LA ,CIUDAD:
MAGENES E
MAGINARIOS
CONGRESO INTERNACIONAL INTERDISCIPLINAR,
DE LA FACULTAD, DE HUMANIDADES, COMUNICACION Y
DOCUMENTACION DE LA UNIVERSIDAD CARLOS 111 DE MADRID
DEL 12 AL 15 DE MARZO DE 2018
LIBRO DE ACTAS
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
LA CIUDAD: IMÁGENES E IMAGINARIOS
Actas del Congreso Internacional Interdisciplinar La ciudad: imágenes e imaginarios
Facultad de Humanidades, Comunicación y Documentación
Universidad Carlos III de Madrid
12-15 de marzo de 2018
Editores: Ana Mejón David Conte Imbert Farshad Zahedi
Universidad Carlos III de Madrid, 2019
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
ÍNDICE
COMITÉ CIENTÍFICO Y DE ORGANIZACIÓN ...... 11 PREÁMBULO ...... 12
Espacio urbano LA GESTIÓN DEL PATRIMONIO URBANO. EL CENTRO HISTÓRICO DE SANTA CRUZ DE TENERIFE: ARQUITECTURA Y LENGUAJE ...... 18
SEVERO ACOSTA RODRÍGUEZ FÁTIMA ACOSTA HERNÁNDEZ ÁNGELES TUDELA NOGUERA (UNIVERSIDAD DE LA LAGUNA) OLVIDO Y MEMORIA EN LA ÉPOCA DE MERCANTILIZACIÓN DE LA CIUDAD ...... 29
ALBA BARO VAQUERO (UNIVERSIDAD AUTÓNOMA DE MADRID) WOMEN AND URBAN MOBILITY: THE IMPORTANCE OF RECOGNIZING GENDER DIFFERENCES IN URBAN PLANNING ...... 37
LUA BITTENCOURT (UNIVERSIDADE DE LISBOA) RE-SIGNIFICAR EL ESPACIO URBANO: ANÁLISIS SEMIÓTICO EN TRES TIEMPOS DEL ÁREA DE LA EXPOSICIÓN IBEROAMERICANA DE 1929 EN SEVILLA ...... 44
MANUEL A. BROULLÓN-LOZANO (UNIVERSIDAD DE SEVILLA) ISTANBUL: BRIDGE BETWEEN WEST AND EAST ...... 55
SINEJAN BUCHINA (THE CITY COLLEGE OF NEW YORK) MAPA Y TIEMPO DE LOS ESPACIOS ESCÉNICOS DE MADRID ...... 66
FELISA DE BLAS GÓMEZ (REAL ESCUELA SUPERIOR DE ARTE DRAMÁTICO DE MADRID –RESAD- Y UNIVERSIDAD POLITÉCNICA DE MADRID) ALMUDENA LÓPEZ VILLALBA (REAL ESCUELA SUPERIOR DE ARTE DRAMÁTICO DE MADRID –RESAD-) CARLOS VILLARREAL COLUNGA (UNIVERSIDAD POLITÉCNICA DE MADRID) LA BAHÍA DE PASAIA COMO PAISAJE CULTURAL URBANO ...... 77
ENRIQUE DE ROSA GIOLITO (UNIVERSIDAD NACIONAL DE EDUCACIÓN A DISTANCIA –UNED-) LA TRANSFORMACIÓN DE SEÚL A TRAVÉS DE LAS INDUSTRIAS CULTURALES SURCOREANAS: EL CASO DE LA OLA HALLYU ...... 91
SONIA DUEÑAS MOHEDAS (UNIVERSIDAD CARLOS III DE MADRID)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
MELILLA: DE FORTALEZA A CIUDAD ...... 101
FERNANDO SARUEL HERNÁNDEZ (UNIVERSIDAD DE MÁLAGA) LA GESTIÓN DE LA CONFLICTIVIDAD URBANA. LA CIENCIA DE POLICÍA Y LOS ORÍGENES DEL URBANISMO ...... 113
PEDRO FRAILE (UNIVERSIDAD DE LLEIDA) LA ARQUITECTURA EN LA CIUDAD ...... 123
EDUARDO MIGUEL GONZÁLEZ FRAILE (UNIVERSIDAD DE VALLADOLID) SANTIAGO BELLIDO BLANCO (UNIVERSIDAD EUROPEA MIGUEL DE CERVANTES) DAVID VILLANUEVA VALENTÍN-GAMAZO (UNIVERSIDAD EUROPEA MIGUEL DE CERVANTES) ARQUITECTURA VERTICAL. SIMBOLISMO Y CONGESTIÓN EN LA CIUDAD CONTEMPORÁNEA ...... 135
AGUSTÍN GOR GÓMEZ (UNIVERSIDAD DE GRANADA) THE TRANSFORMATION OF ISTANBUL AND CULTURAL EFFECTS ...... 150
JANET BARIŞ (NISANTASI UNIVERSITY) RE-IMAGINING THE URBAN EXPERIENCE IN THE GLOBAL ERA ...... 160
ANNA LAZZARINI (UNIVERSITY OF BERGAMO) EL EQUILIBRIO ENTRE PASADO, PRESENTE Y FUTURO EN UNA CIUDAD CHINA: CHENGDU Y EL EJEMPLO DE SINO-OCEAN TAIKOO LI ...... 169
LIAO SHUQI (UNIVERSIDAD DE CARLOS III DE MADRID) 1939/ 1959 MADRID EN EL CINE, CÓMO UNA COMEDIA SENTIMENTAL SOLAPA PROPAGANDA ...... 178
MARGUERITE AZCONA (SORBONNE UNIVERSITÉ) EL GÉNERO MUSICAL COMO DISCURSO PARA LA REPRESENTACIÓN Y LA PROMOCIÓN DE LA CIUDAD. EL CASO DE SUNSHINE ON LEITH ...... 183
