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Metro in cinema: psychological and psychoanalytical situations in Metro’s spatial experience

Petrou Androniki-Faidra

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Summary

From the earliest forms of housing and urban configurations, the space beneath the surface of the earth was and directly or indirectly an integral part of the culture, life and history of a city, and the relationship and transition from space above land in the spaces beneath it are one of the most interesting topics in architectural theory and practice. When, in the 19th century, the end of the Industrial Revolution found most cities disorganized and falling apart, plans for the first metropolitan elements in cities had begun to not only be discussed but also implemented. One of the main, if not the main, elements of the reorganized metropolises were the underground metro stations, which later not only became an integral part and factor of city life, but also reflected the culture, urban design and social culture of. It was created to facilitate the movement of people, moving it to a system that was not influenced by external factors, and succeeded not only in achieving it but also in overcoming it.But how is it possible that a means of transport that is so spatially separated from the city and potentially one of the strongest boundaries with it, manages to become so inextricably linked, creating many kinds of relationships and interactions with the city and public space? In the present work, some of these strongest relationships are mentioned, with most of them devoted to the relationship and integration of the metro area into cinema, with a particular theme on how one of the most representative non-local examples in the city [ that of the subway], used as a backdrop for narrative films. How a medium, created for a very specific purpose, that of easy and fast movement, can provide a rich variety of spatial experiences, which are able to adapt to the scenes of all kinds of films and bring both the protagonist and the viewer in a particular psychological state;How does the heterotopic space of the subway affect the plot of a film and the behavior of the protagonists, and what are its references to the social relationship between the metro and urban organization in each case?This part of the work is divided into five sub-modes of psychological and psychoanalytical states that are triggered upon entry, exit and movement in the metro area, to which the films will be integrated, depending on the spatial experiences preferred to each of them. The situations are presented in relation to and interacting with each other, in a bipolar form, which is analogous to the contradictory associations presented in the relation of the metro area to the city.

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