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10 famous filmmakers whose name is synonymous with a city; A director of a city

BingMag.com 10 <b>famous</b> <b>filmmakers</b> <b>whose</b> name is <b>synonymous</b> with a <b>city;</b> A <b>director</b> of a city

Just as cinema and its techniques have evolved since the beginning of the twentieth century, modern life has become increasingly industrialized. Both life and cinema became more intertwined; The city helped build the infrastructure and resources for cinema, and cinema shaped and transformed our perception of the city and its environment.

During the 1920s, the Weimar Republic became fascinated with the concept It was the metropolis and the future of modern metropolises, and filmmakers began to use cities for more inspiration and to explore its various aspects. Berlin as a modern metropolis, the middle class of the Paris Valley, the bitter world of noir film in Los Angeles, the relationships and the intellectual world of the New York elite, all of these were part of the artistic creations associated with cities in later years.

It was natural for any filmmaker to explore the city he knew best and had a deeper connection to, depending on where he was born and where he lived. By searching more in a city, more information about the daily and inner life of the city, the connection of this bio-city with the tendencies of the citizens and then understanding the concept of bigger and more than just a city was formed and developed in the works of these filmmakers. In this article, we have examined 10 filmmakers and their relationship with a city; 10 filmmakers whose works have a very special aspect in the world, and to some extent, their names can remind us of a particular city.

1. Woody Allen - Manhattan (NY)

BingMag.com 10 <b>famous</b> <b>filmmakers</b> <b>whose</b> name is <b>synonymous</b> with a <b>city;</b> A <b>director</b> of a city

Woody Allen is probably the most important and familiar example on this list. Allen became known as the director of New York city; But at the same time, limiting this description seems crucial, because for a city the size of New York, the story is different and it is almost impossible for one person to understand exactly the quality and meaning of life throughout the city. In fact, the experiences of citizens in different parts of New York are very different. So it's fair to say that Allen's work focuses more on life in Manhattan, especially the lifestyles of middle-class intellectuals in Manhattan. Take the Money and Run began the more dramatic period of his career, the Manhattan era, in 1977 with the film Annie Hall. Annie Hall reflected Allen's intense passion for Manhattan. For Allen, the character played by Allen in the film, he is the center of the modern world, but for Diane Keaton, who plays the instant, Los Angeles has more freedom, and New York is somewhat cold and alien to others.

Beyond their connection to the city, Allen's films even managed to add new sights to the city; An example is the bench overlooking the Queensboro Bridge. Although Allen went to different cities during his many years of filmmaking and made films in several other cities, it can be said with certainty that New York and Manhattan is exactly what he has understood in the deepest possible way.

Allen's critique, on the other hand, is that his perception of New York was Manhattan-oriented and, as a result, tainted with an elitist and unbalanced view of the city, in a period of history that was highly violent and fraught with social and urban problems. However, such a critique may not seem fair. In response to this criticism, it can be argued that Allen narrated a life he knew better. An author can only create something he is deeply aware of, and Allen had the most accurate understanding of Manhattan and the intellectual atmosphere within this part of New York.

Jean-Luc Godard - Paris

BingMag.com 10 <b>famous</b> <b>filmmakers</b> <b>whose</b> name is <b>synonymous</b> with a <b>city;</b> A <b>director</b> of a city

Jean-Luc Godard alongside Woody Allen Another real filmmaker of the urban cinema component Is. Godard, of course, is also the most famous director of the new wave of French cinema; A wave that basically brought with it a kind of reconciliation with the city and real locations.

A new wave of French cinema emerged in opposition to the adaptation and studio works of previous decades. These works were inexpensive, sometimes made by novice and inexperienced filmmakers, filmed in real locations, dealt with current affairs of the community, and basically had a lively and organic connection to the city. Godard's films were no exception to this rule and were filmed in real locations as much as possible. "Going to the streets was born at a time when French cinema was a studio cinema." Godard has always wanted to produce his films without a complete screenplay, and perhaps this tendency, more than any other New Wave filmmaker, reflected the key conditions of filming in an urban location that deals with production uncertainties.

Los Angeles became known for its noir film, and Berlin was associated with the idea of modernity, Paris through the mental world of filmmakers like Godard And his contemporaries and their narratives took on a visual aspect of the city and became a symbolic place. Interestingly, France was steeped in American culture at the time, but Godard's Paris was not a romantic, American portrait.

On the contrary, Godard's works ironically played on Hollywood influences They interfered with French sensibilities in their interpretations. Godard felt responsible in those years to reflect the life of Paris and its people; The urban people were largely equated with the entire French nation.

