The Architecture of Image
The Architecture of Image内容简介
This book explores the shared experiential ground of cinema, art, and architecture. Pallasmaa carefully examines how the classic directors Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky used architectural imagery to create emotional states in their movies. He also explores the startling similarities between the landscapes of painting and those of movies.
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Hitchcock was so fascinated by the limitations of space that he even claimed that: ’It is possible to be cinematic in the confined space of the telephone booth.’ – Hitchcock, ‘Film Production’ (1965), Hitchcock on Hitchcock
The castle in the Gothic novel is a kind of an architectural organism with secret galleries as its organs.
More recent developments of the Gothic setting are the remote motel owner’s house in Hitchcock’s Psycho and the isolated hotel in Kubrick’s The Shining.
Tarkovsky diffuses and obscures the edges of forms, figures and spaces into mist, water, rain, darkness, or merely an equality of colour and tonal value, in order to abstract the image and weaken the illusion of reality.
Antonioni’s films can only be compared with the architectural imagery of Andrei Tarkovsky. In his films, the settings often have a priority over the narrative.
In his films, the inner mental space of the characters and the outer space of the setting create a continuum.
Antonioni’s films are repeatedly based on the themes of a journey, adventure, escape, revisitation, doubling and the search for identity. – Tinazzi, p. XVII.
The complicated relationship between the watcher and the watched in Rear Window brings to mind Velazquez’s painting Las Meninas. The location and the role of the watcher have been the subject of philosophical contemplation in both.
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