The Invention of the Film and Its Insights - Essay Example

In this essay I want to examine the aspect of film which has acted, from the beginning of this century, as a sort of laboratory for the representation in architecture. Why do designers in recent years(20th Century), searching for ways to represent movement, time, space and temporal succession often draw back to films and especially the Expressionist avant garde films? (e.g. Bernard Tchumi in his Manhattan Transcripts). Film has been seen to anticipate the built forms of architecture and the city through Expressionist and Constructivism utopias that succeeded, where architecture failed, in bringing the future in the present. Freed from realitys financial, logistical and legal constraints, cinema is an ideal medium that has been created for utopian visions and different approaches to architectural design. The power of film has helped to bring architectural ideas closer to a broad public, in such films as The cabinet of Dr. Caligari or Metropolis. 1. Introduction The 20th century has experienced a shift from an attitude towards consideration of time and space. Therefore space was characterised by physical boundaries while time was continuous, both of which were defined by the stability of the structure. They were also characterised by closed systems consisting of universals free of an individual’s familiarity. The newly-found experience of space and time stood for multiplicity, fragmentation, or rather an open system free from universal continuity recognising the independence of the individual’s perceptions. The important experience was first demonstrated by the works of art forms of the early twenties, which included the simultaneity that is present in Futurism, Cubism, as well as the thriving film industry, which is covered in this paper. The proposal that time and space are intimately and inherently enjoined means that the likelihood of enjoining those forms of art is conventionally understood as spatial of the temporal. While the features of a sound are straightforwardly affected by the space in which it is contained, the recognition of an image can only be understood as time passes by (Awan, Schneider and Till, 2011). The image, which is mobile, is the means through which space and time are inherently combined by means of motion, image, and sound. The moving image is capable of stimulating expectations, memories and presenting simultaneous occurrences in the presence of nonlinear division of space and time. As the new knowledge of space and time becomes stronger, the past, present and future can all be featured in any order. Nonetheless, this brings in the issue of the ability to design new multidisciplinary architecture that presents light, motion, sound, location and structure into altogether a new setting, which rather defines what is referred to as the ‘moving architecture’. Clearly, the tools that were used in 2000 are different from those that were used in 1900, although the progress towards a formally fluidity which was not known can be acknowledged when strongly entrenched in the early advances. This paper tries to present the development of the ideas of time and space in the arena of films and architecture, which will include analysis of literature from different authors. The structure of this essay will skim through the problems of representation in modern architecture and give a clear explanation of the reason films were chosen to support this representation. Following that, I will fixate on the early steps of cinema history dating from the 1920s and 30s where I believe the most significant innovation in filming techniques are to be found. Finally, his essay will look upon the aspect in which films were capable of anticipating the built forms of architecture and thus bringing the future in the present. 2. (Historical references and identification of the unsatisfactory representation of architecture) Following the 1905’s Einsteins Theory of Relativity, it was discovered that time and space are connected in a very important manner, which is dependent on the perception of the individual observer. This theory introduced the idea of assembling numerous individual incidences of space and time and combining the two elements strongly together with the idea of motion. The new ‘space-time’ concept was interestingly invented later by S. Giedion (1941), who described it in respect to architecture and the arts of the early 20th century – this concept is differentiated though, by the same concepts with Einstein’s theory regardless of whether is it deliberately related to this theory. The two perspectives can be described through the likelihood of overlapping and irregular space-time as well as the appeal of the movement. Futurists were mainly concerned with the understanding of the perspective of movement which is structured by the force fields. Giedion argued that "the common background of space-time has been explored by the cubists through spatial representation and by the futurists through research into movement" (p. 125). However, the influence in architecture is more from cubism rather than futurism, which develops the idea of slab and plane. The fragmentation of the picture plane progressed into, amongst others, the architecture of Bauhaus and Le