In his “Theses on the Philosophy of History”, Walter Benjamin suggests that all cultural treasures “owe their existence not only to the efforts of the great minds and talents who have created them, but also to the anonymous toil of their contemporaries. There is no document of civilization which is not at the same time a document of barbarism”. The most obvious and prominent examples of cultural treasures in Benjamin’s discourses can be found in monumental architectural works, and history has shown that rulers have really been interested in such splendor stone statements. Benjamin’s discourse challenges a dominant idea that seeks to give an ambitious image of these architectural works with the purpose of confirming and endorsing a splendid cultural past so that it can give shape to an integrated and arbitrary cultural geography. This theoretical study, which has been conducted using library resources, employing the discourse and method of “cinematic thinking”, attempts to review the role of these monumental architectural works in estab-lishing and shaping national cultural geography. This process is an effort to open boundaries of theorization in area of art and architecture, with the help of ideas that moving cinematic images leave in place.