ABİDİN DİNO THE FILMMAKER

By Sakıp Sabancı Museum

This online exhibition aims to present the multifaceted practice of Dino through a selection of his storyboard panels for the award-winning documentary GOAL! he directed for the 1966 FIFA World Cup in London. This group of works by the artist is being shown for the first time since its inclusion in the SSM’s Abidin Dino Archive.  

Abidin Dino at the set of Miners by Yutkevich (1934)Sakıp Sabancı Museum

Abidin Dino's Moving Images

Although no specific examples of his creative activities in filmmaking have emerged apart from the documentary GOAL! Abidin Dino directed in 1966, cinema has been a significant component in his body of work. Dino, who was not just a painter and writer, but also an illustrator, cartoonist, ceramicist and sculptor, entered the world of cinema at the age of 21 in 1934 through his acquaintance with Sergei Yutkevich, the Soviet director of the documentary Ankara – Heart of Turkey (1934). Impressed by the sense of movement in Dino’s drawings, Yutkevich invited the artist to Russia to learn how films were being made there, to which he attended.

Abidin Dino applying make-up to the actor Boris Shchukin (1936) by UnknownSakıp Sabancı Museum

Dino's Russia Years

Throughout his stay in the Soviet Union, where he worked with Yutkevich in the Lenfilm studios, Abidin Dino met many interesting people such as Vsevolod Meyerhold (1874-1940), the leading figure of the Russian Avant-garde theater, major filmmakers Sergey Eisenstein (1898-1948), Vsevolod Pudovkin (1893-1953), and writers Isaac Babel (1894-1940) and Lilya Brik (1891-1978). During the production of his opera The Queen of Spades, Meyerhold became interested in Dino’s suggestion about finding a kind of pictorial language for stage design and granted him the privilege of attending all the rehearsals.

 

When preparing his films Eisenstein began by drawing a storyboard that was exactly like a graphic novel. Dino was impressed by this skill and applied the method successfully for the documentary GOAL! that he made years later.

Brochure for the documentary Goal! (1966)Sakıp Sabancı Museum

Before GOAL!

Not until 1966 was Abidin Dino presented with the opportunity to actually make a feature-length film. He was in his forties when he was presented with the offer to direct the documentary of the 1966 FIFA World Cup by the producer Octavio Sonoret, his Chilean friend living in Paris. He always had a natural flair for documentary as evidenced in his art seeking to capture the reality of life, its poetry and movement. Moreover, most of the scenarios and plot lines he wrote for his unrealized film projects were realistic. For these projects, he either wanted to convey the reality of Adana (a major city in the southern Turkey) where he lived for a period of time, or aimed to present people he admired, such as poet and mystic Yunus Emre and Yaşar Kemal, one of the prominent novelists of the Turkish literature, through the eyes of a filmmaker.

Goal: football et arts plastiqes (1982)Sakıp Sabancı Museum

GOAL!

GOAL!, which went on to win the British Academy of Film and Television Arts’ Robert Flaherty Documentary Award in 1966, the year it was shot, became a classic among the sports documentaries, partly thanks to its wide scope including the surrounding city London as an extension of the stadiums. Dino’s documentary was shown in several countries including Britain and Turkey, and reflected his sense of movement with scenes and sequences such as the cut from players forming a wall in the confusion of a free kick to an aircraft, reminiscent of a metamorphosis, the slow motion footage of  the famous player Pele being injured, and a player who has been sent off during an England-Argentina match walking in slow motion all the way along the grass pitch for about two minutes.

Photographers - Photo (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Dino's Functional Imagination

The series of storyboards of the GOAL! sheds light on Dino’s artistic view of filmmaking as he includes all the possible scenes that would take place on both inside and outside the football stadium. As such, these drawings give one the impression that they functioned more to convey the film in Dino’s imagination than setting the scenes for the end product as seen in traditional storyboards. In the article he had penned for the magazine Yeni Sinema in 1967, Dino wrote “Even before the event was filmed, I had produced hundreds of drawings, determining the concept we would use to film the match, when which cameras would film from which angles at which size, what kinds of close-ups and distancing we would use to probe the subject. (…) the director has no way of predicting exactly what will happen in the course of the game, but it is certainly possible to explain what you expect from a cameraman in a given situation.”

Two main themes, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Theme of strips, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Main theme: Proudness - Knights - Pageantry (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Main theme: Knights (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Crowds to Wembley, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Crowds to Wembley, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Wembley (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Crowds to Wembley (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Wembley (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Crowds sees from the interior of Wembley, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Wembley from nearby building, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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In the Stadium - Wembley (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Mens fashion at stadium - Also different nationalities, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Portraits, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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What happens if rain? Cap theme stadium (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

For paroxysm and expression - Low corner, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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For good analysis - Tactics - Camera high enough, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Feet and ball (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Pele - Detail, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Photographers - Photo, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Wounded! (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Untitled (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Football game (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Corner, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Corner, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Corner (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Stadium - Goal!, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Losers, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Lifting the goal posts (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Le Balayeur (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

In the Pub - Television (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

The World Cup and Its Surroundings

Dino endeavoured to examine the FIFA World Cup not just as a sporting event but as a social phenomenon, including the surrounding city together with the matches. Even though most of this material depicting the post-match London had been left out from the final edit as the matches proved exciting.

Soho - Radio, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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The Policeman - Radio, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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The Bishop - Television (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

In the Plane (Voice of radio), Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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In Prison - Radio, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Untitled (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Untitled (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Untitled, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Theme of legs - Shorts and skirts, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Untitled (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

At the Zoo - Goal!, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Carnaby Street, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Portobello - Engravings of football (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Shoeshiner, Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Different people going to the match (Bicycles), Abidin Dino (Turkish, 1913-1993), 1966, From the collection of: Sakıp Sabancı Museum
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Direction tower (1966) by Abidin Dino (Turkish, 1913-1993)Sakıp Sabancı Museum

Dino’s storyboard for GOAL! demonstrates his aim to highlight and analyse the relationship between the stadium and the metropolis surrounding it. In the article he penned for the Yeni Sinema magazine he wrote “In fact we even did almost sociological research on the subject of spectators that couldn’t be used. None of these things were the result of coincidence... Even the parts that remain in the film are interesting from this aspect…”

Credits: Story

The drawings belong to Sabancı University Sakıp Sabancı Museum Painting Collection which is accessible online at digitalSSM.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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