Abstract:

The architectural space is perceived directly by physical experiences of the user. However, in cinematic space, the user is the audience and perceives the space through the cinema. The perception of space is based on an indirect visual experience; not formed by personal experience. According to İlkdoğan (2020) '' It is hard to define the exact boundaries of the conceptual space which is corresponding to the concept of space in cinema''. Perception of space in cinema is always limited extent in quality for what is desired to be shown to the audience and predetermined/designed within the frame of the movie content. Perception is manipulated to serve the cinematography thus it is transformed into a show space. The “show space” of the cinema, in cinematographic integrity, may be expressed with a conceptual substance. At this point space does not correspond to a real physicality; mirrors the formal space of cinematographic content. To Büker (2010), the audience produces a meaning through cinematographic codes and forges a link between real and unreal so producing a meaning becomes subjective. Audience interprets the meaning as part of their real-life experiences. Horror cinema shapes the meaning by managing instinctive and certain codes. Nevertheless, personal experiences of the user have an effective role on signification. Therefore, particularly in horror cinema, instead of the spaces have low probability (surrealistic cinematic spaces) to encounter and the audience keeps themselves out of the picture and at a distance, spaces (realistic cinematic spaces) the audience may experience and encounter in their life have more powerful impact. This study evaluates the perception of space in cinema on the basis of realistic space phenomenon through the referenced movie Session 9.

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