Corbusier. From this perspective, his argument is that modern architects invented a new idea of space that was concerned with interaction between outer and inner space rather than interior volumes. Architecture representation techniques were mostly restricted to the simple two dimensional form of drawings. Giedion explained, that one of the best illustrations of a construction in space-time, is presented by Le Corbusier’s villa Savoie (1928-1930). In this illustration, a cross section at any point reveals the outer and inner space piercing each other inextricably. Moreover, real life three dimensional models were used by architects to show how the design would appear in real life settings. Unfortunately, this process of experiencing space and time was not satisfactory. The invention of the film/cinema and its insights However, the invention of cinema, train and telephone at the beginning of the 20th century contributed to a fundamental acknowledgement and consciousness of a different perspective of time-space. Aumont (1989) explored the degree to which the discovery of train introduced a new mass experience of viewing. In this experience, the seated passenger watches the scenery surpass at a speed, enclosed by windows, and gains the knowledge of viewing in a nearly cinematic manner. The Futurists have gotten a lot of insights from this experience, which led into having fun with the speed and capturing the movement of objects the same as the train in a steady painting or sculpture. Nonetheless, the futurists argue from the perspective of the creators, while Aumont explains the influence from the viewer’s point of view. Therefore, the observation from the train can be explained in the context of a movable eye in a steady body, but at the same time having the powers of ambiance as well as omnipresence, which is typical of a cinematic spectator. The mobile pictures that were demonstrated in the early 20th century revealed the possibility of putting different spaces, time and locations, side by side; that is, in a smooth-running series where the viewer experiences a mobile space. This is so because the eye relates to the camera and hence influenced by the editing, which is captured into the mobility experienced on the screen. The potential of film to explore this new realm was recognised early on. Abel Gance, writing in 1912, was already hoping for the birth of a new medium in his words "a sixth art" that would provide "that admirable synthesis of the movement of space and time". 3. (Why films? Filmic space and education) Of all the arts, film is freed from realitys financial, logistical and legal constraints, an ideal medium capable of creating utopian visions and different approaches to architectural design. There is no other art capable of producing effects or techniques of movement and space-time interpretation. They all have theoretical boundaries around the centers of their conceptually different practices. Even though a movie spectator may be sitting in a dark and quiet movie theatre, the spectator may feel as if the movie has taken them to the place it is ought to take them, especially when witnessing the hero’s victories as well as misfortunes. Apparently, recalling the space of a film is different from experiencing a space in the real life. Deleuze (1984) reveals the disparity between the attitude involved in interacting and moving with the world, which is manifested in a tangible space, and the steady and voyeuristic participant’s feelings when watching a film. When watching films, audiences decipher the meaning of space through the narrator’s standpoint or the key characters featured in the movie, which is different from what takes place in a real life experience. Essentially, narrative is used to create space in films. The attention of the audiences is drawn upon by the dynamic and intimate process of identification. Aumont (1989) explained what they referred to as double identification. Primary film identification is concerned with the audience observing the camera with their own gaze. The audience familiarises with the film as being the central focus of the representation, placed in an honoured location, in the midst of the omnipresent vision. The audience’s tendency to participate in the narration is the origin of the secondary film identification. Aumont (1989) identified a primordial and psychological craving in the audience to partake in the story. Also, Bordwell and Thompson (1979) discusses the way the audience partakes in the commentary by dynamically building premise about the probable results during the presentation of the film. Identification in the course of the movie is not monumental, permanent or stable. In contrast, when the audience is watching the film, they can identify with the stare of different situations or characters, as presented from one scene to the other. This means that manipulation of gaze or stare in a film is important as it helps stimulate the audience to identify with the film. Although the film narrative does not require us to make any effort, realisation of the distinctiveness of a film’s representational code from real life perceptions, is possible during the planning of the film scene. Nontrivial codes of manipulation of the image series supports the audience