Proceedings of the International Conference on “Changing Cities“: Spatial, morphological, formal & socio-economic dimensions ISBN: 978-960-6865-65-7, Skiathos island, Greece , June 18-21, 2013 1678 Cinematic imaginary cities as a pattern for sustainable urban planning: Gotham City M. Galani 1* , A. Ntarladima 1* , V. Perra 1* 1 Department of Planning and Regional Development, University of Thessaly, 38334 Volos, Greece *Corresponding authors: E-mail: dannamaria@live.com, myrtoudi@windowslive.com, perra@uth.gr Abstract The purpose of this paper is to examine the impact of the cinematic projection of Gotham city on real urban planning and sustainability. It is a fact that there is a bidirectional connection between the cinema and the city. The evolution of cinema is frequently connected to and affected by the city, and simultaneously the city reforms as cinematic scenery. This study examines how the utopian and dystopian features of an imaginary city could have an impact on urban planning. Specifically, this paper concentrates on the case of Gotham City. Gotham City is an interesting example of cinematic imaginary city for research. It is projected as a dark city, very inappropriate to live in, though combining a great number of sustainable features. As a city, Gotham has been projected in media (comics, T.V., cinema, video games, etc.) over the years, gaining various dimensions. In cinema, these dimensions emerge from the perspectives of three different directors: Tim Burton, Joel Schumacher and Christopher Nolan. The characteristics that are analyzed in these perspectives are: geography, urban landscape, architecture, urban functions, social characteristics, urban economics and sustainability. This paper suggests directions that can be applied on real urban planning, taking into account the examined factors. Key Words: Gotham City; cinematic imaginary cities; urban planning; architecture; urban sustainability. 1. CINEMA AND CITY(IES) There is an undoubtedly bidirectional connection between cinema and the city. Cinema, both as an art and an urban phenomenon, is born and developed along with the city transformation. Simultaneously, everyday life in cities seems to be characterized by the cinematic element (Defner, 2011). Projected in the cinema, a city can not only serve as the “background” for a story unfolding, but also the main protagonist. That is one of the main reasons why cinema, evolving as an art and a media through the years, seems to be more and more interested in cities and the wide range of urban phenomena. Also, it is a fact that urban phenomena can have various aspects when projected in cinema, some of which are: a) A connection between the spectator/observer and the city that can be achieved. b) Some specific city spots where there is urban disparity that can be enlightened. c) Observation of the city over an anthropologic point of view. d) Cities’ structure, along with urban functions, architectural and urban features, land use, etc. that can be pointed out. e) The past or future, real or fictional, aspects of a city that can be projected. f) The aesthetics of the city that can be a significant part through filming. (Rentzos, 2006) 2. IMAGINARY CITIES IN CINEMA The projection of imaginary cities is a very usual phenomenon in the history of cinema. The imaginary cities, their areas and urban functions, adopt – they always did and they always will – features of modern cities and cities from the past (Papadopoulos, 2012). At the same time, it is