The city and the movies | Maria Rodriguez

Within the history of cinematography, cities and architecture have played a role of character of stage or of a same personage within the narratives, allowing its authors to develop plots within the same, that are as unique as the same places Where they are developed, incorporating additional meanings to those that the city or the architectural space already possess for their daily life, these meanings are born of that representation that the director and filmmaker has decided to give him with his history and that will last as much as his cinematographic production does. City and architecture have played so indispensable roles in the cinema to the point where there are directors who can not conceive their works in other places, such as Woody Allen and his fascination with Manhattan, where surely those same stories will be told in just another sector Of New York, such as Coney Island, would have a vision and a totally different meaning than the films recorded and inspired in Manhattan have. The city becomes a medium of inspiration and an indispensable character within the film story, but is it reality that we see in the tapes, or is it a representation of what the author wants to make us see and understand? Within this research we will base ourselves on the theory that it is a representation seen in 3 ways as explained by Mauricio Durán in his introduction to his book chapter of Bogota Film. Essays on cinema and cultural heritage where he tells us that there are iconic representations of reality, representations with symbolic conventions that refer to the world and representations of the indication of something real that no longer exists. In this research we will focus on the iconic representations of reality and how that sense of the iconic is transferred to specific sectors, neighborhoods and buildings of the city of Bogota represented in the Colombian cinematography, trying to understand what facts, events and values ​​of those sectors Urban or architectural have been the precursors to be represented within a narrative and seeking to give meanings of their attitude towards the city in a specific way that is demonstrated by the film director. It is pertinent to investigate if the meanings of these represented places are the real significations and attitudes within the city and if those semiotic attitudes of the space are the pertinent ones for that sector or that architecture, giving it a greater iconicity and a representative value and identity that represents The image of a utopian city and its progress or that gives it an iconicity of the city that is destructive and decadent.