identification and the playing with gazes. Aumont (1989) specifies three important aspects that intercede decisively in the course of identification with the film; including: (1) the variation of the scale of the plane, (2) the manipulation of numerous perceptions, (3) playing with the audience’s gazes. Having manifold perspectives regarding the same circumstances bears in mind the manipulation of the image series, creating a ladder of subjective relationships between different characters. The audiences are used to reverse shot whereby watching a shot through a character’s close up leads them to anticipate a shot of what they are watching. Following an event’s shot, the audiences can anticipate a shot revealing a character’s reaction as shown in their faces. However, in the scene, not all characters hold the same level of importance (Aroztegui, 2010). 4. (Why 20s 30s? 1920s and 1930s influence in modern architecture) The 1930s art underwent a remarkable revolution, which had begun as far back as 111925. This era of history lasted for 15 years, which left an indelible mark in the modern art movements, including in architecture and interior design. The 1930s decorations led to some of the most well-known art styles, which were used in decorative arts of 1920s and 1930s. The art of futurism, painting of cubism, Art Noveau, neoclassical and constructivism played a remarkable role in the evolution of what is known as the 1930s art deco designs. Jus like any other form of art expression of every century, art deco had a spectacular effect on every type of inventive expression including architecture. As such, the art movement that was born in 1920s and was fully implemented in the 1930s. This art has come to influence artists in all the successive generations up to date. The word ‘art deco’ was coined in 1925 in Paris during an art exhibition. The artists of those time stage showcase the new genre, which focused on an art genre that operated for several medeum and the individuality of artists. The artists of 1930s presented an identifiable style f art by use of undemanding forms together with striking abstraction and color to express old artistic styles from Aztecs, Africa as well as Egypt. The modern architecture has its roots from 19th century replication of past styles, including the Gothic, Italian Renaissance, and baroque as well as the neoclassical. When these styles were implemented, surroundings and the function of the buildings were not considered. Since the modern architects were against the artificiality of the 19th century, they declared that form should originate from the function. Following the industrial revolution, the old social order disintegrated and as a result there arose a new need for new types of buildings. Also, the appropriate means of constriction underwent a lot of changes during this time. The neighborhoods become tightly populated following the growth of cities. In order to accommodate the rising population, the box-like tenement houses and apartments buildinds were constructed with greater heights. Fr the first time, steel frames were reinforced with concrete to construct more stable houses. The period between 1920 and 1939 brought the glamour of structural design to the attention of the world. The two turbulent decades were faced by wars and compressed extravagance, social changes, sudden poverty, despair and hope was a common scenario. The most advanced of the modern architecture had experienced a turn around when at the same time the production of the motion picture was gaining grounds. Following the great depression of 1930s, architecture, unfortunately, went down but movies reached their peaks as they experienced unregulated creativity and magnificence. It was paradoxical considering that, when the economy was getting down on its knees the film industry was experiencing a boom season. Although most of the modern architects of those times wanted to avail good designs to everybody, the motion pictures changed that principle to a dream of an opportunity to be benefited from only by the very rich. During this time of dispossession, the films grated gratificafication of gracious living, wealth and high style. Personalities such as Fred Astaire, Ginger, and Lubitsch were very instrumental in rescuing the world from the depression. Earlier in the century, the industrial revolution had played a key role in influencing the art world. During the world war I, movements such as Cubism and Expressionism assumed the popular consciousness. During this time, big names such as Picasso, Leger and Mondrian gained fame because of their contributions in architecture. The works of Mies van der Rohe, Le Corbusier, Gropius and their colleagues were revealed through publications and expositions. The modern architecture that emerged had a big gap compared with the past and allowed freedom of space and movement. Playwrights, artists and novelists embraced this new style and featured it in their works. In 1925, the movies were 30 years old when new technological innovations made it possible to assert film in the realm of arts. France had taken the centre stage with films such as “Napoleon”, “the Cabinet of Dr. Calligari” and “A nous la Liberte” of Rene Claire. Germany keep pace remained on the fore with Fritz Lang’s “Metropolis.” These films, also, had strong impact in the America since they were imported from the Europe’s film designers. Evetually, the likes of Rambova Natasha, Paul Aribe, Joseph Urban as well as the followers of Germany’s Bauhaus who were contributing to Hollywood’s supremacy in making of films across the world. 