Istanbul in Turkish cinema after 90s, in the context of the relations between the city and the cinema

City has been the subject or the visual background of the cinema since its beginning. City elements can be seen in Lumiere?s scenes first. City has always been the centre of cinema. As Baudrillard puts it, the era we are going through is defined by means of the reflections coming out of the camera. Depression in the society can be observed apparently in the cities. Miscommunication, individual lost in the modern buildings, alienation and loneliness seem to be the effects of the city life. The capital cities are presented as the metropolitans in the cinema whereas the chaos, the architecture and culture of the city are defined as a whole. How much of these concepts does Istanbul have? How did it undergo the urbanization process when the historical process is examined? Istanbul had its cultural transformation in 90s with its metropolitan characteristics. This can be obviously observed in the cinema. Especially directors such as Dervis Zaim, Zeki Demirkubuz, Nuri Bilge Ceylan and Fatih Akin have conveyed the other face of the city to the cinema. Istanbul, with its chaos, its cultural dimension, its modern structure and its alienated individual, has found a place in the cinema. In Uzak of Nuri bilge Ceylan, Tabutta Rovasata of Dervis Zaim, Organize Isler of Yilmaz Erdogan, Duvara Karsi of Fatih Akin and Masumiyet, C-Blok, 3. Sayfa, Itiraf of Zeki Demirkubuz, we see the depression of the modern city dweller, the loneliness of the individuals among the apartments, the alienation of him and his cultural formation. Istanbul?s trying hard to be a city with its slums and modern structure has been reflected in Turkish cinema after 90s. While in Organize Isler of Yilmaz Erdogan an illegal form of Istanbul reality is presented, in Uzak of Nuri Bilge Ceylan, the clash of the modern and traditional is pointed out. Whereas we can see panoramic scenes from Istanbul in Anlat Istanbul of Umit Unal, we can also meet the Beyoglu reality though being fantastic. In Tabutta Rovasata, we bitterly see both the unique appearance of Istanbul and the individual pushed into loneliness in this fantastic formation.