VICTORIA LÓPEZ ÁLAMO (UNIVERSIDAD DE MURCIA) SALVADOR MARTÍNEZ PUCHE (UNIVERSIDAD DE MURCIA) ANTONIO MARTÍNEZ PUCHE (UNIVERSIDAD DE ALICANTE) LA FLÂNEUSE IMPOSIBLE: EL ACTO DE CALLEJEAR DESDE UNA LECTURA FEMINISTA ...... 194
VICTORIA MATEOS DE MANUEL (INSTITUTO DE FILOSOFÍA, CCHS-CSIC)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
VALPARAÍSO Y LOS DESAFÍOS DE UNA CIUDAD CONSTRUIDA SOBRE UNA GEOGRAFÍA ABRUPTA. EL CAMINO CINTURA COMO LA OPERACIÓN URBANA QUE ARTICULÓ LA EXPANSIÓN DE LA CIUDAD SOBRE LOS CERROS ...... 203
MELISA MIRANDA (EDINBURGH UNIVERSITY) LA RECONSTRUCCIÓN DE LA IMAGEN DE BERLÍN TRAS LA REUNIFICACIÓN ALEMANA ...... 211
MARÍA DOLORES MONTORO RODRÍGUEZ. (UNIVERSIDAD POLITÉCNICA DE MADRID) LA RELACIÓN ENTRE PAISAJE Y URBANISMO EN LA CIUDAD MODERNA: EL EJEMPLO DE SANTANDER ...... 224
MARÍA JESÚS POZAS POZAS (UNIVERSIDAD DE DEUSTO – BILBAO) LUGARES PARA LA PROMOCIÓN DE LA SALUD Y DE LA HIGIENE EN EL MADRID DE LOS AÑOS 30 EN LA REVISTA CULTURA INTEGRAL Y FEMENINA (1933-1936) ...... 238
IVANA ROTA (UNIVERSITÀ DEGLI STUDI DI BERGAMO) IMAGINARIOS TURÍSTICOS Y RENOVACIÓN URBANA: EL CASO DEL BARRIO DE SANTA CRUZ EN LA SEVILLA DEL SIGLO XX ...... 248
PAULA SAAVEDRA TRIGUEROS JACOBO GARCÍA ÁLVAREZ (UNIVERSIDAD CARLOS III DE MADRID) PROCESOS, PERMANENCIAS Y TRANSFORMACIONES EN LOS PAISAJES URBANOS BONAERENSES. EXPLORACIÓN HISTÓRICO-VISUAL EN LAS CIUDADES DE MAR DEL PLATA, TANDIL Y NECOCHEA- QUEQUÉN, ARGENTINA ...... 257
LORENA MARINA SÁNCHEZ GISELA PAOLA KACZAN (UNIVERSIDAD NACIONAL DE MAR DEL PLATA) LA CONSTRUCCIÓN DEL PAISAJE CULTURAL DE LA RÍA DEL NERVIÓN, EL LEGADO HISTÓRICO DE LOS FERROCARRILES MINEROS ...... 267
ANA SCHMIDT SERRANO (UNIVERSIDAD DE EDUCACIÓN A DISTANCIA –UNED-) EN LA VÍSPERA DEL ESPLENDOR: EL WASHINGTON CITY DE MARGARET BAYARD ...... 277
MONTSERRAT HUGUET (UNIVERSIDAD CARLOS III DE MADRID) DE “LA BANLIEUE” AL “GRAND PARIS”, LA BÚSQUEDA DE UNA NUEVA IMAGEN PARA LA EXTENSIÓN DE PARÍS ...... 288
PILAR AUMENTE RIVAS (UNIVERSIDAD COMPLUTENSE DE MADRID) LOS GRAFITIS EN MURCIA. DE LA ILEGALIDAD A LA OFICIALIDAD. ESTADO DE LA CUESTIÓN ...... 310
VICTORIA SANTIAGO GODOS (UNIVERSIDAD DE MURCIA)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
Experiencia ciudadana PROYECTO 00000000X. LA CIUDAD COMO SOPORTE PARA UN ARTE CRÍTICO ...... 322
MARÍA ANDRÉS SANZ (UNIVERSIDAD DEL PAÍS VASCO) WOMEN AND PUBLIC SPACE: THE URBAN FEMALE IN LISBON ...... 332
BRUNA BORELLI (UNIVERSITY OF LISBON) RELACIONES CIUDADANAS, GUBERNAMENTALIDAD LIBERAL Y UTOPÍA COOPERATIVISTA. EL PROYECTO DE ELÍAS ZEROLO EN SANTA CRUZ DE TENERIFE (1868-1870) ...... 343
JESÚS DE FELIPE (UNIVERSIDAD AUTÓNOMA DE MADRID) JOSUÉ J. GONZÁLEZ (UNIVERSIDAD DE LA LAGUNA) ESPACIOS HORTÍCOLAS CIUDADANOS, REDES E INFRAESTRUCTURAS AMBIENTALES COMO FACTORES DE RESILIENCIA URBANA ...... 352
SONIA DELGADO BERROCAL (UNIVERSIDAD POLITÉCNICA DE MADRID) DISCOURSE AND THE CONSTRUCTION OF ‘OTHERNESS’ IN PUBLIC URBAN ‘SPACES OF FEAR’ – AN INTERSECTIONAL FEMINIST APPROACH ...... 362
SONJA GAEDICKE (RWTH AACHEN UNIVERSITY) ANÁLISIS DEL CASO DEL DISTRITO CULTURAL LEICESTER´S CULTURAL QUARTER ...... 371
JENNIFER GARCÍA CARRIZO (UNIVERSIDAD COMPLUTENSE DE MADRID) SMART CITY COMO NUEVA ESTRATEGIA DE MARCA CIUDAD. UNA APROXIMACIÓN DEL SMART CITY BRANDING EN EL CASO ESPAÑOL...... 383
NOELIA GARCÍA-ESTÉVEZ (UNIVERSIDAD DE SEVILLA) VOLUNTARIADO SOCIAL, GESTIÓN DE LA COMUNICACIÓN Y RESPONSABILIDAD SOCIAL HOSPITALARIA EN ESPAÑA ...... 395
