Analysis of spatial behavior in dystopic films as a hyper real creation element

Hyper real; it is the derivation of an original, exhausted reality, which lacks origin, with models. This new fact, born from the original premise but paradoxically unbound, is the evidence of the post-Postmodern real degradation. Dystopia is a revolt against the optimism of utopia without ground. This counter- image, which is a warning to the reality of a possible future, describes a framework in which societies are separated from their peculiar traditions, sharp social classes are determined in a totalitarian attitude, everything is put into the wheel of consumption and uniformed, the human being is commodified, the place is detached from memory and context. The cautionary dystopia seeks to create a critical mirror by presenting a preview of the possible future panorama of society and space. Along with the axes of these two phenomena, the hyperreal and dystopian space / spatial behaviour, range is selected as the ground in the thesis. In this context, the study is the query of the predictions attributed to the future space and spatial behaviour with the dystopian trace of the movements of reality. In the thesis, which aims to discuss the reality and to read the scenarios whose object is spatial / spatial behaviour through dystopic films that create a kind of simulacrum; •Journey of truth and response to hyper real, •What kind of spatial data the change in reality will present, •Spatial behaviour and its change in the axis of environmental factors, •The prediction of the future space / spatial behaviour of cinema, literature and interior architecture disciplines in dystopian ideology, who use space for the purpose of transferring an idea, •Spatial behaviour evidence of possible reality simulated with fictional works such as placelessness, alienation, non-belongingness have been questioned. In the study following the descriptive analysis within the qualitative research approach as a method, firstly, the conceptual equivalent of real-hyperreal phenomena, its journey in history and its spatial image were investigated. Then, the behaviour was examined in the spatial axis and the morphology of the behaviour in the cognitive map and spatial dimension was evaluated. The notions of 'placelessness, alienation, non-belongingness' from the concepts and behaviours that make the semantic carrier of a space have been chosen as the parameters of change of dystopic films that are examined for hyper real creation. In order to be understood the framework and content of dystopia, theoretical research of the phenomenon has been conducted, its historical process and examples have been examined. As a limitation, the films Snowpiercer (Director: Bong Joonho), High Rise (Director: Ben Wheatley) and Blindness (Director: Fernando Meirelles) were studied for the hyper-real space casting of dystopia. The findings of spatial behaviour obtained from the analysis conducted in the real / hyperreal axis were reviewed together with dystopic film spaces, and the possible reality and spatial behaviour predictions of the future were observed in these spaces.