This work aims to review the multi_dimensional relation between space and cinema taking to the centre after 2000’s Turkish Cinema. The concept of space has a very large working area. The concept of space is discussed in the context with changing production and consumption relations and also spatial encodings used in films to determine their effects on cinematic space. To achieve the goal set in the thesis, The work was divided into four different sections. In the first chapter, the concept of space is emphasized and the changes of the space were supported by urban spaces. In the second chapter, the use of space in the post-2000 Turkish cinema was examined based on the relationship between cinema and space. In the third chapter, the technical elements in the films (Camera, Light, Sound and Editing) has been subjected to a detailed reading to understand what extent they influence the concepts. The last part of the thesis is the fourth section; is sampling part of the study. Determining the nature of the usage of cinematic space; Six films that were shot after 2000 in Turkish cinema (Innocence, Far, Five Times, Fikret Bey, Our Great Helplessness, Excessive Story of Celal Tan and His Family, My Father's Voice,) and a 1997 film that pioneered these films (Innocence) and a film (Aganist the Wall) from European immigrant cinema was examined because of with various pains very interrelated with Turkey and Turkish Cinema overlapping in terms of concepts The purpose of the selected films was analysed by using the qualitative content and formal analysis systems. As a result of the study, it was observed that the changes that the real space had undergone were reflected in the cinematic space.
