His formative tendency is revealed above all in cinematographic scenes and in the style of musical editing. According to Fatih Akin, the city is an audiovisual space that is incessantly reconstructed through the stories and sounds of the city. But stories can be revealed simply through film, rather than photography, because “photography freezes the past moment; the film shows life itself in passing” (ibid.:118). The stories of the city, however, refer to time passing and space in movement. The images produced within the camera are reality and life itself, and are ultimately nested within each other because of or thanks to film productions. Even the criteria of beauty regarding the city are continually reshaped or (re)determined by them. Film production and art, it seems to me, bring the relationship between the gaze and things into an area of ​​ontological discussion. As Adorno and Horkheimer (2002: 119) summarize well: “beauty is everything that the camera reproduces… What is offered is not Italy but the proof that it