Try Bergman's Fanny and Alexander. Parts of it may be what you're looking for.
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From: Film-Philosophy Salon on behalf of Aristotelis
Sent: Fri 10/08/2007 7:53 AM
To: [log in to unmask]
Subject: Re: film and architecture
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.
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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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