Mª TERESA GARCÍA NIETO FRANCISCO CABEZUELO (UNIVERSIDAD COMPLUTENSE DE MADRID) TRIESTE, ANTES Y DESPUÉS DE LA REVOLUCIÓN PSIQUIÁTRICA ...... 408
ANA MARTÍNEZ PÉREZ-CANALES (UNIVERSIDAD CARLOS III DE MADRID) UNA EXPERIENCIA URBANÍSTICA DESDE: LA PARTICIPACIÓN, LA FORMACIÓN Y LA SORORIDAD EN LA CIUDAD DE MANACOR (ISLAS BALEARES) ...... 417
ANTONIA MATAMALAS PROHENS (INVESTIGADORA INDEPENDIENTE)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
LA TIPOGRAFÍA EN LA CIUDAD, VEHÍCULO EMOCIONAL Y VASO COMUNICANTE ENTRE DOS TIEMPOS HISTÓRICOS DISTINTOS. UN ESTUDIO DE CASO: LA IDENTIDAD VISUAL CORPORATIVA DEL ESTADIO METROPOLITANO ...... 423
JUAN PEDRO MOLINA CAÑABATE (UNIVERSIDAD CARLOS III DE MADRID) MUJERES Y PARADOJAS DE LA CIUDADANÍA CONTEMPORÁNEA ...... 431
LAURA BRANCIFORTE (UNIVERSIDAD CARLOS III DE MADRID) ¿UN CIUDADANO, UN FLÂNEUR O UN VISITANTE? LA CIUDAD COMO MUSEO DE LO COTIDIANO ..... 440
CANDELA RAJAL ALONSO (UNIVERSIDAD DE SANTIAGO DE COMPOSTELA) ESTELLA FREIRE PÉREZ (UNIVERSIDAD DE SANTIAGO DE COMPOSTELA) LONDRES – VIENA. LA CONSTRUCCIÓN DE LA IDENTIDAD MEDIANTE UN PASEO CON VIRGINIA WOOLF E INGEBORG BACHMANN ...... 454
VERÓNICA RIPOLL LEÓN (UNIVERSIDAD CARLOS III DE MADRID) ATLAS ARTEDUCATIVO: LA CIUDAD DESPLEGADA ...... 462
CRISTINA TRIGO MARTÍNEZ (UNIVERSIDAD DE SANTIAGO DE COMPOSTELA)
Representaciones REPRESENTACIONES DE SANTIAGO DE COMPOSTELA EN LA LITERATURA INFANTIL GALLEGA DEL SIGLO XXI. UN CAMINO DE LECTURAS TEXTUALES Y VISUALES ...... 478
EULALIA AGRELO COSTAS (UNIVERSIDADE DE VIGO) OLALLA CORTIZAS VARELA (UNIVERSIDADE DE SANTIAGO DE COMPOSTELA) “I’M JUST TRYING TO MAKE MY CITY A BETTER PLACE” SOCIAL ISSUES, SUPERPOWERS, AND NEW YORK CITY IN NETFLIX’S 2015-2017 MARVEL SERIES FRANCHISE ...... 486
OCTÁVIO A. R. SCHUENCK AMORELLI R. P. PEDRO AFONSO BRANCO RAMOS PINTO (UNIVERSIDADE DE BRASÍLIA) VIRTUAL REALITY AND READING CITIES: GPS-BASED APPLICATIONS AS A NEW FORM OF LITERARY TOURISM ...... 495
ANA STEFANOVSKA (UNIVERSITÀ DI PADOVA) VISIONES URBANAS EN LA OBRA ARTÍSTICA DE CHEMA ALVARGONZÁLEZ ...... 503
MARÍA DOLORES ARROYO FERNÁNDEZ (UNIVERSIDAD COMPLUTENSE DE MADRID)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
LA CASA DEL HABITANTE QUE SE NEGÓ A PARTICIPAR Y LA MASQUE. UNA PROPUESTA DEL ARQUITECTO JOHN HEJDUK PARA LA CIUDAD ...... 515
CARLOS BARBERÁ PASTOR (UNIVERSIDAD DE ALICANTE) PLÁSTICA Y TECNOLOGÍA COMO OBSERVATORIOS DE LA CIUDAD ...... 526
ALBA CORTÉS-GARCÍA (UNIVERSIDAD DE SEVILLA) RE-PRESENTAR LA CIUDAD. URBAN RE-IDENTIFICATION GRID. APROXIMACIONES AL ESPACIO COMO ACONTECIMIENTO ...... 535
FELIPE CORVALÁN TAPIA (UNIVERSIDAD DE CHILE) LA CIUDAD ES UN MONTE ...... 546
ARTURO ENCINAS CANTALAPIEDRA (UNIVERSIDAD FRANCISCO DE VITORIA) LA CIUDAD REHABITADA...... 565
FELIPE SAMARÁN SALÓ (UNIVERSIDAD FRANCISCO DE VITORIA) DE SUR A NORTE, DE NORTE A SUR: ORÁN Y MONTPELLIER EN LA OBRA DE MALIKA MOKEDDEM .... 577
M. CARME FIGUEROLA (UNIVERSITAT DE LLEIDA) LAS UTTERANCES URBANAS A TRAVÉS DE LA FOTOGRAFÍA ...... 585
MAR GARCÍA RANEDO UNIVERSIDAD DE SEVILLA LA CIUDAD EN LOS FILMS TARDOFRANQUISTAS DE PACO MARTÍNEZ SORIA (1965-1975) ...... 597
OLGA GARCÍA-DEFEZ (UNIVERSITAT DE VALÈNCIA) LA PINTURA CONTEMPORÁNEA Y LA INTERPRETACIÓN PSICOGEOGRÁFICA DE LA CIUDAD COMO TRADUCCIÓN ESTÉTICA DE UNA ORGANIZACIÓN COMPLEJA ...... 606
RICARDO GONZÁLEZ GARCÍA (UNIVERSIDAD DE CANTABRIA) EN CONSTRUCCIÓN DE JOSÉ LUIS GUERÍN: LUGARES DE MEMORIA Y MEMORIA DE LOS LUGARES .... 617
