Sinemada toplu konut anlatıları: la haine, clockers, fish tank
Narratives of public housing in cinema: La haine, clockers, fish tank
Yazar: YİĞİT BABACAN
Danışman: DOÇ. DR. NURBİN PAKER KAHVECİOĞLU
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2019
Konu: Mimarlık = Architecture

Özet:
Sinemada, yönetmenlerin yaptığı bilinçli tercihler anlatının şekillenmesinde rol oynamaktadır. Bu anlatının önemli öğelerinden biri de mekândır. Film yapımcıları son yüz yirmi yılda binlerce binayı kullanarak, onları arşivlemiş, karakterize etmiş, yorumlamış, tasvir etmiş, hatta hiç var olmamışçasına yeniden tasarlayarak selüloit filmlerde muhafaza etmişlerdir. Bunu yaparken dönemin özelliklerini, fikirleri, üslupları, kültürel örgütlenmeleri, politik meseleleri ve yansımaları, ekonomik durumları filmlerde konu edinmişlerdir. Dolayısıyla sinema ele aldığı bu konularla önemli bir veri kaynağıdır. Çalışmanın amacı bu veri kaynağına, gündelik hayat çerçevesiyle bakarak, mimarlığın önemli tartışma konularından biri olan toplu konut meselesini ele almak ve yeni bir bakış kazandırabilmektir. 
Bu noktada toplu konutların kullanıldığı filmler ele alınarak, ne anlatılmak istendiği, hangi mekânlar ile nasıl bir ilişki kurulduğu ve bu mekânların nasıl tasvir edildiği, filmde işlenen toplu konutlar ve çevresinin ekonomik, kültürel, sosyal ve tarihsel durumuyla nasıl ilişkilendiği sorularının cevabı aranmıştır. 
Mimarlık, sinema, anlatı ve gündelik hayat gibi geniş alanlara dayanan konu kesişim bölgelerinin sinemada üretilmiş örnekleri üzerinden takip edilerek incelenmiştir. Öncelikle sinema anlatısının ne olduğu ve bu anlatıların öğelerine değinilerek, mekânın ve gündelik hayatın nasıl yer aldığı ortaya konmuştur. Daha sonra bu mekânın seçilmesinin ya da oluşturulmasının etkileri üzerinde durularak, perdedeki yansımasının algısal kavramlarına değinilmiştir. 
Toplu konut ve çevresindeki örgütlenmelerin görülebileceği varsayımıyla, bizi her taraftan sarıp kuşatan gündelik hayat konusu, hem mimarlık hem de sinema düzlemleriyle ele alınmıştır. Mimarlık kısmında 60lardan itibaren Fransa ve diğer Fransız kültüründen ülkelerin düşünsel söylemlerinde yer almış olmasına rağmen farklı ülkelerde farklı şekilde başlamış, yorumlanmış ve uygulanmış olduğu vurgulanmıştır. Sinema kısmında ise öncelikle gündelik hayatın yaratıcı potansiyeli işlenmiş, sinemanın bu potansiyeli keşfetmek ve geliştirmek üzerine bir araç olarak kullanılabileceği üzerinde durulmuştur. Bu noktadan yola çıkarak, gündelik hayatın envanterini ortaya koyan örneklere bakılarak, sinema yoluyla test edilebilirliği ve mekânın nasıl parçası olduğu incelenmiştir.
Daha sonra, buraya kadar ortaya konan durumlar ışığında filmlerin okuması yapılacaktır. Filmlerde ele alınan konutlar 1945-1970 yılları arasında üretilmiştir. Bunun sebebi, II. Dünya savaşı sonrası başlayan, toplu konut meselesinin üretiminin hızla arttığı, sosyal devlet anlayışının sürdüğü aralık olmasıdır. Ayrıca filmlerde işlenen konutların üretiliş tarihlerinden itibaren üzerinden geçen zaman, yaşanan gündelik hayatın değerlendirilmesine ve okunmasına olanak sağlamaktadır. Buradan yola çıkarak, farklı yönetmenler tarafından farklı coğrafyalarda inşa edilen toplu konutların, gündelik hayat ve mekân ilişkisi bağlamında incelenerek filmlerin ortaklaştığı ve farklılaştığı durumlar değerlendirilecektir.

Abstract:
In cinema, informed choices made by directors play a role in shaping the narrative. Obviously; there is a thousand ways to get in touch with the flow of bizarre actors with his attempt to define the world with a divine proportion, with a tape measure that he always carries in his pocket and trying to fit everything into a crevice, dreaming of flying a whole city with balloons. Therefore, the directors applied to the space in order to produce this thousand ways. Filmmakers have archived, characterized, interpreted and described thousands of buildings in the last hundred and twenty years and passed them on to the audience how to use spaces and architectural elements while preserving them in celluloid films; Doors, windows were opened and closed, stairs were climbed, wandered along the corridors, entered the lobbies, walls were poured, hidden in the lofts, slept in the bedrooms.
These spaces are not only the places where the action takes place, they are illuminated, heated, cooled, decorated and redesigned as if they never existed, but also addressed feelings like love, tension and fear. It can be clearly seen from here that directors / filmmakers are able to demonstrate the architect's reflex and have the ability to construct all the relationships in and around the space. Although basically in other forms, directors use space like architects. The relationship between cinema and architecture is not only that, historically, the changes in urban life, the ideas put forward by architecture, styles, cultural organizations, political issues and reflections, economic situations have been the subject of films.
