11 Experience of Urbanscape Essence in International Award Winning Iranian Movies Mohammad Iranmanesh a , Djavad Rasooli Received: 14 November 2017- Accepted: 19 July 2018 Abstract Keywords: Iranian city; Film; Cinematic experience; Urban environment; Civic movie. * Corresponding author Email address: javad.rasooli91@gmail.com b,* a Assistant Professor, Saba Faculty of Art and Architecture, Shahid Bahonar University of Kerman, Kerman, Iran b M. Arch., Saba Faculty of Art and Architecture, Shahid Bahonar University of Kerman, Kerman, Iran Interdisciplinary subjects have always had a remarkable contribution in developing urban design concepts and theories. Among these contexts, cinema as a medium which broadcasts features of our cities and urban environments can have a significant role, but this instructional field is neglected among Iranian scholars. Thus, to fulfill this gap, it is essential to clarify the interrelations of cities and cinema in Iran. Iranian cinema, particularly after the revolution, received so many international awards in festivals. These prominent works have various urban sequences that can be a valuable source for urban designers and city policymakers. Consequently, the civic movies from these impressive works are selected and studied by the use of qualitative methods and content analysis. These analyses have been conducted in two distinctive sections. First, the repetition of cities, Urbanscape, and city aspects which were implied by Kevin Lynch had been inspected. Second, the role of cities and urbanscapes analyzed by the adoption of Carmona's dimensions. This paper indicates that Tehran has had the most presence in the movies, while few films have been captured in some coastal cities and some pictured in places with a special traditional architecture such as Bandar Lengeh. Within the city aspects, paths and districts have the most repetition while landmarks and nodes have the least depiction. It is conceded that the portrayed physical attributes of cities can be categorized into three parts which cover old and traditional environments, new and modern environments and outskirt suburban areas. Furthermore, from the social-perceptual point of view, Tehran because of its urban and civic issues is generally related with disorders and negative meanings, while other cities because of their nostalgic and traditional urban style are more respected within the society. According to the researches, urban facades and visual aspects in Tehran are usually not acceptable, while coastal environments and traditional designs sound more appropriate. As mentioned, the captured environments of Iranian cities are narrowed to some particular areas, which expresses the insufficient number of picturesque settings in urban environments. Therefore, this study can also perform as a tool for evaluating the enrichment of Iranian urban spaces. 1. Introduction Creation of urban spaces is a multidisciplinary subject which invariably requires precise attention to a variety of aspects such as the economy, sociology, psychology, architecture, and also different types of arts. Among these fields, visual arts and precisely cinema, because of its affinities to the real world experience of urban environments, can purpose new instructions for urban designers. Cinema is a medium, which demands to indicate variant meanings and evoke emotions. Cinematic works sometimes look like a report or representation, and occasionally profound and abstract. Meanings and messages are perceived from sequences which compose the whole concept of the movie and should be comprehended by the audience. Iranian cinema, after the revolution, receives different international awards like Golden Palm (Cannes Festival), Golden Bear (Berlin festival), Academy Awards and so many other titles. These award-winning films get benefited from urban spaces in their sequences toward concept manifestation, so reviewing these movies can be a valuable source for urban designers and scholars. Besides that, most universities around the world like Michigan (Strickland, 2006), and Liverpool school of architecture (Hallam, 2010) recognized the relevance of films for pedagogical usages. Furthermore, it is apparent that in Europe and the United States, cinema has become both a product of the changing structure of cities and technology for understanding those changes (Shiel & Fitzmaurice, 2001). Urban environment will be made to succeed if there is communication between stakeholders and people (Rezapour, Bahrainy & Tabibian, 2017, p.49). Cinema as a medium can express the individuals’ evaluations of our cities and can serve as a communicative tool. In contrast, Iranian scholars and policymakers do not show any interest or tendency toward these resources. As a response for this neglected field in the two successive years of 2007 and 2008 two conferences were held in Iran, which unveiled the relations between cinema and architecture (Rastin, 2009). Although these conferences had a remarkable contribution to the consciousness of scholars which includes foreign movies with the focus on buildings and architecture, Iranian cinema, especially the notable works, and urban spaces did not have a substantial appearance. So this paper is an endeavor to fill the academic gap of using cinema toward urban designing which exist among