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Cinema and architecture: Towards understanding the cinematic sense of place and its relationship to the built environment.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Cinema and architecture: Towards understanding the cinematic sense of place and its relationship to the built environment./
Author:	Dercle, Julie Drapkin.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1992,
Description:	461 p.
Notes:	Source: Dissertations Abstracts International, Volume: 54-08, Section: A.
Contained By:	Dissertations Abstracts International54-08A.
Subject:	Architecture. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9304895
ISBN:	9798207948799

Cinema and architecture: Towards understanding the cinematic sense of place and its relationship to the built environment.
Dercle, Julie Drapkin.

Cinema and architecture: Towards understanding the cinematic sense of place and its relationship to the built environment. - Ann Arbor : ProQuest Dissertations & Theses, 1992 - 461 p.

Source: Dissertations Abstracts International, Volume: 54-08, Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 1992.

This item must not be sold to any third party vendors.

This study explores the relationship between cinema and architecture, two forms of plastic arts, from a theoretical and practical point of view. In Part One, the two forms are compared as opposite poles in a theory of the plastic arts based on Kant's concept of reality (having the characteristics of space, time, and causality). The underlying premise is that all forms of plastic art attempt to create a Perfect Illusion, a world with all the aspects of reality yet entirely under the control of its maker, although the execution of such a world is impossible. According to the Kantian scheme, narrative cinema is the prime example of a temporal/causal art, while architecture is the prime spatial art. The two are compared further as forms of communication as well as processes of design. The study then discusses what is invariant in cinema and architecture, labeling the architectural invariable inside/outside and the cinematic one in-time/out-time. Part Two explores the architecture represented in motion pictures, disassociated from its invariable, and physically impenetrable from the audience's standpoint. Its general attributes are analyzed using Norberg-Shultz's definition of a sense of place (i.e. a total phenomenon with structural, spatial, and atmospheric values that are understood through perception, orientation, and identification). Different motion picture genres are defined by their typical method of revealing and depicting places. Finally, the function of place in motion pictures--as a backdrop, symbol, representation of character, character, and personal vision--is discussed. The study concludes by looking at some of the effects of the motion picture industry and its architectural image-making on the built environment, pointing to areas for further study.

ISBN: 9798207948799Subjects--Topical Terms:

523581
Architecture.
Subjects--Index Terms:

sense of place

Cinema and architecture: Towards understanding the cinematic sense of place and its relationship to the built environment.
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520 $a This study explores the relationship between cinema and architecture, two forms of plastic arts, from a theoretical and practical point of view. In Part One, the two forms are compared as opposite poles in a theory of the plastic arts based on Kant's concept of reality (having the characteristics of space, time, and causality). The underlying premise is that all forms of plastic art attempt to create a Perfect Illusion, a world with all the aspects of reality yet entirely under the control of its maker, although the execution of such a world is impossible. According to the Kantian scheme, narrative cinema is the prime example of a temporal/causal art, while architecture is the prime spatial art. The two are compared further as forms of communication as well as processes of design. The study then discusses what is invariant in cinema and architecture, labeling the architectural invariable inside/outside and the cinematic one in-time/out-time. Part Two explores the architecture represented in motion pictures, disassociated from its invariable, and physically impenetrable from the audience's standpoint. Its general attributes are analyzed using Norberg-Shultz's definition of a sense of place (i.e. a total phenomenon with structural, spatial, and atmospheric values that are understood through perception, orientation, and identification). Different motion picture genres are defined by their typical method of revealing and depicting places. Finally, the function of place in motion pictures--as a backdrop, symbol, representation of character, character, and personal vision--is discussed. The study concludes by looking at some of the effects of the motion picture industry and its architectural image-making on the built environment, pointing to areas for further study.
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