A Cult Film by Proxy: Space is the Place and the Sun Ra Mythos

Sexton, J. (2006). A Cult Film by Proxy: Space is the Place and the Sun Ra Mythos. New Review of Film and Television Studies. 4(3), pp.197-215. RAE2008

Space and culture: Tradition verses culture

This paper proposes to examine contemporary culture, through communication and technology, in an attempt to expose some of these new or altered spatial concepts evident in film and built form, such as ratefaction and saturation

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.

Norberg-Schulz’ Elements of Space in Dark City

Alex Proyas' science fiction film Dark City (1998) puts forth questions about the building process of a city. The aliens in the film constantly alter each street, building and room to create the right environment for humans to dwell. The ‘strangers’ believe that they need to study humans in their spaces to understand human nature. They use bits and pieces of people's memories to reconstruct the city.

Christian Norberg-Schulz identifies four elements of space: physical, perceptual, existential and conceptual. Physical space is physical existence as it is. Perceptual space is the temporary space the user perceives. Existential space, for instance, the meaning of the concept of home, is abstract and permanent; it does not change with changing conditions. Finally, conceptual space, in his spatial philosophy, is the space concept of specialists like architects, economists and mathematicians.

This article analyses the future noir environment of Dark City from a spatial perspective. The notion of building is studied as to physical, perceptual, existential and conceptual spaces of Norberg-Schulz through concepts of home, identity, belonging, and alienation with reference to the architecture of the city.

On location : the imagined private interior in public life

This paper reveals the interior landscapes of selected contemporary Australian films, such as The Caterpillar Wish and Bad Boy Bubby, to develop a number of thematic influences on the manner in which domestic and private lives are constructed through filmic imagination. The research uncovers the conditions that contribute to particular scenographic representations of the humble interiors that act as both backdrop and performer to subtle and often troubled narratives. Such readings are informed by the theoretical works of writer Gertrude Stein, among others, who explore the relationships between the scenographic third dimension and the fourth dimensional performance in the representation of narrative space. A further theoretical thread lies in Giuliana Bruno’s work on the tension between private and public filmic space, which is explored through the public outing of intensely private spaces generated through narratives framed by the specificities of found interiors. Beyond the interrogation of qualities of imagined filmic space is the condition whereby locations, once transformed by the event of movie making are consequently forever revised. These altered conditions subsequently reinvest the lives of those who return to the location with layered narratives of occupation. Situationally, the now reconverted interior performs as contributor to subsequent private inhabitation, even if only as imagined space. The possibility here is that the qualities of the original may be superimposed and recontextualised to invest post-produced interiors with the qualities of the other space as imagined. This reading of film space explores new theoretical design scenarios for imagined and everyday interior landscapes.

Living in Exospace: ISS and Discovery 1

The concept of exospace, as an alternative liveable structure, is discussed in this article to improve our comprehension of architectural space. Exospace is a man-made space designed for living beyond Earth’s atmosphere. Humankind has developed outerspace technologies to build the International Space Station as a significant experiment in exospace design. The ISS is a new building type for scientific experiments and for testing human existence in outerspace.

A fictional example of exospace, on the other hand, is Discovery 1 spaceship in Stanley Kubrick’s legendary science fiction film 2001: A Space Odyssey (1968). It is a ship travelling to Jupiter with a crew of five astronauts and HAL9000, the artificial intelligence controlling the ship. I will first discuss the ISS, and the space stations built before, from a spatial point of view. A spatial study of Discovery 1 will follow. Finally, through an understanding of exospace, I will return to architectural space with a critical appraisal. The comparison of architectural space with exospace will add to the discussion of space theories from a technological approach.

Exospace creates an alternative reality to architectural space. Architects cannot consider exospaces without comparing them with the spaces they design on Earth. The different context of outerspace shows that a work of terrestrial architecture is very much dependent on its context. A building is not an ‘object’ that can be located anywhere; it is designed for its site. Architectural space is a real, material, continuous, static and extroverted habitable space designed for and used in the specific physical context of Earth. The existence of exospace in science opens a new discussion in architectural theory, both terrestrial and extraterrestrial.

Sinemada Mimarlik

This is a special 'Architecture and Cinema' dossier edited for Arredamento, with several articles by different authors. Each article analyses spaces and cities represented in one particular feature film. The introductory essay is also by the dossier editor.

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.

Fatih Akin Filmlerinde Gercekligin Temsili

This article explores Turkish German film director Fatih Akin's search for his roots and identity via the representation of urban space in his fiction and documentary films. Through the analyses of In July (2000), Head-on (2004), Crossing the Bridge (2005) and The Edge of Heaven (2007), the study focuses on Istanbul, and its portrayal by the Hamburg-based filmmaker. The fact that Akin uses the city as a vehicle to open up a discussion on belonging and identity is in the heart of the research, which is written from an architectural point of view..

Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

The Phantom Carriage (1921)

The reputation of The Phantom Carriage (Körkarlen) as one of the major films of Swedish silent cinema is in some respects securely established. Yet the film has attracted surprisingly little detailed discussion. It may be that its most striking stylistic features have deflected or discouraged closer scrutiny. Tom Gunning, for instance, in making the case for Sjöström’s Masterman, argues that ‘Körkarlen wears its technique on its sleeve, overtly displays its unquestionable mastery of superimposition and complex narrative structure. Mästerman tucks its mastery of editing and composition up its sleeve, so to speak’. This article makes an argument for a different evaluation of The Phantom Carriage, bringing a critical and interpretative understanding of the film’s style into conversation with the historical accounts of film form which predominate in the scholarship around silent cinema. It suggests that the film achieves ‘mastery of editing and composition’ with a flexibility and fluidity in the construction of dramatic space that is in itself remarkable for its period, but that Sjöström’s achievements extend well beyond his handling of film space. Specifically, it discusses a segment which is in several respects at the heart of the film: the first meeting between the two central characters, David Holm (Victor Sjöström) and Sister Edit (Astrid Holm); it spans the film’s exact mid-point; and at almost twelve and a half minutes it is the longest uninterrupted passage to take place in a single setting. The chapter argues that the dramatic and structural centrality of the hostel segment is paralleled by its remarkably rich articulation of the relationships between action, character and space. We show how Sjöström’s creation of a three-dimensional filmic space - with no hint of frontality - becomes the basis for a reciprocal relationship between spatial naturalism and performance style, and for a mise-en-scene that can take on discrete interpretive force. The argument also places the hostel sequences within the film as a whole in order to show how relationships articulated through the detailed decisions in this section take on their full resonance within patterns and motifs that develop across the film.

The Phantom Carriage: a revaluation

This is a two-part audiovisual essay on Victor Sjöström’s extraordinary film The Phantom Carriage (Körkarlen), which was released on New Year’s Day 1921. Part 1 explores a sequence in detail, revealing a mastery of three-dimensional film space which is remarkable for its period; the essay then look at the ways in which this handling of space is integral to the film’s rich articulation of character and action. Part 2 considers aspects of the film’s mise-en-scène and shows how the features of the sequence explored in Part 1 take on their full resonance within patterns and motifs that develop across the film. Published by Movie: a journal of film criticism, the essay complements our chapter on the film in the volume Silent Features, edited by Steve Neale (Exeter University Press, 2016).