Godard's works in Paris highlight post-war concerns, the anxiety of globalization, the growth of American culture, and the growth of consumerism. Consider the famous quote from the masculine-feminine film (Masculin, fminin): "This film can be called the child of Marx and Coca-Cola." It is also considered a full-fledged Parisian scene, telling a love and anti-love story first with Hollywood love contracts and then by deleting them at the end of the film. What Godard had made was both mentally engaging and aesthetically pleasing to say.

Federico Fellini - Rome

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As Fellini himself points out, the city of Rome has played a crucial role in his life. "When I found Rome, I found my world."

Fellini spent most of his life in Rome, shooting most of his films at the Chinchita Studios. The relationship between Rome and Fellini as a director was a perfect one. Rome frightened and intimidated Fellini as much as it inspired him. Fellini was amazed at the fact that the citizens of this city could work and live with satisfaction within this ancient city; Fellini admired the citizens of Rome and was fascinated by the dense history of the city.

Living in Rome means that anywhere in the city you can quickly reach another point that includes Egyptian columns, Baroque churches and medieval structures. Bring the middle to your eyes. From Fellini's point of view, this complexity reflected Roman identity; Warm, pleasant, arrogant and passionate at the same time.

In one of the most symbolic and romantic depictions of a city, Fellini created The Sweet Life (La Dolce Vita), in which the adventures of Marcello Rubini, a journalist, take place within a week of his life. Follows. Marcello, a journalist of celebrities and a broadcaster of yellow and marginal events, is eager for a more meaningful path to continue his life, and his inner contradictions depict the existential struggles of his life: an intellectual trapped in a world of extremism and lust; Within the public culture of Rome during the 1950s.

Fellini depicts the current state of post-war Italian caf society. He staged 80 special Remy locations for the film in Chinchita, but the film's most famous scene was filmed at the location of the Troy Fountain. The fountain became so synonymous with Fellini's film that the fountain was turned off and blacked out in 1996 with the death of Rubini's actor Marcello Mastroviani. Fellini from his birthplace Remini to Rome. Here, too, the life of Rome during the war and the modern life of the seventies are depicted in this city.

Fellini shows how under the fascist regime people gathered in public places such as cafes and squares and then modernized Chaos occurred in previous relationships; During this period, people were driven to cars and motorcycles instead of gathering in the city. Fellini's view, rightly or wrongly, was associated with the idea that something had been lost in the city over the past decades; Something like a stronger urban community that has been replaced by a community with weaker urban connections. And always emphasized changing Rome.

4. Abbas Kiarostami - Tehran

BingMag.com 10 <b>famous</b> <b>filmmakers</b> <b>whose</b> name is <b>synonymous</b> with a <b>city;</b> A <b>director</b> of a city

Abbas Kiarostami is the greatest filmmaker who has emerged from the rich atmosphere of Iranian cinema. Kiarostami, who was born in Tehran, grew up and studied in this city. He did not emigrate after the revolution and generally linked his filmmaking career with the environment inside Iran, and he considered this decision a great help to the future of his filmmaking.

Although he lived in different parts of Iran, including the small town of Cocker. He made the famous Cocker trilogy (Where is your friend's house ?, Life and nothing else and under the olive trees), but he shot many of his landmark films in or around Tehran. Although other Iranian directors may appear to be world-renowned options associated with the city; For example, Asghar Farhadi probably globalized some of the more contemporary images of Tehran, and Mohsen Makhmalbaf also held such a position during this period. But probably no one has created as original, creative and poetic images in connection with Tehran as Kiarostami.

Kiarostami was interested in combining documentary and fiction style and introduced this approach in two films. It also showed close-ups and ten. The first tells the story of a man who pretends to be Makhmalbaf and deceives a family who think they will be part of the director's latest film. You show yourself; An incredibly complex, multi-layered film that offers a brilliant view of the filmmaker's hometown and country. In Kiarostami, a prosperous family living in Tehran is simply deceived by a poor local with a weaker social status because of their strange fascination with appearing in a famous Iranian film. This man's name is Hossein Sabzian; A passionate cinema lover who aspires to become a famous filmmaker and this opportunity was the closest he could to realizing his dream.

Kiarostami's other film consists of ten of ten scenes, each of which is a conversation between a driver. Shows a woman with different passengers while driving in Tehran. Here, too, the actors were not trained as amateur actors, and the narrative contained elements of the real life of the people in the film. . In fact, the film was like a work that was strongly inspired by the people of this city. But one of Kiarostami's most acclaimed films, The Taste of Cherry, follows the story of a man named Badiee, who is looking for someone in the city to bury his body after committing suicide.