SABRINA GRILLO (UNIVERSIDAD DE ARTOIS) A RE-VIEWING POSSIBILITY: NEW ENCOUNTERS WITH/IN ISTANBUL IN THE CINEMA OF TURKEY ..... 624
DR. ÖZLEM GÜÇLÜ (MIMAR SINAN FINE ARTS UNIVERSITY) EL ESPACIO URBANO DE TOLEDO EN LA NOVELA ACTUAL: MAZAPÁN AMARGO (2011) Y LA ÚLTIMA SOMBRA DEL GRECO (2013), LA SERIE NEGRA DE JOAQUÍN GARCÍA GARIJO Y SANTIAGO SASTRE ARIZA ...... 631
JESÚS GUZMÁN MORA (INVESTIGADOR INDEPENDIENTE)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
LA CIUDAD EN EL CINE NEGRO ESPAÑOL. ESPAÑA, CARNE DE THRILLER DESDE LOS AÑOS OCHENTA 639
EZEQUIEL HERRERA GIL (UNIVERSIDAD DE LA LAGUNA) HONG KONG ANTE LA MIRADA DE EILEEN CHANG: LA CIUDAD QUE PERDIÓ LA IDENTIDAD ...... 647
LINLIN JIANG (UNIVERSIDAD COMPLUTENSE DE MADRID) EL ESCUCHARIO URBANO ...... 654
ALMA DELIA JUÁREZ SEDANO (UNIVERSIDAD AUTÓNOMA METROPOLITANA) MIGUEL ÁNGEL GONZÁLEZ LOZA (UNIVERSIDAD AUTÓNOMA METROPOLITANA) ELIZABETH LOZADA AMADOR (UNIVERSIDAD AUTÓNOMA DEL ESTADO DE HIDALGO) WRITING CHICANO LOS ANGELES: GEOCRITICISM OF LOS ANGELES IN THE MIRACULOUS DAY OF AMALIA GÓMEZ BY JOHN RECHY ...... 663
ALVARO LUNA (UNIVERSITY OF CALIFORNIA) PARÍS/CARAX ...... 671
JOSÉ LUQUE CABALLERO (UNIVERSIDAD CARLOS III DE MADRID) CONTRAFORMAS DE CIUDAD ...... 679
CRISTINA MORALES FERNANDEZ (EINA, CENTRE UNIVERSITARI DE DISSENY I ART) LA IDENTIDAD BARRIAL EN EL DOCUMENTAL “FLORES DE LUNA”. UN ANÁLISIS DESDE LA MEMORIA HISTÓRICA, EL SENTIDO DE PERTENENCIA Y LA GEOMETRÍA DEL PODER ...... 689
DANIEL DAVID MUÑOZ MORCILLO YAMILA DÍAZ MORENO (UNIVERSIDAD CARLOS III DE MADRID) THE CITY OF THE ANTHROPOCENE: SOME PROBLEMS WITH THE NOMENCLATURE AND A LITERARY EXAMPLE ...... 699
KATARZYNA NOWAK MCNEICE (UNIVERSIDAD CARLOS III DE MADRID) URBAN MODERN IMAGINARY AND NATIONAL IDENTITY IN POST-WAR GREECE: PHOTOGRAPHY IN THE ILLUSTRATED JOURNAL EIKONES (1955-1967) ...... 707
EVI PAPADOPOULOU (ARISTOTLE UNIVERSITY OF THESSALONIKI) THE ENEMY WITHIN: THE CITY AND THE CONSTRUCTION OF SERIAL KILLER IDENTITIES IN AMERICAN POLICE PROCEDURAL FICTION ...... 720
MONA RAEISIAN (PHILIPPS-UNIVERSITÄT MARBURG)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
CIUDADES IMAGINADAS: MADRID, BARCELONA Y SEVILLA EN LAS REVISTAS EXTRANJERAS DE GEOGRAFÍA POPULAR (1970-2015) ...... 728
MARÍA RAMÓN GABRIEL (UNIVERSIDAD CARLOS III DE MADRID) LA CIUDAD TRANSFORMADA, REPRESENTACIÓN Y DISCURSO...... 736
JACOBO SUCARI (UNIVERSITAT DE BARCELONA) LA BARCELONA DE PETRA DELICADO ...... 746
MARIADONATA ANGELA TIRONE (UNIVERSIDAD DE SALAMANCA) LEYENDO ENTRE RUINAS: LA HABANA, LA DECADENCIA DEL ENCANTO O EL ENCANTO DE LA DECADENCIA ...... 755
SILVINA TRICA-FLORES (STATE UNIVERSITY OF NEW YORK) IDENTIDAD URBANA E IMAGINARIOS FÍLMICOS ...... 764
AURORA VILLALOBOS GÓMEZ (REAL ACADEMIA DE NOBLES ARTES DE ANTEQUERA) LA CIUDAD VASCA A TRAVÉS DEL HUMOR GRÁFICO DE LA SERIE “ZAKILIXUT” (1977): DE LA TIERRA MADRE A LA CIUDAD MODERNA ...... 774
AITOR CASTAÑEDA (UNIVERSIDAD DEL PAÍS VASCO) GAUDÍ, ARQUITECTO GENIAL EN LA CIUDAD DE LOS PRODIGIOS, DE EDUARDO MENDOZA ...... 784
FRANCISCO LEÓN RIVERO (BENEDICTINE COLLEGE) LOS SONIDOS URBANOS. LA CIUDAD DESDE LA PERSPECTIVA DE LA MÚSICA CLÁSICA ...... 793
ANA BENAVIDES (UNIVERSIDAD CARLOS III DE MADRID)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
Comité científico y de organización
Manuel Palacio, Presidente del Congreso, Decano de la Facultad de Humanidades, Comunicación y Documentación, Universidad Carlos III de Madrid.