5. (How they did it? Expressionist Film teachings Expressionist film techniques of representation) Expressionist architecture was a structural design movement that originated from Europe in the early 20th century. This happened in congruence with the expressionists performing and visual arts. The term ‘expressionist architecture’ originally explained the activity of the Dutch, Germany, Danish avant garde and Austrian from 1910 to 1930. Successive depiction of the term widened it to 1905 and also incorporated the rest of Europe in its definition. The meaning of the term has currently extended to define undated architecture that has some of the traits of the initial movement including fragmentation, overstressed emotion, or distortion.1 What space was considered to be up until now -1920- static and dead, a meaningless background stripped of life and significance, expressionist films had succeeded in altering this image into movement and conscious expression. In the words of art critic H.G.Scheffauer, a fourth dimension into the making with the means to escape the photographic cosmos. Architecture was Scheffauer provided a veritable phenomenology of the spaces of Caligari, all constructed out of walls that were at once solid and transparent, fissured and veiled, camouflaged and endlessly disappearing and all presented in a forced and distorted perspective that pressed space both forwards and backwards, finally overwhelming the spectators own space. In his essay, Panofsky (1995) explained about the movies of 1900 to 1930, where he revealed the capability of making space movable. He demonstrated that “The spectator occupies a fixed seat, but... aesthetically, he is in permanent motion....Not only bodies move in space, but space itself does, approaching, receding, turning, dissolving and recrystallising..." (Panofsky, 1995, p. 125). In this respect, the moving pictures can be perceived as a sequential extension of a combination of futurism and cubism ideas. However, the space, in this case, is comprised of, fragmented and recomposed in such a manner that expresses movement. Potentially, the most prominent example of space-time is the combination of cinema, visual imagery and music. A new medium is created by a combination of visual-space and audio-time. The improvised silent music in the movies was played live together with the film for the purpose of commenting or supporting the action. The discovery of the talkies in the 1920’s became a fundamentals transmitter of certain content. At the same time, to describe the spaces and feelings of the images, atmospheric sounds, car horns, engines, and footsteps could be added. The law of space-bound and time and time-charged space explained the progressively more cherished relationship between time, image and space, which is experienced in moving pictures. Nonetheless, since the space and form are usually dependent on narrative structures and image instead of musical sense, then the medium of moving image generally calls for a new dimension to musical composition. A case in point is the 1940’s music by Carl stalling and Warner Brothers cartoons whereby music swiftly shifts style with enormous talent following the characters’ events. The outcome is a kaleidoscopic thread of different musical styles, apparently suggestive of Stravinsky. When played devoid of images, unlike Stravinsky, the sense of music is not present. Seemingly, the role of music in cinema has changed. In fact it is listened though the attention is subconsciously focused on the story and the image. However, the music is necessary in creating the acts and illusion as the fundamental structure of the piece devoid of which the entire tactical application of moving image rhetoric would be of no use. Just like the Giedion treated space-time in architecture by paying attention to space; in general, the moving pictures primarily favour story and image. This brings to play the possibility of existence of a balanced audio-visual approach, which could bring to capabilities found in the moving image medium. When analysing a movie critically, consideration of the filming techniques is very essential. Since its invention in the 1800s, the art of film making has undergone significant changes, technology wise. Apparently, this has had a massive impact on the skills of filmmakers that helps them signify urban and architectural environments. The metropolis (1927) model of the City film was dependent on a fixed camera position, fixed depth of field, fixed lens and the physical construction of mini models and sets to portray imagery places. Elsewhere, “Metropolis” (1927) was one of the highly detailed and more large-scale sets of those times. This model was more than six feet high and applied stop motion animation to make the city look lively. The first introduction of movement of the camera in the film started by the rotation of the camera to pan a shot. It was not until 1932 was the zoom lens invented, although