They present Tehran's ethnic and racial identities, including his association with a Kurdish soldier and an Afghan cleric. Kiarostami finally breaks the fourth wall by combining images of himself and his group working on the film.

Perhaps the taste of cherries can be judged as follows: Life goes on in Tehran despite its fragility. Like some of the other filmmakers on this list, the director made films that appealed to the people of the city and its people, rather than to the film or films about his hometown, and expressed views, albeit in line with the filmmaker's own worldview. Displayed.

5. Billy Wilder - Los Angeles

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Los Angeles as the home of Hollywood has one of the richest cinematic histories among the cities of the states The United States has. One can easily trace several prominent directors associated with the city (from David Lynch to Paul Thomas Anderson). But an artist has a deeper connection to this city, and he is none other than Billy Wilder. Wilder has two major noir films in his repertoire; Double Indemnity and Sunset Boulevard, both of which are synonymous with Hollywood and Los Angeles' particular perspectives and interpretations. And strengthened the connection between the city and concepts such as the urban crisis and the decline of morality. Wilder himself was an immigrant, and as a newcomer to the city from Germany, he was an ideal choice for portraying this feeling of displacement and loneliness.

From the home to the bowling alleys, outsiders display a disturbing isolation and gloom. At the same time, the same feeling as if imposed on the hero by the general atmosphere of the city exposes him to a kind of seduction.

Wilder, because of his wider studio activities, basically filmed less often in real locations. But instead he portrayed the city to the viewer through characters and narratives; For example, Walter's voice in Double Compensation determines the exact location of any change in the story, thus recreating the city through a powerful mental description for the audience.

Yet another Wilder film. That is, Sunset Boulevard exposes the mental turmoil of characters alien to themselves and the environment in the suffocating world of old Hollywood. Wilder portrayed the ruthless nature of the television industry in the character of Norma Desmond, two silent film stars left unattended during the speech. Perhaps because Wilder himself was an immigrant, he was able to more accurately record the state of Hollywood at the time and, of course, the city of Los Angeles in the history of cinema.

6. Alfred Hitchcock - London

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When we first look at Alfred Hitchcock, we probably think of US cities. comes; Pictures of California motels or crowded metropolises full of skyscrapers in movies like Psycho or Vertigo. But it is important not to forget the connection between the suspension master and his hometown of London.

In fact, Hitchcock shot a significant portion of his work in London before moving to the United States and pursuing his cinematic world. . Over a 10-year period since 1962, he has made six films in which London has excelled. Pay for filming. He is thus one of the traditions He started his cinema to include famous places in the film. Examples include the climax of the Blackmail movie that runs over the dome of the British Museum, or The Lodger: A Story of the London Fog, which includes views of Westminster and Cheering Cross. At the same time, Hitchcock had a broad knowledge of the history of London, and this awareness is evident in his work. For example, the final shooting of The Man Who Knew Too Much was made in the wake of the Sydney Siege or the Battle of Stephen in January 1911 in East London. He also removed this section.

The suspension master returned to London to make the penultimate film Frenzy, and this was Hitchcock's last homage to the city he grew up in and shaped to his taste. After all, a great filmmaker like Hitchcock can overshadow a country's entire film production and cinema connection to a city. For example, it is almost impossible to think of a film like The 39 Steps without capturing the foggy London landscape.

Fritz Lang - Berlin

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Berlin can be considered as a kind of source of cinema-city connection. During Europe in the 1920s, Berlin was the center of a sense of cosmopolitanism and modernism, so it did not seem at all strange that Berlin, as an urban space, was a model for the many directors of the time. In fact, these early cinematic images emerged as a result of growing curiosity about the development of the metropolis.

Perhaps the most iconic work of the time was Metropolis, directed by Fritz Lang; A classic sci-fi film that explores the connection between the city and industrialization. Long did not choose Berlin in particular, but an utopian and imaginative view of the city to reflect the social ills of the expanding industrial city. In Long, a vertical space was created with the shape and image of the future; A spacious, lofty, high-rise world owned by the owners of factories and industries, and a low-rise, cramped, ruined, urban world owned by workers.

It was open to the citizens, showing sharp and shining skyscrapers in the shade. The image of this wild Berlin in the imaginary future showed the integration of advanced technologies and modernity within the city, and also showed the citizens as mere means of these developments.

