City as a cinematic production space and the auteur urbanite

Good city not only offers its dwellers places to dream, but also heterotopic spatial experiences recorded in the cultural memory. The space, the inner self, in other words the face of the living person, reflects the socio-cultural topography of the individual. The umbilical cord between the metropolis and cinema allows cities such as Istanbul to become a place that triggers artistic production. It brings to mind Vienna, a favorite during the Belle Epoque, and Kracauer’s definition of “cine-city”, emphasizing urban space and cinema (Clarke, 1997). In the post-emotional age, its historical and thematic texture has been denied, it has become instrumentalized, defined in terms of exchange value as a commodity. Istanbul appears to be more of a crime city than a cinematic city; it has turned into a dystopian city. The city has fallen into existential crisis and city spleen (Baudelaire, 2001); its cultural memory has been shaken and its face has begun to fade like the one who lives in the city. The city has been ruptured, alienated from its face by gaining a schizoid representation. This study is to manifest that the individual who takes over the right to the city is in socialization as an auteur urbanite.