Spatial setup and perception in cinema and architecture

Space is an existential phenomenon with all its content entirely. Human being, since its conception, surrounded by space phenomenon compeletely. Consequently, while composing the artworks that reflects the representations of its existence; it is not able to generate them detached from space. Cinema and architecture, produce the most concentrated spatial environments, beyond all other arts in order to be focused on `experience?. In this study, the potentials of cinema and architecture are searched in order to be reference to each other by methods, approaches, designs and representations. The transfer of spatial images are studied on cinema and architecture; associated with examples along the path of these potentials.In the second chapter, relationships of cinema and architecture are examined of historical period, methods and being reference to each other, particularly on spatial experience in cinema and architecture. Within this context, the acquirements of architectural space from cinematic space; cinematographic methods, frame, montage, sequence and light are analised by examples of both diciplines. Then, the acquirements of cinematic space from architectural space is examined within the context of dominance of space beyond the film; space as background of film, space as a supplementary constituent of film and space as leading part of film are explained by means of examples. The representation of space in cinema is examined through Uğur Tanyeli (2001)?s classification. Virtual space defining films, films reproducing the spaces which already exists and the films which are about architectural productions and architects itself are studied on examples, within the context of spatial experiences.In third chapter, an edifice and a film, are taken in hand in order to search architectural and cinematic components. The interactions, junctions and barrowed tecniques of cinema and architecture during production process of `sinematic space? and `architectural space? are examined over parallel examples. An edifice and a film which were completed soon are chosen due to their subjects that they focused in by architectural and sinematic ways. In this chapter, both examples are examined closely in cinematic and arhitectural ways in order to discover the current and future potentials to each other.