Özet:

In recent years, it is responded to making a film about Istanbul, a travel or a immigration film. The city, which looks like a temporary hotel in the form of a historic kervansaray, has long welcomed foreigners from many different sections of life. Especially since the 1960s, most of the foreigners who began to migrate to this magnetic-variate city had a simple and superficial film clash about the city: the stone of Istanbul is underground. This urban speech, which is "uncomprehensive but misleading" and "small but artificial", was simultaneously established and criticized by the first period of Turkish cinema. But the Bridges (2009) film reveals some paradoxes between exclusion and membership, isolation and participation, immigration and alienation and space and irregularity. For this purpose, the metaphors of the walls, bridges and doors, which are the urban metaphors of Istanbul, are used. In this article, we refer to both the fact of immigration as a urban bilateral and the issue of alienity as a spatial division that reflects social and cultural divisions. At the end of the article, the concepts of the door and bridge discussed by Simmel are re-thought and criticized in the cinematic context of Istanbul.