Carlos Manuel, Primer Vicedecano de la Facultad de Humanidades, Comunicación y Documentación, Universidad Carlos III de Madrid.
Julio Checa, Departamento de Humanidades: Filosofía, Lenguaje y Literatura, Universidad Carlos III de Madrid.
David Conte Imbert, Departamento de Humanidades: Filosofía, Lenguaje y Literatura, Universidad Carlos III de Madrid.
Mª Jesús Fuente, Departamento de Humanidades: Historia, Geografía y Arte, Universidad Carlos III de Madrid.
Carmen Jorge, Departamento de Biblioteconomía y Documentación, Universidad Carlos III de Madrid.
Ana Mejón, Departamento de Periodismo y Comunicación Audiovisual, Universidad Carlos III de Madrid.
Farshad Zahedi, Departamento de Periodismo y Comunicación Audiovisual, Universidad Carlos III de Madrid.
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La ciudad: Imágenes e imaginarios
REPRESENTACIONES
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
A Re-viewing Possibility: New Encounters with/in Istanbul in the Cinema of Turkey
Dr. Özlem Güçlü (Mimar Sinan Fine Arts University)
Resumen Dentro de la filmografía de origen turco, hasta los años 90, Estambul no solo fue el centro de la producción cinematográfica, también se erigió como la principal figura de la mayoría de los argumentos de las películas turcas. Añadiendo, que es posible argumentar que se trata de un lugar irreemplazable dónde personajes que representaban una diversidad de identidades podían interactuar entre ellos. Esto ocurre dentro de un espacio de encuentro donde los límites de lo "aceptable" y lo "posible" entre las diferentes etnias, minorías y géneros rurales o úrbanos se dibujaban en la pantalla. Sin embargo, desde mediados de los 90s, por encima de todos los ejemplos del nuevo cine turco, ciertos films empiezan a imaginar nuevas propuestas dentro de Estambul y su actual perspectiva moderna. Basándonos en películas más actuales (de mediados de los 90 en adelante) como son Distance (Nuri Bilge Ceylan, 2002), Journey to the Sun (Yeşim Ustaoğlu, 1999), My Only Sunshine (Reha Erdem, 2008), Istanbul Tales (Ümit Ünal, 2005) and Wrong Rosary (Mahmut Fazıl Coşkun, 2009), este documento trata de cuestiona las normas que rigen el marco de referencia que se ha construido de la imagen de Estambul y a su vez, exponer una nueva visión para que estas nuevas narraciones se desarrollen.
Abstract On the Turkish cinema screen, Istanbul was not only the centre of film production until the 1990s, but also stood as the central figure in most of the narratives in Turkish cinema. Moreover, it is possible to argue that Istanbul was not only an irreplaceable filmic space where characters representing different identities meet each other, but also a space of encounter where the boundaries of “acceptable” and “possible” in terms of identity categories such as ethnicity, minority, gender, rural or urban were drawn on the cultural screen. On the other hand, since the mid-1990s, among the examples of the new cinema of Turkey, certain films begin to imagine new kinds of encounters with/in İstanbul and new ways of looking at the Other. Drawing upon Distance (Nuri Bilge Ceylan, 2002), Journey to the Sun (Yeşim Ustaoğlu, 1999), My Only Sunshine (Reha Erdem, 2008), Istanbul Tales (Ümit Ünal et al., 2005) and Wrong Rosary (Mahmut Fazıl Coşkun, 2009), this paper aims to question the normative frameworks that are built upon Istanbul images, and to set forth the possibility of a re-viewing that these narratives unfold.
Palabras clave: Cine turco, Estambul, nuevo cine de Turquia, representación de lo opuesto. Keywords: Turkish cinema, Istanbul, new cinema of Turkey, representation of the Other.
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
Introduction
Istanbul was not only the centre of film production until the 1990s in Turkey, but also stood as the central figure in most of the narratives in Turkish cinema. Moreover, it is possible to argue that Istanbul was not only an irreplaceable filmic space where characters representing different identities meet each other, but also a space of encounter where the boundaries of “acceptable” and “possible” in terms of identity categories such as ethnicity, minority, gender, rural or urban were drawn on the cultural screen. In this paper, I will focus on the examples in which new ways of encounters with and in Istanbul are imagined beyond this repertoire of representations. Drawing upon certain examples, I aim to set forth how these new encounters not only simply point at a shift in the cinematic representation of Istanbul, but also lead to the questioning of the logic and practice of the representational regime that the Turkish cinema constructed around Istanbul images. Moreover, through their unconventional gaze towards the thus-far devaluated Other on Turkish cinema screen, I argue, they open to a re-viewing possibility, “the possibility of apprehending the world under conditions other than those dictated in advance by the given-to-be-seen”, in Kaja Silverman’s terms (1996: 189-190). Representations enable us to categorize the world. Rather than reflecting a social reality of a category, in fact, they suggest a way of thinking and/or knowing about a category. As part of a representational regime, films, too, suggest certain positions or certain points of view, rather than reflecting the world like a mirror. They produce a repertoire of images and a way of knowing regarding identity categories – therefore, certain ways of seeing, defining, identifying with these categories. As Kaja Silverman suggests in Male Subjectivity at the Margins, screen presents a repertoire of images that is created by culture, and through this repertoire, subjectivities are produced and differentiated according to class, race, gender and nation (1992, p. 150). According to her, “dominant fiction”, which is the ideological belief through which a society's “reality” is constituted and sustained, builds up the “bank” of representations based on binary oppositions of gender, race and class (1992, p. 31). However, in The Threshold of the Visible, she argues that screen is not merely composed of normative representations, or of dominant fiction, it also includes oppositional and subcultural representations (1996: 261). So even though she accepts the power of the normative, she still believes in the possibility of a seeing that is a way different than that assigned in advance (1996: 222). Therefore, she searches for the possibilities of a “productive look” that is beyond the dominant fiction and normative spectacles of the cultural repertoire of images, and that can dismantle the class, gender and racial differences (1996). Following in Silverman’s footsteps, I will discuss the “new Istanbul films” which, I believe, open to such a possibility by their way of imagining new encounters with/in Istanbul. Before closely looking at the selected films, in order to contextualize the films, I would like to shortly refer to the novelties regarding the representation of Istanbul and identity categories that the new cinema of Turkey sets forth.