a practical model had to wait until 1953. Kubrick (1968) “2001: A Space Odyssey” saw the creation of one of the pioneering “moving sets”. The space ship camera was made of a 45-foot diameter “wheel”, which was seemed to follow Dave as he went for a run round the perimeter of the station and was set in a track. Although it appeared this way, Dave in reality only went for a run on the spot while the set was subjected to movements. In 1970s, Garrett brown invented the steadi-cam, which involved the manufacture of a balancing system as we as an upright pole to diminish the trembling of the camera person as they budged along at the back of the action. A more realistic occurrence of the film’s spaces was possible following the introduction of a camera that was capable of following the action. This changed the spectator from a detached observer to a participant. According to Neumann (1999), Stanly Kubrick used a steady-am in the “The Shinning” film of the 1980 to pursue Danny around the hotel in his tricycle. These scenes also presented an opportunity for the children to interpret the muddle of passages in the hotel, which was capable of changing the arousing center of the architectural interpretation through association of with the stature of the watch. Eisenstein’s essay on “Montage and Architecture.” Is very important when explaining the epic of the imagination that connects cinematic to urban space. In this essay, Eisenstein proposed a genealogical relation between the film and the architectural ensemble. He developed a mobile spectator for while taking the reader, for a walk and a path. The word path is very meaningful in this case. It is taken to mean the imaginary path taken by the eye and the mind across an array of occurrence, in very different times and space, collected in a particular series. These indications, which are diverse, pass in front of a steady spectator. However, in the past, the contrary was the case; whereby the spectator walked between a sequence of cautiously disposed scenario that they experienced in the series with their own visual common sense. The film spectator walks past an imaginary path, navigating several times and sites. Their fictional journey links distant instants and places that are set far apart. 6. How expressionist films anticipate the future in architectural representations For the film industry, the rise of the city became a subject of a great deal of attention. Films such as The Crowd (1928), King Vidora, and Murnaua Sunrise and many others, all of which explored the gradual shift from rural to urban existence in the industrialized world. Ideally, the fiction cinemas symbolized the city and the potential it could bring for a better future. The representations of the city were dominated by the cities of hope, which was achieved through the science of fiction reflecting a conviction that the future was the impending savior for many communities’ issues and not the enemy. For a case in point, the Italian Futuristic have a conviction in velocity and motion, which is portrayed in high-speed transportation machines and networks, can be experienced in High Treason (1928), Metropolis (1926) or Britaina response. Ridley Scott’s 1982 film is one of the most convincing cinematic futuristic proposals in the present day. The film is designed through an informed vision of a future Los Angeles, hence providing a profound insight into the future of structural design and Urbanism. In addition, the film offers commentary trends and actuality. This film proposes that, by 2019, Los Angeles will sustain a population of over 90 million. The immigration of the elite to ‘off-world’ planets has culminated into the massive colonization of the upper class, deserting the city to be occupied largely by the ethnic underclass. The city landscape is designed in an urban decaying environment and hence has become entirely synthetic. The city has overtaken the middle-class suburbs, hence transforming it into a rambling industrial zone, while enormous structures take over the center of the city. Blade Runner and Metropolis (1927) share this experience of urban geometrical form and gigantism. While the “New Tower of Babel” takes over the skyline of Metropolis, the city’s nucleus is taken over by the pyramid of the Tyrell Corporation headquarters. The presence of the building is overwhelming and brings into mind a strong experience of financial prowess. Ridley Scott’s Blade Runner (1982) just like Metropolis (1927) shows a structured class through its perpendicular structural design. The Los Angeles of 2019 is particularly a city of inconsistency, pyramids, high rises, and glass towers, which mix with resurgence historical buildings, structural designs as well as the remains of the past urban slouch. The illustrative layering of structural typology from different cultural backgrounds creates a post-modern representation of a globalised planet. Metropolis, which is hailed as the pioneering science fiction film, is basically a narration about class divergence. This king of future representation of humans is divided into the thinkers and the workers. The thinkers are the ones who make plans while the workers are the ones who achieve goals. 