His cinematography was considered to be his 1931 film M (M), which explored the urban environment. The opening scene of the film revolves around a serial killer who is being chased by the police; This scene highlights the anxiety in Berlin, and essentially the anxiety of the city: a group of children are playing in the courtyard of a residential area, and the theme of the game is about a killer who hunts children. The camera then moves on to a woman who takes the laundry through the stairs to Elsie Beckman's mother's apartment; A mother worries about why her daughter has not returned home from school yet. Let the electricity go. Berlin became the main metropolis represented in cinematic works through Long's works.

8. Wong Kar Wai - Hong Kong

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When New Wave Movements Transformed Asian Cinema, Hong Kong Cinema Kong also underwent changes by these waves. In this cinema, filmmakers like Wong Kar-wai, who matured in the new era of television and popular culture without any memories of the war, portrayed the alienation of young people and their uncertainty about the future and identity of their city. Wong's work brought with it a kind of up-to-dateness and new charm that some film lovers believe has been less seen since the New Wave of French cinema. His work was an eruption of artistic genius in the perspective of modern Asian cinema. Wong was a writer and director who was closely associated with his hometown, and his style of filmmaking was synonymous with Hong Kong and Hong Kong identity. Fallen Angels represented a fast-paced, uninterrupted urban lifestyle. Episodic narratives highlighted the vulnerability and uncertainty of living in a city like Hong Kong. A crowded metropolis where living can sometimes be extremely suffocating, anxious, and full of unexpected encounters and unpredictable experiences. These events can take place anywhere in the city, or perhaps in a cramped apartment like the In the Mood for Love movie apartment. It was Hong Kong; A city in which filmmaking with a less closed structure prepared the space for wider inspiration and improvisation. Today when the urban landscape Looking at Hong Kong, it's hard not to imagine how many interconnected or unrelated stories are unfolding within this crowded, subcutaneous population of the city; We owe much of this image of Hong Kong to the world of Wong Kar Wai's movies and stories.

9. Edward Young - Taipei

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Edward Young was part of an emerging network of directors seeking to revise film production They were their own country and were part of the new wave of Taiwanese cinema. By moving away from the usual martial arts movies and melodramas of Taiwanese cinema, this group of artists sought to portray in a realistic way what exactly it is like to be a citizen of Taiwan today, a country facing rapid urbanization and political power struggles. . These filmmakers have tried to recreate the process of life as honestly as possible.

In his short filmography, Young spends most of his stories in Taipei, the capital and largest city of Taiwan. Globalization is coming.

In what is probably his most famous film, Taipei Story, he describes the growing alienation between a young couple. Former baseball player Long and China, an office worker with unbridled ambitions, both try to cope with life in modern Taipei in different ways. Long is deeply involved in the past and wishes he could repeat his baseball career. He thinks he is dissatisfied with his current lower-level job and feels threatened by his wife at any moment; A wife struggling to survive in the brutal world of big business today. Or be Asian metropolises. The logos of large multinational corporations such as Fuji and NEC make a strong reference to the impact of giant corporations on the lives of ordinary Taiwanese citizens. The film couple's weak love is lost in this newly created modern urban environment, and the feeling of alienation under the blinding neon lights is pleasantly evident. Using the couple's personal story, Yang shows how the new economic changes that have swept the city and the country have forced humans to fight for survival. Yang Yang in 2000 Three generations of a Taiwanese middle-class family living in Taipei, he tried to create a more ambitious work with a strong presence in Tapie. In this work, too, he depicts the struggle to preserve human nature in a rapidly evolving society. Yang's greatest achievement in the world of cinema is that he can show how general and pervasive these feelings are. In fact, although he explores Taiwanese identity in his films, this identity and life in Taipei, a global city, and the identity of contemporary man in modern cities represent the present. A city with skyscrapers that can be anywhere in the industrial world today in the east or west of the world.

10. Pedro Almodvar - Madrid

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Pedro Almodvar moved to Madrid in the late 1960s as a young filmmaker Kurdish and from then until today, Madrid has been a central city in his works and one of the inspiring sources of his films. Almodvar is one of those filmmakers who is interested in repeating certain themes in his works (he even uses special repetitive actors in many of his works such as Penelope Cruz) and Madrid has acted as a background for these themes.

city as one of the cinematic perspectives of his works.

While the films of this director Spaniards show the city's famous landscapes - for example, dancing in the Plaza Mayor in The Flower Of My Secret or the Segovia Bridge in the Matador - but you never feel like Madrid overpowers its citizens. And casts a more vivid shadow over their lives than it should; In fact, it is the stories and lives of the citizens that play a central role, and the city is only a part of the repetitive life scenes of these citizens, and through this repetition, it finds its identity.


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