Cinematic Thinking and Fragmentation of the Imaginary Cultural Geography

In his discussion about the cultural treasures, Walter Benjamin argues that, “There is no document of civilization which is not at the same time a document of barbarism”. The most obvious instances of cultural treasures in Benjamin’s discussion are found in the monumental architecture, and the history has always shown that the rulers have been interested in these magnificent statements by stone. Benjamin’s argument challenges the dominant theory that seeks an ideal image of these magnificent architectural works in order to confirm the glorious cultural past, and by establishing this image, it could introduce these artworks as the expressions of cultural and national identity. Before Benjamin, Nietzsche had also derided this aspiration to admire great historical artworks and their interpretation in line with the historical progress. This perspective would challenge the triumphantly interpretation which suggests history as a moving forward and progressive process, because as Benjamin points out, every progression is associated by a catastrophe. The present article attempts by employing Benjamin’s discussion and by using of the cinematic thinking’s model suggested by Gilles Deleuze, revises the role of these architectural monuments in establishing national identity. By Taking advantage of montage technique in confrontation with these magnificent cultural documents, we can move toward more open horizons for interpreting these works. Recalling the limitations of traditional historiography paradigms, the montage thinking can challenge dominant historical narratives in relation to art works. Discovering, reinterpretation and trying to put the neglected works alongside those magnificent documents, or re-reading of those glorious documents, irrespective of dominant ideological theories, could lead to the collapse of the totalizing system. As a result, with the decaying of the totalizing system and removing the ideological aura sprayed by the hegemonic power, “the Imaginary Cultural Geography” also converts to discrete scattered fragments.