Cinematic and Architectonic Space in Tarkovsky's Solaris

Architecture plays an important role in Andrei Tarkovsky’s films in defining the atmosphere of a space and memory of a place. This paper is a study of how the settings in Tarkovsky’s Solaris (1972) are used to provoke and convey feelings to the audience through architectonic space depicting the city, library, home and aspects of the home such as paintings and mirrors. The rooms depicted in Solaris (Fig. 1) are filled with symbolism and detail. They are imbued with a poetic quality rarely seen in cinema. The everyday places of city, library and home in Solaris are given an emotional depth not usually found in these spaces in reality. Solaris is an anomaly among Tarkovsky’s films in that the majority of the narrative takes place in an enclosed built set. Rarely do Tarkovsky spaces exert so much control over the actors’ movements within a meticulously designed and detailed set. This paper analyses how the director uses constructed sets in Solaris to confront our perception of memories, dreams and reality.
The intent of this study is to gain better understanding of the link between architecture and other art forms such as painting and cinema through spatial analysis. This study also relates to our imagination and how we perceive architectonic space portrayed through cinematic images. The architectural theory of Juhani Pallasmaa forms the basis of this paper.

Architecture in Cinema: A Relation of Representation Based on Space

Architecture, whether in the foreground or background, is an intrinsic part of any film, and cinema holds a position as a transformative reference in contemporary architecture. This book addresses the role of architecture in cinema, and through a focus on the use of space, it presents a critical overview of the relation between the two. Through framing, flattening and editing, cinematic space, as the representation of architectural space, focuses on its certain qualities, while eliminating others. Thus, cinema emphasizes individual aspects of space that may be overlooked when the whole context is considered. Space 'acts' in the foreground rather than simply filling the background in the films of Peter Greenaway and Wim Wenders, which are used to analyze two significant cinematic approaches to space, space as form and space as symbol. The detailed analysis of Greenaway's The Belly of an Architect and Wenders' Der Himmel über Berlin (Wings of Desire) offers an innovative and original perspective on space to those interested in both fields of architecture and film studies.

Short films about flying

Online artwork which streams web-cam images live from the Internet and re-mixes them into disjointed narrative sequences, thereby producing cinema as a 'found object' made entirely of live material streamed from the internet. ‘Short Films about Flying’ is an online film which explores how a cinematic work can be generated using live material from the internet. The work is driven by software that takes surveillance video from a live camera feed at Logan Airport, Boston, and combines this with randomly grabbed audio from the web and texts taken from websites, chat rooms, message boards etc. This results in an endless open edition of unique cinematic works in real-time. By combining the language of cinema with global real-time data technologies, this work is one of the first new media artworks to re-imagine the internet in a different sensory form as a cinematic space. ‘Short Films about Flying’ was developed over the course of a year in collaboration with Jon Thomson (Slade) to explore how the concept of the found object can be re-conceptualised as the found data stream. It has informed other research by Craighead and Thomson, such as the web project http://www.templatecinema.com, and began an examination into relationships between montage and live virtual data –an early example of which would be ‘Flat Earth’, an animated work developed for Channel 4 in 2007, with the production company Animate. This piece has been cited in discussions on new media art, as a significant example of artworks using a database as their determining structure. It was acquired for the Arts Council Collection and has continuously toured significant international venues over the last 4 years. Citations include:’ Time and Technology’ by Charlie Gere (2006); 'The Wrong Categories' by Kris Cohen (2006); 'Networked Art - Practices and Positions' edited by Tom Corby (Routledge 2005) and Grayson Perry in The Times (9.8.06).

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

Cinematic and televisual cities

This article introduces the nine articles that comprise the 'Cities' issue of Studies in Australasian Cities. Established and emerging scholars explore cities in Australian and New Zealand film and television. Articles cover aspects of media production, reception and exhibition in particular cities, studies of various city characters and spaces, and analyses of the relationship between representations of a city on-screen and the 'real' city.

Longing and (un)belonging: desire and displacement in the cinematic city

This paper explores the spatial conceptualisation of the themes of diaspora, displacement and desire in cinema, particularly in the work of Nuri Bilge Ceylan (Uzak) , Fatih Akin (Gegen Die Wand) and Michael Winterbottom (Code 46). All three directors explore the imagined cinematic city as a site of multiple (un)belongings and interrogate how notions of identity are displaced and disrupted by geopolitics, by the city and by cinema itself. Both Ceylan and Akin’s visions of Istanbul are haunted by Beyoglu, both as the site of Istanbul’s contemporary cultural regeneration and by unspoken histories repressed by the Republic’s offical rhetoric of Turkish identity. In contrast Akin and Winterbottom’s heterotopias of the hotel and the hospital provide possible metaphors for these dislocated global identities. This paper will engage with a series of questions. What is the (imagined) place created between the viewer and the screen, or is it a non-place? Do the identities/ memories created there produce a ‘third space’? This paper uses Winnicot, Soja and Bhabha to ask what that third space might be and its consequences for a contemporary global Turkish identity. If these films depict a (Freudian) screen memory of dislocated subjectivities then what is being suppressed and sutured?

Cinematic Peripheries of Dublin

The term periphery is, most of the time, used with or in relation to the centre. The ‘zoning’ taken by granted by the architect is unlike the one portrayed by the director who frames the differences of places in a non-linear manner. Film offers a constructed urban experience, suggesting the city to be a local network composed of nodes and links, rather than a centre and the margin. It is possible to talk about the construction of a new kind of network in film through a temporal representation of space, of the distant as the close. In this way, film may be a tool to shift the gaze from the bird’s-eye view to the eye level to create ‘a unified perceptual image of the city’, in Christine Boyer’s words. The experienced surface of the city is two-dimensional neither in fiction nor in reality. In this chapter, the nodes of Dublin are examined through two Irish films, Goldfish Memory (Elizabeth Gill, 2003) and Adam and Paul (Leonard Abrahamson, 2004). Specific elements of the city of Dublin, including walls, houses, pubs, streets, bridges, and parks, are analysed to understand the nature of the network of the city composed of nodes and their connections.

Two Women; On the Cinematic Experience in Installation Art

Thesis (Ph.D.)--University of Washington, 2016-07

Numerical approximation of a fractional-in-space diffusion equation (II) - with nonhomogeneous boundary conditions

In this paper, a space fractional di®usion equation (SFDE) with non- homogeneous boundary conditions on a bounded domain is considered. A new matrix transfer technique (MTT) for solving the SFDE is proposed. The method is based on a matrix representation of the fractional-in-space operator and the novelty of this approach is that a standard discretisation of the operator leads to a system of linear ODEs with the matrix raised to the same fractional power. Analytic solutions of the SFDE are derived. Finally, some numerical results are given to demonstrate that the MTT is a computationally e±cient and accurate method for solving SFDE.