Starting from Charlie Chaplin’s Modern Times, cinema has worked as a critique tool for modern city and urban life. Furthermore the main idea behind the scenes had become not only a critique tool for the modern city but also the whole idea turned out to be an industrial representation of the urban life within this modern city vision. The cinematic scenery started to reflect a captured moving image museum in which ideologies are stored and then sold to urban realm. Moreover, cities in cinema turned into brands of societies through images. Therefore representations of the cities through moving image were expanded as an interest for spreading ideas especially after 1920s. Thus cinema as an art and cinema as an industry in capitalist system became argumentative. In this study captured ideologies within cultural representations in cinematic images will be discussed through Jacques Tati’s three movies, which were directed between 50s, and late 60s in which modernism term had its rising popularity in urban culture. The main reason for discussing Tati’s vision as a case study is about his inductive approach towards the notions of space, time and ideology. The films reflect a sequential argument for this chapter, starting from individualism in Les Vacances de M. Hulot, then by questioning the building as the unit within contradictions of a family in Mon Oncle and lastly the criticism of modern city as the system and by so the urban transformations in Playtime. Conception of cinematic images within Tati’s case will enlighten the central purpose of ideological representation of urban life in cinematic images. Tati uses architecture as a tool in order to depict the urban transformations. Cinematic representations of city will be discussed as a comparative analysis of space and urban life terms by referring to cultural images, ideologies and symbols.