Abstract

Turkey from the 1950s has entered into a quick process of change. "Little America" set out with dreams of becoming exit this year, stripped the country's existing agricultural non process identity to enter quickly. So to become mechanized of agriculture and increasing industrialization in the cities from villages along the right, there was an intense migratory movement. Istanbul has a privileged position in that sense. Indeed, in parallel with the increase in industrialization of the city from the rural areas to work in factories has taken an intensive migration. The city's lack of this migration request respond yet situation slum called crooked urbanisation. In addition, also be social memory erosion identity that represents the many buildings or the fate of abandoned or demolished for the opening of the apartment or streets. In this sense social transformation he went with urban transformation. Cinema in the 1950s in parallel with changing social and economic change is an art. The last time a sense of Visual memory that serves as a cinema that is present in the Exchange. Turkish cinema of the 1950s, then stop and stand on their own two feet to move him more freedom has given way institutionalization. So there's the structure of Turkish cinema has been a way to the opposition at the same time. In this study, we present the dimensions of social change in the scale of the cinema will be explained through İstanbul. Here the most important films from among today's still "Gurbet Birds" and "Oh Beautiful İstanbul" movies over the social transformation and the spatial dimension of corruption.

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