Therefore, cinema is an important source of data with these issues and the aim of the study is to deal with the issue of public housing, which is one of the discussion topics of architecture, in the frame of daily life and to gain a new perspective. At this point, the films using public housing were discussed and what they wanted to be told, what relationship is established with which places and how these spaces are depicted and how they relate to the economic, cultural, social and historical situation of the public housing units and their surroundings are investigated.
The subject, which has a wide place in the literature such as cinema, architecture, narrative, and daily life, is affected by each other and can produce new results in the intersection regions of the disciplines. For this reason, the points emphasized in the study can be summarized and narrowed in the form of cinematic narrative, fiction of narrative spaces, perceptual concepts of these spaces, and the relationship between daily life and cinema and architecture.
In this context, in the second part, the relationship between the concept of narrative and cinema will be examined and the elements of cinematic narrative will be explained. Then, the subject of space, which is an important component of the narrative concept, will be discussed through the concept of cinema and cinematic narrative and its projections will be described. 
In addition, it will be mentioned that the narrative of cinema has become a stage for defining social, cultural and political relations in which spaces, cities and daily life have become the subject of other disciplines and interdisciplinary studies. Therefore, it will be revealed that the daily life in the narrative of cinema provides a rich source with different layers of information. It will be emphasized that the style of the directors who put forward this is also important.
In the third chapter, space will be examined as a subject in cinema. Space is a common subject of cinema and architecture. In every film, space is used even if it is not an absolute screening. In cinema, as in architecture, the function of space is determined. In other words, the space that the director determines for the action is the most appropriate place for the realization of that function and the meaning of the function changes as the space changes. According to this, architectural space can be said to be used as a means of cinema, but at the same time the existence of films aiming to create space should not be forgotten.
Therefore, the creation of spatial images can be achieved with different elements in cinema. According to a single event, where the action takes place, it can be on the bedroom, bathroom, library, elevator, terrace, causing a different story. An action gains meaning according to the place where the action takes place, the time of day, the light, the weather conditions and the perception of the presence of sound. However, each space has its own historical and symbolic connotations, which bring together the actions. The representation of cinematic action cannot be separated from the representation architecture of space, space and time, and the film director is forced to re-create the architecture without realizing it. Accordingly, how the fiction of space is created in the cinema and how it makes use of architecture and its tools according to the narrative will be examined, examples will be given and the situations that these examples are used to represent will be revealed. At this point, Jacques Tati's film Mon Oncle was examined. This film, which he presents as a critique of modernism, is also important with daily life knowledge of its users.
In the following, it will be evaluated on the perceptual properties of cinematic space and the tools and effects of narrative will be created. In addition to contributing to the narrative of cinematic space, these techniques should also be emphasized that they are used as a means of producing spaces in the discipline of architecture, but they are kept separate considering that they will not contribute to the scope of the study.
In the fourth chapter, the subject of daily life in the intersection of cinema and architecture will be discussed. The aim of the department is to examine how the bond of space and daily life is handled and applied with cinematic techniques. Accordingly, the examples in which daily life is dealt with at the architectural level will be addressed and their equivalents in different countries will be sought. In the daily life section of cinema, the creative potential of daily life is discussed and it is emphasized that cinema can be used as a tool to discover and develop this potential. In order to make this evaluation, the cinematic productions in the context of the relationship between daily life and reality will be discussed and the meaning of these species will be revealed. At this point, in the light of the work that Perec has created an inventory of daily life, which is brought up in L'infra Ordinaire, the examples of daily life can be tested through cinema and how the space is a part of it. At this point, it will be mentioned that deciphering the knowledge of the ordinary, everyday, questioning it and revealing the breakdown of daily life. In this section, the works of Perec and Chantal Akerman, which deals with daily life in a similar period, will be decisive.
In the fifth chapter, in the light of all the subjects mentioned so far, the films containing the narratives of public housing, where daily life can be observed and the existing spaces are used will be examined. The housing units discussed in the films were produced between 1945-1970. The reason for these dates is the existence of the period when the public housing production increased rapidly after the Second World War with the understanding of social state. This understanding lasted until the early 70s. Furthermore, the time that has passed since the production dates of the houses processed in the films allows the evaluation and discussion of the daily life experienced. From this point of view, how the housing units in different geographies used by different directors are represented and in which context the daily life and space relations are used to determine the situation will be examined. Accordingly, interiors, communal areas, non-residential spaces in and around the housing estate and transportation issues that may transfer their relations with the city will be tried to be addressed, but it should not be forgotten that the way these narratives are handled by different directors varies. 
As a result, it can be said that the characters living in mass housing help to make matters visible through their relations with space, their economic and social positions. From this point of view, it is possible to say that mass housing takes place in the cinematographic narrative as an extension of the wider social, political / cultural strife. In each of the films studied, the dwellings found to be a really important part of the narrative; it is essentially one step beyond their physical presence, representing the characters, their communities, and the challenges they face in life.
In addition, it can be said that the directors who have different cultural backgrounds and have brought different ethnicities to the focal point share certain common techniques in public housing narratives, but there may also be a significant difference in terms of presentation. Nevertheless, it can be said that this does not conceal the resulting daily life data and that cinema is a suitable environment for studying it. Although not covered in this study, it should be noted that Turkish films made at similar times with the same framework can be read and shed light on different layers of the period.