Abstract
This article deals with the home and family as socio-economic projections of urban fate through the film Köprüdekiler (Men on the Bridge, 2009). Accordingly, a desire for having a better life dominates spatial expectations and triggers marital conflicts. At this point, just as family bonds do not correspond to unconditional commitments, home is no longer a mental or spiritual shelter for couples. Belongings are ambivalent; intimacies are uncanny, and ties are weak. In this article, the condition of social fragility is debated through two characters, Umut and Cemile, in the film. They are married but unhappy. Köprüdekiler is a film that zooms in the lives of those who are pushed away from the centre to the margins of society in Istanbul. In this paper, it is concentrated on the city as being both a hopeful and disappointing dilemma; on the home as a place of vulnerability; and on the family as a modern symbol of fragility. The analyzed awarded-film deepens and elaborates the socio-urban reality by reflecting it simply as it is.
Highlights
Fabrics, tastes, traditions, histories and myths all embody the world of films; analyzing films can be equivalent to archiving the city
Köprüdekiler, directed by Aslı Özge in 2009, is a story of a desperate couple (Umut and Cemile) who struggles to live in Istanbul
The characters in the film are both needed and disgusted acnes of the city; that is why I place an emphasis on social theory in order to gain insight into their deep lives in the collective being and social organism that is the city (Lefebvre, 1996, p. 95)
Summary
Köprüdekiler, directed by Aslı Özge in 2009, is a story of a desperate couple (Umut and Cemile) who struggles to live in Istanbul.. Köprüdekiler, directed by Aslı Özge in 2009, is a story of a desperate couple (Umut and Cemile) who struggles to live in Istanbul.2 They represent different intensive but shadowy dimensions of Istanbul. They are familiar and honest informers about the tragedies, conflicts, revenge, struggle, hopes and disappointments of the city and home. As for his wife, Cemile, she wants a bigger and better house These characters in the film interestingly do not play-act—they reflect who they are in real life, so much so that none of them is professional actors. It does not give credit to exaggerated shots, ornamental effects, tricky stories and theatrical acting
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