Novelties of the New Cinema of Turkey
Since the mid-1990s, cinema of Turkey has been witnessing a series of novelties and diversification in terms of narrative structure, style, aesthetic and filmmaking modes. The conceptual shift from the “Turkish cinema” to the “new cinema of Turkey” can be considered as an attempt of describing this diversity and pointing at the difference from the classical Turkish cinema. In this sense, while the “new” emphasizes its being a multifaceted and polyphonic cinema in terms of themes, genres, representational forms,
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) formal features and film production modes that are so much different from the uniform and monolithic style, production mode and language of the classical Turkish cinema (Arslan, 2009; Suner, 2010); the change from “Turkish” to “of Turkey” can be considered as the manifestation of an impossibility to narrow down these films within the category of “national cinema” which implies coherence and unity (Arslan, 2009). Regarding the images of Istanbul, in the classical Turkish cinema, Istanbul was the visually and thematically constituent element in the narratives. It was the spatial context that gives meaning to the narrative. Narrative was, mostly, set in the big city, i.e. in Istanbul. In the 1950s and 1960s narratives, Istanbul represented a domesticated, familiar, a kind of “inside”; both stories and characters were from Istanbul (Suner, 2006: 219-220). In the classical narratives, Istanbul was the spatial centre of the cinematic representation of national imagination, which depends on an idea of homogenous nation (Arslan, 2010). Similar to Benedict Anderson’s concept of “imagined communities”, cinema, through images, constitutes a “community of audience” (Göktürk, 2010), i.e. an idea of “us”. At the end of 1960s, the axis of the narratives shifted from the centre to the peripheries of the city. With the effect of the increasing migration to the city in the social realm, familiar gaze left its place to the gaze of the newcomer to the city, and the familiar relation to the city left its place to the hostile relation to the city (Suner, 2006: 219-220). However, despite various changes, Istanbul continued to serve as an “inside” through which the boundaries and contents of the (ideal, desirable or acceptable) “us” were defined on the screen. In this respect, in the examples of the new cinema, the most significant novelty regarding the images of Istanbul is that they no longer serve to define the boundary of “us”. Rather than being the narrative element that serves to compare the differences and then to accord them with the “acceptable” and “possible”, it starts to appear as the space of encounter and crisis of belonging, without being a reminder of the content of “us”. These new Istanbul films point at the encounters themselves and open their narratives to the differences that thus-far erased, silenced or stereotyped.
New Encounters: Distant (2002)
In comparison to classical Istanbul narratives, Distant by Nuri Bilge Ceylan constructs its narrative around an unconventional image of Istanbul and an unconventional encounter in Istanbul. The film tells the story of the tension arised between two distant relatives, when one of which –Yusuf- comes to Istanbul to find a job and starts staying in the other’s –Mahmut- place. Snow-covered Istanbul becomes the well-known background image of the film. It makes the city anonymous and relatively breaks its familiarity (Türeli, 2011: 207). Even though this image can be considered as an aestheticized one (Türeli, 2011: 204), it is almost impossible to talk about a conventional cinematic “beauty of Istanbul”. Istanbul view that Yusuf walk by and that Mahmut stares at is the image of distance rather than being a spectacle of a beauty. Even though Yusuf walks the city every day in order to find a job, he is never able to be included in the city as a newcomer. He stares the crowds, moreover, he chases the crowds but is never able to join them. Even though Mahmut represents the urbanite, he is also like an outsider in the city. As opposed to Yusuf, he does not walk the city or try to join the crowds, rather he could only move in the city inside his car –safe and protected. He is mostly seen while watching Istanbul view from the shore. In contrast with the classical Turkish cinematic encounters in Istanbul, there is not a comparison or opposition between the rural and the urban, as both character—equally—are not able to be included in the city. The film does
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) not prioritize any of its characters’ point of view (Akbulut, 2005: 138). As opposed to classical narratives, it does not romanticize or criticize countryman (Türeli, 2011: 214). Nor it does glorify or discredit the urbanite. None of them is preferable: While Mahmut is presented as the one who despises the rural Yusuf, and the one who accuses him unjustly of theft, Yusuf is portrayed as brazen guest who does not follow the house rules. If Yusuf watches cleaning lady, peeps the woman on the metro, stalks women on the streets of Istanbul, Mahmut in a very similar way peeps and stalks his ex-wife. In this respect, the film does not allow the story of the Other to be swollen for the construction of “us” as it temporarily opens both characters to identification.
