Have you looked at the films of Heinz Emigholz?
Nicky Hamlyn.
On 10 Aug 2007, at 13:53, Aristotelis wrote:
> You are so right about this and i think Antonioni had studied
> architecture before becoming a film maker. What i am trying to
> establish is the importance that architects should have in films not
> only as set designers but also by using architectural theories and
> hopes. Being myself an architectural studient i am also interested on
> how this medium can help designers express their utopias and film be
> considered by them a created / built building. I am sorry for not
> being able to define better what i am searching for, but thats the
> magic of it.
> As for dogville all though i found it to be highly entertaining i
> think that it uses more the theatrical element than the
> architectural. Space used (or maybe not used) like that has previously
> been seen in theatrical plays and i believe those are its references.
> Its absence mostly points out the dramatic essence of the plot.
> I haven't found those films yet but i am searching for them. Thanks
> agoain for your time
>
>> Still not really sure what the nature of the theoretical connection
>> you are looking for is though... There are several obvious examples
>> in Sci-Fi, Horror and Action films where the building could be
>> considered the protagonist of the piece... or at least protagonist by
>> proxy. Have you watched 'Brutality in Stone' or 'London' which I
>> mentioned previously on this thread?
>>
>> Also J.G Ballard's novel "High Rise" is currently in production.
>> ......................................................................
>> ...................................
>>
>> Perhaps this has already been pointed out, or it misses your point,
>> but I would suggest that Antonioni comes as close as anyone to the
>> condition of architecture as protagonist. In almost all of the films
>> from the late fifties and early sixties, with Eclipse and Red Desert
>> being the outstanding examples. It depends on what one means by
>> protagonist. It's hardly a new observation that many scenes in those
>> films are "about" the architectural surround, not the story that
>> unfolds within it. Rather, one can't separate the architecture from
>> the other protagonists' subjectivity. The architecture is an
>> objective correlative. Apart from ghost stories, I can't think of a
>> more consistent conflation of architecture/narrative in film history.
>
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