Representation of Beyoğlu as a public space in Turkish Cinema

This thesis aims to analyze how Beyoğlu is represented in Turkish cinema, in the context of public space, relationship between space and people, representation of space in art and also in cinema. Cities and urban public spaces have been the subject of numerous films in various world cinemas. In fact, city or urban sphere can be regarded as the head actor in some movies. In this respect, İstanbul and Beyoğlu are among the most important urban public spaces that have frequently been treated in Turkish cinema.The increase of migration in 1950?s from eastern regions to western cities, especially to İstanbul, also attracted the attention of Turkish filmmakers and they began to make movies addressing that issue. After 1980, Beyoğlu began to have a wider coverage in Turkish cinema and it has also been identified with subcultures, lumpen lifestyle and illegal affairs such as prostitution and drug dealing.In this context, by analyzing Beyoğlu?nun Arka Yakası (1986), Gece, Melek ve Bizim Çocuklar (1993), Eşkıya (1996) and Güz Sancısı (2008) in terms of how they position Beyoğlu, what are the main motives of the characters that bound them to this location and what they experience in this place, this thesis tries to reveal that Beyoğlu has been represented by only its bad, unsafe, dangerous and gloomy side.