Journey to the Sun (1999)
If Distant imagines an unconventional rural-urban encounter in Istanbul, Journey To The Sun (1999) by Yeşim Ustaoğlu sets forth an unconventional encounter between its Turkish and Kurdish characters. The film tells the story of the friendship of two lower class youngsters –Mehmet from Western Turkey and Berzan from South Eastern Turkey- whose lives intersect at the celebrations after a national football match when they are assaulted and chased by a group of nationalists in the streets of Istanbul. After the prologue scene, the first sequence is opened with an early morning image of İstanbul, Eminönü. A Kurdish song from Berzan’s tape stand is heard on the images of people, ferries, fishermen etc. This untypical/unconventional music use on a typical/conventional image of Istanbul morning makes an accoustic attachment to Turkish cinema’s repertoire of Istanbul images. It inscribes the voice, sound and language of the Kurdish other who has been denied by classical narratives’ single-language and single-identity screen of Turkisness. In this way, it opens a crack in the familiar cinematic landscape of Istanbul. Likewise, in another scene, while sitting on a bench facing Bosphorous view, when Berzan tells Mehmet why he came to Istanbul, he tells an unconventional, unfamiliar, so- far denied experience—how his father and many more became victims of unresolved murders—on the familiar, conventional view, image of Bosphorous. Through its imagination of a new encounter by these unconventional usages in these scenes resist normative repertoire of images in Turkish cinema. Gazing at an Istanbul image with different attachments, might cause to re-view all the Istanbul images that are stored in our memory. Moreover, in the second half of the film where Mehmet goes from Istanbul— spatial centre of the screen of Turkishness—to south eastern Turkey, in order to return Berzan’s funeral to his hometown, the film shows what the screen of Turkishness thus- far oversee or denied: in long, point of view, plan sequences, it reveals the deported villages, red-x signs on the house doors, military vessels on the streets, the climate of the state of emergency in the region. Therefore, the film opens to the possibility of “being wounded by other people’s wounds”, in Silverman’s terms (1996: 189): “[T]o remember other people’s memories is to be wounded by their wounds. More precisely, it is to let their struggles, their passions, their pasts, resonate within one’s own past and present, and destabilize them”. (Silverman, 1996: 189) In this sense, the remembrance within which the audience is positioned through Mehmet’s journey, introduces the experience and voice of the Other to the Turkish cinematic memory stock, and enables the audience to acquire a re-viewing possibility regarding the cinematic relationship between Turk-us and Kurdish-Other.
My Only Sunshine (2008)
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6)
My Only Sunshine (2008) by Reha Erdem, introduces an unconventional encounter with Istanbul in terms of its imagination of its female character’s relation to the city. The film tells the harsh life of Hayat, a teenage girl, who lives with her father and bedridden grandfather in a riverside shack near Bosphourous. First of all, My OnLY Sunshine presents a unique look at the Bosphorous. Even though, Bosphorous plays a central role in the classical Istanbul narratives, what is conventional is the view of Bosphorous shot from the shore. Starting from first scenes, the film brings a new look at Istanbul from inside the waters of Bosphorous. This unfamiliar reverse look de-spectaclizes Bosphorous, that thus-far presented as a view merely to be watched. By doing so, it blurs the borderline that is attributed to the camera looking at Istanbul. Besides, My Only Sunshine subverts the normative gender representations of classical Istanbul narratives – that based on inside/outside, home/Street, safety/danger, virtuous/vicious binary oppositions. Even though, the streets of Istanbul –that Hayat constantly walks - is portrayed in a dark and uncanny atmosphere, along with off-screen sounds of sirens, screams, gunshots and glass breakings, as opposed to the classical narratives, this atmosphere of “dangerous streets” depicts Hayat’s own neighbourhood. In fact, in the scene where she goes outside the neighbourhood and walks the streets of city at night, the pre-existing knowledge of classical narratives regarding the streets of Istanbul at night – which is dangerous for a single woman- fails (Güçlü, 2011: 86). Nothing happens to Hayat, she turns every corner safely. And, that might carry the potential of a revealing and reviewing the gendered binary oppositions that Turkish cinema screen constructed around Istanbul streets. In the same vein, the source of trouble, danger and violence for Hayat’s life is presented as home, family and familiar (Çakırlar and Güçlü, 2013: 171). As opposed to the classical narratives’ safe and sacred home/neighbourhood vs. dangerous city/stranger division, Hayat is raped in the neighbourhood, abused by the neighbour and neglected by her family. In this sense, My Only Sunshine, subverts the normative ideal status of home, family and neighbourhood trio and therefore, opens to the possibility of “a radical redistribution of value at the site of the screen” (Silverman, 1996: 41). And, at the end of the film, she runs away from the horrors and suffocations of the familiar to the waters of Bosphourous with a stranger –with a not-Istanbulite young male. As opposed to classical narratives, the figure of outsider or stranger does not represent danger, but becomes the only one who makes her smile and happy throughout the film. In this way, the film also re-valuated the thus-far dangerous or uncanny portrayal of the male stranger-Other in Istanbul narratives. If we consider the fact that the most important binding motif of the classical Turkish cinematic encounters in Istanbul is the heterosexual romance, then the next two examples Istanbul Tales and Wrong Rosary set forth unconventional romance possibilities.
Istanbul Tales (2005)
Istanbul Tales composed of five intersecting short films, each of which is an adaptation of a well-known fairytale to today’s Istanbul. The Cinderella story in Istanbul Tales tells the romance between the trans prostitute character Banu and the shoe seller Fiko. If one of the most ideal status of the classical Turkish cinema screen for a female character is being loveable –being worthy of the male character’s love- in this film, the trans-other, who thus-far has been devaluated as “abnormal” or “trouble” in the moralistic and paranoid tone of the Turkish cinema screen, is now constructed as worthy of love. Therefore, like the treatment of stranger/outsider in My Only Sunshine, it enables “re- distribution of values on the screen”. Moreover, as the film creates this possibility through frequently used heterosexual romance formula of the well-known Cinderella tale, it
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) attributes an unconventional to the conventional and therefore, might open up a possibility of re-viewing of the past narratives. In fact, the trans princess of this Cinderella story is very much inconsistent with the conventional princesses of the Turkish cinema screen –ideal woman, ideal lover figures. The trans princess of this Cinderella tale creates the possibility of, realization of a different kind of princess ideal and ruins the normalcy or naturality of the one who is raised at the normative ideal status.
