We live in a world in which the experienced, remembered, and imagined, as well as the past, present, and future are inseparably intermixed. Place and event, space and mind, are not outside of each other. They mutually define one another and fuse into a singular experience. The world of film allows us to experience this duality perhaps more clearly than anywhere else. Film allows for a “window” through to another world, transporting the audience to spaces that are perhaps more “real” than anything we experience in our daily lives. We allow ourselves to become absorbed by the stories, the characters, and the environments and are transported into an entirely different plane of reality; a place more about psychological connections than physical ones. Space, both cinematic and architectural, is a delicate and artistic balance of psychological and experiential factors. Both forms of art define frames of life, situations of human interaction and horizons for understanding our world; however, movies have an unparalleled ability to affect both our emotions and our memories in ways that architectural spaces rarely achieve. Architecture has never been about the walls and columns that make it up, just as a film is more than just a collection of images on a screen. Can we begin to use film to guide the architectural process by better understanding how director’s have manipulated the medium, and the user, to create experiences in two dimensional space that have a lasting impact on our three dimensional world?
|Keywords:||Film, Architecture, Memory, Manipulation, Methodology, Theory|
Graduate Student, Miami University (Oxford), Oxford, Ohio, USA