What Is Film Art Contextualize The City?

9. CONCLUSION

9.1. Camera Reality

As Ozturk (2008: 21) mentions, film art creates a window, which opens onto the world, for the sake of modern individuals who struggle with social problems. Film is an art that is able to reproduce facts by expanding the sense of time and place.

For this reason, films that focus on the city expose not the city itself, but its representation and interpretation. Accordingly, the camera, just like a concave or a convex mirror, may form and deform the urban area, images and experience. This shows that film is a phenomenological art; furthermore, the city is full of subjective phenomena. For this reason, thinkers from different academic disciplines contextualise the city. The common point amongst them is the idea that “the city is not the product of planners and architects” (Borden et al., 2000) It can also be accepted as an image, form or representation. There is a

His formative tendency reveals itself, especially in his film scenarios and music editing style. According to Fatih Akin, the city is an audio-visual space that is unceasingly reconstructed by means of stories and sounds of the city. But, the stories can merely be revealed through films, rather than photography, because “photography freezes the past moment; film shows life itself in passing” (ibid.:118). Stories of the city, however, refer to passing time and to moving space. Images that are produced within the camera are reality and life itself, and are ultimately nested within each other because of or thanks to film productions. Even beauty criteria concerning the city are continuously reshaped or (re)determined by them. Film production and art, it seems to me, carry the relationship between gaze and things into an ontological discussion area. As Adorno and Horkheimer (2002: 119) summarize outstandingly: “beauty is whatever the camera reproduces … What is offered is not Italy but evidence that it