Wrong Rosary (2009)
If Istanbul Tales carries the possibility of changing the value distribution of the trans-other on the screen. Wrong Rosary (2009) by Mahmut Fazıl Coşkun carries the possibility of changing the given value of non-Muslim female other on the screen. The film tells story of the muezzin Musa, who has just appointed to a mosque in Istanbul, and his deep love for his neighbour Catholic novice Clara. In the classical Istanbul narratives of the Turkish cinema screen, non-Muslim female characters are often associated with unchastity, unreliability and prostitution (Balcı, 2013). They mostly represent the “outside” of the secure family or romance ideal: i.e. the dangers and corruptions of Istanbul. Instead of this normative representation, Clara, with a graphic difference, is a novice –not a prostitute. And instead of being subjected to devaluation, she is portrayed as worthy of a muezzin’s love. In this sense, this portrayal ruins the ideal virtuous “us” that is constructed against the non-muslim female’s wickedness, lust and unchastity. It does not suggest an opposition –us vs. the other- but a juxtaposition –like their picture taken during their trip to Şile province. With this suggestion, Istanbul imagination of the film is not merely reflects “us”. But it opens to the other following Musa’s footsteps on the streets of Istanbul. On the classical Turkish cinema screen, the houses, sanctuaries, living spaces of non-Muslims are usually not shown (Balcı, 2013). Home/inside is inscribed in the representational coordinates of “us”, not of the Other. Yet, Wrong Rosary opens with a scene inside a church and throughout the film Clara’s house and church is shown as much as Musa’s house and mosque. The scenes in which Clara and Musa enters each other’s houses and sanctuaries, allow the audience to open to the Other’s World. The scene where Musa starts counting Clara’s beats –by accident- during the preaching seems like pointing at this significant possibility.
Conclusion
As Silverman argues in The Threshold of the Visible, even though the “given-to-be- seen” imposes itself on the eye, the eye capable of seeing productively, of occupying a viewing position other than that assigned in advance, so, of apprehending its object under radically different terms (1996: 222-223). Although the normative aspects of the screen might be so deeply rooted, alone our look can only make a difference within the ethical domain of intersubjective relations. This difference is not inconsequential: those subjects who are accustomed to having an unflattering set of visual coordinates projected onto them depend for their psychic survival upon their loving look of intimates, which … can at least temporarily erase the terrible effect of that terrible projection. (Silverman, 1996, p. 223)
The examples that I refer in this paper open up a re-viewing possibility regarding the image of Istanbul through which we perceive the World. A new distribution of screen values, a different look at the Other, like Musa’s loving look at Clara after her departing
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La ciudad: imágenes e imaginarios – Libro de actas (ISBN: 978-84-16829-44-6) train in Sirkeci train station, I believe, might significantly change how we perceive the World itself.
References
Akbulut, H. (2005). Nuri Bilge Ceylan Sinemasını Okumak. Istanbul: Bağlam. Arslan, S. (2009). The New Cinema of Turkey. New Cinemas: The Journal of Contemporary Film, 7:3, 83-97. Arslan, U.T. (2010). Mazi Kabrinin Hortlakları: Türklük, Melankoli ve Sinema. Istanbul: Metis. Balcı, D. (2013). Yeşilçam’da Öteki Olmak. İstanbul: Kollektif. Ceylan, N. B. (2002). Distant [Motion Picture]. Turkey: NBC Films. Coşkun, M.F. (2009). Wrong Rosary [Motion Picture]. Turkey: Hokus Fokus Film. Çakırlar, C. & Güçlü, Ö. (2013). Gender, Family and Home(land) in Contemporary Turkish Cinema. In K. Laachir & S. Talajooy (Eds.), Resistance in Contemporary Middle Eastern Cultures: Literature, Cinema and Music (pp. 167-183), London: Routledge. Erdem, R. (2008). My Only Sunshine [Motion Picture]. Turkey, Bulgaria, Greece: Atlantik Film, Cinegram S.A., KaBoAl. Göktürk, D. (2010). Çokseslilik Peşinde:Hareketli İmgeler, Seyyar Ezgiler. In D. Göktürk, L. Soysal & İ. Türeli (Eds.), İstanbul Nereye: Küresel Kent, Kültür, Avrupa (pp. 232-255). Istanbul: Metis. Güçlü, Ö. (2011). My Only Sunshine/Hayat Var. In Ö. Köksal (Ed.), World Film Locations (pp. 86-87 ). Bristol: Intellect. Silverman, K. (1996). The Threshold of the Visible World. London and New York, NY: Routledge. Silverman, K. (1992). Male Subjectivity at the Margins. London and New York, NY: Routledge. Suner, A. (2010). New Turkish Cinema: Belonging, Identity and Memory. London and New York, NY: I.B.Tauris. Suner, A. (2006). Hayalet Ev: Yeni Türk Sinemasında Aidiyet ve Bellek. Istanbul: Metis. Türeli, İ. (2011). Göçmenlerin Gözüyle İstanbul. In D. Göktürk, L. Soysal & İ. Türeli (Eds.), İstanbul Nereye? Küresel Kent, Kültür, Avrupa (pp. 191-215). Istanbul: Metis. Ustaoğlu, Y. (1999). Journey to the Sun [Motion Picture]. Turkey, Germany, the Netherlands: İstisnai Filmler, Medias Res Berlin und Fernsehproductions, Filmcompany Amsterdam. Ünal, Ü., Sabancı, K., Demirdelen S., Yolcu, Y. & Atay, Ö. (2005). Istanbul Tales [Motion Picture]. Turkey: TMC Film.
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