## Anthony Vidler (1993). *The Explosion of Space: Architecture and the Filmic Imaginary*. : . > [!INFO] > Type:: [[&]] > Title:: The Explosion of Space: Architecture and the Filmic Imaginary > Author(s): [[Authors/Anthony Vidler]] > Year:: 1993 > Tags:: > DOI:: 10.2307/3171214 > Citekey:: vidler_explosion_1993 > ZoteroURI:: [Open in Zotero: The Explosion of Space: Architecture and the Filmic Imaginary](zotero://select/items/@vidler_explosion_1993) > ReviewedDate:: [[2022-12-19]] ## Citation ```latex [@vidler_explosion_1993] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@vidler_explosion_1993]] and -"Plans" and -"resources" ``` ## Summary - 19세기 시네마는 art par excellence 로 served as a point of departure for the redefinition of the other arts, a paradigm. - 연극, 사진, 문학, 페인팅 중에서도 건축은 필름과 가장 특권을 가진 그리고 가장 어려운 관계를 맺었다. Of all the arts, however, it is architecture that has had the most privileged and difficult relationship to film. ### 46 - The obvious role of architecture in the construction of **sets** (and the eager participation of architects themselves in this enterprise), **and the equally obvious ability of film to “construct” its own architecture in light and shade, scale and movement, from the outset allowed for a mutual intersection of these two “spatial arts.”** - The spatial art - From Georges Melies’s careful description of the proper spatial organization of the studio in 1907 - Eric Rohmer’s reassertion of film as “the spatial art” some forty years later, - the architectural metaphor, if not its material reality, was deemed essential to the filmic imagination. - 필름메이커의 건축으로의 또는 건축가의 필름으로의 움직임은 함께 진행되었다. - Eric Rohmer, "Cinema: The Art of Space" (1948), in Eric Rohmer, The Taste for Beauty, trans. Carol Volk (Cambridge: Cambridge University Press, 1989), 19-29. - 건축 ➡︎ 필름 - Robert Mallet-Stevens observed in 1925, - “it is undeniable that the cinema has a marked influence on modern architecture; in turn, modern architecture brings its artistic side to the cinema …. Modern architecture not only serves the cinematographic set [decor], but imprints its stamp on the staging [[[mise-en-scene]]], it breaks out of its frame; architecture ‘plays.”’ - Robert Mallet-Stevens, “Le Cinema et les arts: L’Architecture,” *Les Cahiers du Mois-Cinema* (1925); reprinted in L’Herbier, *L’Intelligence du cinematographe*, 28 - 한때 건축은 fundamental site of film practice로 여겨졌으며 동시에 필름을 모던 아트의 공간을 위한 par excellence로 보았다. A vision of the fusion of space and time. - 역사학자 Elie Faure는 Fernand Léger에게 영향을 받아서 *cineplastics* 란 단어를 사용했다. - “The cinema…is first of all plastic. It represents, in some way, an architecture in movement that should be in constant accord, in dynamically pursued equilibrium, with the setting and the landscape within which it rises and falls.” - 여기서 플라스틱의 의미는 “Faure’s terms, “plastic” art was that which “expresses form at rest and in movement,” a mode common to the arts of sculpture, bas-relief, drawing, painting, fresco, and especially dance, but that perhaps achieved its highest expression in the cinema. - 그에게 있어서 시간은 공간을 위한 veritable instrument 이 된다. - 그리하여 다른 방식의 건축적 공간을 만드는데 - akin to that imaginary space “within the walls of the brain.” - 듀레이션/시간이란 개념은 스페이스 안으로 들어간다. ### 47 - 독일 표현주의 필름 1919와 1920 다수의 영화에게서도 이러한 경향은 발견된다. - Paul Wegener’s Der Golem - ![[Der_Golem_1915 1.jpg]] - Karl Heinz Martin’s Von Morgens bis Mitternachts (From Morn to Midnight) - ![[ed825f1dc0c1ace03192693ce6d22a1c 1.png]] - Robert Weyne’s Das Kabinett des Dr. Caligari (The Cabinet of Dr. Caligari (1920)) - ![[The-Cabinet-of-Dr.-Caligari-set 1.jpg]] - Herman G. Scheffauer 은 called “the sixth sense of man, his feeling for space or room—his Raumgefühl (sense of space).” - surrounding no longer surrounded but entered the experience as presence. - Scheffauer provided a veritable phenomenology of the spaces of **Caligari**. A corridor in an office building, a street at night, an attic room, a prison cell, a white and spectral bridge, a marketplace - all are constructed out of walls at once solid and transparent, fissured and veiled, camouflaged and endlessly disappearing. ### 48 - 칼리가리는 전혀 다른 스페이스를 만들어내지만 필름 미디엄은 여러 형태로 공간을 만들어 내게 한다. - But the filmic medium allowed the exploration of other kinds of space than the totalizing plasticity modeled by Walter Rihrig, Walter Reimann, and Hermann Warm for Weine's film. - Scheffauer also identified the **"flat space" of Martin's Von Morgens bis Mitternacht.** - Rather than artificially constructed in the round like Caligari, the space was suggested by its designer, Robert Neppach, in tones of black and white as "a background, vague, incihoate, nebulous.” ### 49 - **In Reimann’s 1920 film fantasy of Paul Scheerbart’s Algol, Scheffauer found a “geometrical space.”