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The interpretation of cities on film in societal (film) context is not a mimesis, but rather a model utilised in production of meanings that functions on the basis of signs organised in a visual language. As these meanings are produced within culture and history, cities on film are the products of societal (politically motivated) knowledge, language structures, open texts in societal and cultural fields that, through power, utilising productive network that pervades society, represents a certain system of values and, as one in the system of political, cultural, scientific, art texts, exhibits regimes of social identity forms an archeology of knowledge. The interpretations of cities on film from the standpoint of cultural studies indicated that the configurations of cities (and modern architecture) outside of its phenomenology are not confronted with the usual postulations of binary oppositions, on which the majority of interpretative traditions are based, but rather that they serve to achieve the fulfillment of cultural roles, and that they are open semiotic fields by which one community produces a desirable (moving) image of oneself.

The imaginary city: Representation of Yugoslavism on Jovan Živanović's film 'Čudna devojka' (1962)