Abstract:

We witness that the city dweller is exposed to the desire for change and transformation, which does not leave a stone in our collective memory of the neoliberal age, together with the space. The search for ontological shelter for the individual, who is left alone with the struggle for survival, is possible by becoming an actor in the space that allows him to map the meaning in this respect, and undoubtedly by taking the right to the city. The idea of dominating time and space; it is possible for those who can access the manifestations of I through the images, experiences and symbolic expressions that are immanent in that city space, and seep through its pores. This can only be achieved through the act of recording time by dramatically slowing it down. With this study; based on the language of cinema, the idea of recording and capturing the slowing time in space in Wong Kar-wai cinema, Proust's lost time in nonplace or nowhere, the faces that become nobody with the concept of nothingness that can be seen in Antonioni and Godard cinematography were investigated. In parallel, while the expressions created by some city tours such as the Yeşilçam tour, which can be taken as a ritual of keeping the memory alive or remembering, stem from the instinct to record the universe of Yeşilçam Cinema in its space with its familiar nostalgia, the reflex of recording time in space is about the desire to seize it bluntly, even barbarously might be witnessed Moreover, through such a tour experience, it is seen that a spatial self-reflexive scene is also made available, as emphasized in the study. On the other hand; although everyday life ironically enters the domination of this fragmented time-space perception, it creates completely different pores for the individual, in other words, spatial thresholds. Undoubtedly, Yeşilçam; seems to be a descriptive gateway to social and individual identities, that is, a kind of threshold / liminal area. In other words, the spaces where Yeşilçam films were shot can be specifically marked as liminal space and it can be predicted that its representation becomes a metonym of collective identity by turning it into the myth. In addition, the city, which was hastily reproduced and instrumentalized, wipes out cultural memory like the memory of the urban space. Saving the lost time in a place that mirrors I brings in a sense the concept of Foucault's heterotopia and thus a heterotopic urban experience. However, the city, which is rapidly reproduced and instrumentalized, erases the cultural memory as well as the memory of the urban space and leaves its place to anti-heritage, cultural uprooting and alienation. Those facts mentioned were posed through a qualitative method by means of the case study conducted in Fener-Balat and Süleymaniye within the framework of my master's thesis. Urban renewals carried out under the control of hegemonic powers are included in the demonstration area. Therefore, it is clear that the inner self, whose face is revealed only with the urban space, is de facto displaced like the space itself. The face that becomes unique with its imaginary manifestos; it is the one opening the cinema curtains by means of the most refined references, both because it bestows socio-spatial reciprocity and makes the gaze valuable.

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