7. DYSTOPIC future The film is an all-encompassing and extremely accessible form of media that existed in the 21st century. The film has been used in lecture halls to make presentations on architectural designs, a practice that originated from the architectural history, modern architecture as well as cultural premises. Although many of the films are hardly known as form of media, they are basically used for their content. The potential of using films to exploit architectural visions in the respect for the past and the future is great. The film as a form of media can be used to realistically reflect the possibilities of an environmentally and architecturally dystopic future. Further than the usual consideration of architecture as existing in the contemporary age of the film, some of the most challenging applications of architecture originates from the creation of film dystopias. These films stimulates the moral debate of the prospects of the future with respect to the supposed results of the present social, environmental and political states. Although the structure in the urban centers is not designed using academic knowledge, they are very useful in stimulating the “what if” debate based upon the actual trends and facts. Although the urban. In the courses that are related to architecture and film, such scientific films based on fiction are usually the most preferred because they bring about the most threatening, convincing as well as distressing images of the future. Although the spread of this dystopic future appears to be increasing at a very high rate, the precedent has been set by two key films of the early 20th century. This includes “Things to Come” (1936) and “metropolis” (1927), which offers a somewhat disputed opinion of the urban future, despite the fact that both appear to be desolate. The “Metropolis” (1927) urban vision was spawned by the boom of skyscrapers in the New York City, though this happened in a rather frenzied perception of height and density. The impact of film was felt in the urban visions of “ Just Imagine” (1930), which was perceived to be a comedic caricature of “Metropolis” in addition to “The fifth Element” (1997), which was a sheer scale of the reflection of future New York, where the perpendicular range has transformed into an atmospheric fragmentation of the urban interspaces. This is in contrast to the “Metropolis” below the surface, which now exists above the surface, though underneath the entry of air and light in order to be shed in perpetual fog and darkness 8. Conclusion Architecture and film are two different arts, whereby architecture is static while the film is dynamic, but interestingly this complex relationship makes each other to have life. The two modes of art share mutual respect for the similar procedures that are used in producing their works. Those who creates these expressions, at the back of their minds, they know that they will mutually benefit each other. Architecture accords film its authenticity, which sets the character, mood, place, time, and space for the action. The films makes architecture to have an opening for achieving visions that are not real and requests occurrences that in actuality have not taken place. Professionally, structural design, is not always designed to represent the reality of the society or its environment. This is the case because the design and building process involve different factors including political, financial, and ecological among others. In some situations, these factors cause a vague impression and hence the view or the user of the architectural design fails to get the right message - this can cause misinterpretation in the purpose behind that structural design. Since the film is one of the most persistent and easily reached form of media of the 10st century, it is becoming more and more significant especially when proactively integrated into the architectural curriculum. Apart the ordinary use of additional information on courses based on lectures, studies of film can be used to enhance the critical discussion and knowledge in regards to urban and architectural settings of the past, future, and the present. Films equips educators with a dynamic and animated chance to integrate issues of culture that originate from moral concerns in the midst of the future of our environment. This also concerns anticipation in respect to the impact that architecture may have on its urban form or the impact that the urban form may have on the architecture. With current CGI know-how, most of the spatial depictions that are symbolised in gaming and film settings are by far and large audacious and possibly better-off than much of what financial plan has allowed to be built on the reality. The motivation and ideas following this futurist account of Urbanism and architecture is very important and hence worth studying (Boake, 2007). Earlier, early films applied a combination of subtitles, musical effects and music to convey the dialogue and the mood of the film. The ability to maneuver music, nature and speech was essential to the ability to stimulate the appropriate emotional reaction to a space. The newly-found experience of space and time stood for multiplicity, fragmentation, or rather an open system free from universal continuity recognising the independence of the individual’s perceptions. Read More