** - Architects from El Lissitzky to Bruno Taut were to experiment with this new pan-geometry as if it would enable them finally, in Ernst Bloch's words, "to depict empirically an imaginary space.” ### 50 - 1920년대 중반쯤에 리얼리즘 ‘리얼’에 대한 관심으로 decorative and staged characteristics of the expressionist film은 뒤로 물러났다. - as Panofsky asserted, - "these unique and specific possibilities" of film could be "defined as dynamization of space and, accordingly, spatialization of time," then it was the lens of the camera, and not any distorted set, that inculcated a sense of motion in the static spectator, and thence a mobilization of space itself: - **"Not only bodies move in space, but space itself does,** approaching, receding, turning, dissolving and recrystallizing as it appears through the controlled locomotion and focusing of the camera and through the cutting and editing of the various shots." - Erwin Panofsky, ‘Style and Medium in the Motion Pictures’, in Film Theory and Criticism: Introductory Readings, ed. by Leo Braudy and Marshall Cohen, 7th ed (New York: Oxford University Press, 2009), 232. - Walter Ruttmann's Berlin: 1927, film stills Die Symphonie einer Groszstadt of 1927 - ![[Berlin - Die Sinfonie der Großstadt -1927- Film von Walter Ruttmann Musik Theo Palm.mp4]] - 이 영화에 대한 크라카우어의 해석은 필름메이커를 flaneur-photographer - For Kracauer, the street, properly recorded, offered a virtually inexhaustible subject for the comprehension of modernity; its special characteristics fostered not only the chance and the random, but more importantly, the necessary distance, if not alienation, of the observer for whom the camera eye was a precise surrogate. - In this respect, what Kracauer saw as Eisenstein's "identification of life with the street" took on new meaning as the fldneur-photographer moved to **capture the flow of fleeting impressions that Kracauer's teacher Georg Simmel had characterized as "snapshots of reality."** - For Eisenstein, the "ecstatic" was in fact the fundamental the model of the film director was to be found in the figureshared characteristic of architecture and film. - [[Sergei Eisenstein|Eisenstein]]에게 있어서 두가지의 ‘걸음’ - **the cinematic**, where a spectator follows an imaginary line among a series of objects, through sight as well as in mind - - "diverse impressions passing in front of an immobile spectator" - and the architectural, where "the spectator moved through a series of carefully disposed phenomena which he absorbed in order with his visual sense." - 스테이징 무브먼트 ## Annotation Extracted Annotations: 15/04/2021, 15:54:49 15/04/2021, 15:54:49 be distinguished from each other. Of all the arts, however, it is architecture t [Link](zotero://open-pdf/library/items/QB84IZQB?page=2 ) role model for spatial experimentation, film has also criticized for its deleterious effects on the architectural imag [Link](zotero://open-pdf/library/items/QB84IZQB?page=2 ) es forged by the first, constructivist, avant-garde - images themselves deeply marked by the impact of the new filmic techniques. In their new incarnation, such constructivist and expressionist im [Link](zotero://open-pdf/library/items/QB84IZQB?page=2 ) struct" its own architecture in light and shade, scale and movement, from the outset allowed for a mutual intersectio of these two "spatial arts." Certainly, many modernist film- makers had little doubt of the cinema's architectonic pro ties. From Georges Melies's careful description of the proper spatial organization of the s [Link](zotero://open-pdf/library/items/QB84IZQB?page=4 ) e architectural metaphor, if not its material reality, was deemed essential to the filmic imagination.3 Equally, archi tects like Hans Poelzig (who, together with his wife, the sculptor Marlene Poelzig, sketched and modeled the sets Paul Wegener's Der Golem: Wie er in die We [Link](zotero://open-pdf/library/items/QB84IZQB?page=4 ) e cinema .... Modern architectur not only serves the cinematographic set [d&cor], but imprints its stamp on the staging [mise-en-scene], it breaks out of its frame; architecture 'plays."'5 And, of course, for filmmakers originally trained as architects (like Sergei Eisenstein), the filmic art offered the potential to develop a new architectur of time and space unfettered [Link](zotero://open-pdf/library/items/QB84IZQB?page=4 ) y dance, but tha perhaps achieved its highest expression in the cinema.8 F "the cinema incorporates time to space. Better, time, throu this, really becomes a dimension of space."' By means of the cinema, Faure claimed, time becomes a veritable instrum [Link](zotero://open-pdf/library/items/QB84IZQB?page=4 ) 46 [Link](zotero://open-pdf/library/items/QB84IZQB?page=4 ) random, but more importantly, the necessary distance, if not alienation, of the observer for whom the camera eye was a precise surrogate. If in the photographs of Charles Marville Eugene Atget we might detect a certain melancholy, this wa because the photographic medium intersecting with the street as subject fo [Link](zotero://open-pdf/library/items/QB84IZQB?page=10 ) impressions that Kracauer's teacher Georg Simmel had cha acterized as "snapshots of reality." "When history is mad in the streets, the streets tend to move onto the screen," concluded Kracauer. [Link](zotero://open-pdf/library/items/QB84IZQB?page=10 ) anticipated Eisenstein. In his depiction of a decor framed as the very image of isolation, agoraphobic or claustrophobic, h also answered those in Germany who were attempting to "express" in spatial dis [Link](zotero://open-pdf/library/items/QB84IZQB?page=14 ) spatial eye: the cinematic, where a spectator follows an imagi- nary line among a series of objects, through the sight as well as in the mind - "diverse impressions passing in front of immobile spectator" - and the architectural, where "the spectator moved through a series of carefully disposed phe- nomena which he absorbed in order with his visual sense."'49 In this transition from real to imaginary movement, arch ture is film's predecessor. Where painting "remained inca- pable of fixing the total representation of a phenomenon in its full multi-dimensionality" and "only the film camera has solved the problem of doin [Link](zotero://open-pdf/library/items/QB84IZQB?page=14) ### Related ```dataview LIST FROM [[@vidler_explosion_1993]] and -"Plans" and -"resources" ```