochkin’s innovative management strategies played an important role in shaping Kadıköy’s cinema culture, positioning it as an important centre in the armistice years of Istanbul. Efforts to diversify cinema programmes, support female performers such as Afife Jale, and encourage multilingual promotional practices reflected the cosmopolitan character of the district. By integrating summer and winter cinemas, implementing original programming methods, and catering to mixed-gender audiences, Sirochkin contributed to the transformation of cinema-going practices in Turkey. Despite the paucity of visual documentation and the ambiguity of his family history, archival records and memoirs highlight his lasting impact on both Turkish and European cinema. As a result, Sirochkin’s legacy challenges the dominant historiography focusing on Pera/Beyoğlu and Şehzadebaşı/Suriçi, offering a new perspective on the development of early cinema in Turkey through the lens of Kadıköy’s unique socio-cultural dynamics.
About the author
Enes Akdağ is an Istanbul-based filmmaker and a Ph.D candidate in Communication Studies at Kadir Has University. He holds an M.A. in Media and Communication Studies and a B.A. in Political Science and International Relations. His up-to-date research interests lie in the fields of film industries, new cinema history, and politics of representation. He recently joined the New Media and Communication Department of Üsküdar University, as a research assistant.
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