W5.Film 2019

PANOPTO ON
Erechtheion and Athen

point (figure 4), that i
was concentrated on A
IMAGE, SPACE AND its caryatids is in th

ful caryatids would
gigantic statue of th
the base of the stat
SOCIETY the Porch of the C

itself to the eye of
colossus that he cou
comparison became
Furthermore, Ch
W5: Technology &

If we now recall th
us, we shall see tha
on the first impres
bly take us back to
Production: Cinema all, to make it a fav
Both wings of the

when the general vi
(figure 3).
The disappearance o
makhos is also calcu
CCHU 9030 As for the Partheno

metrical flight of s
through the precinc
University of Hong Kong This creation of a fa

constant concern of
The calculation of
there, too, the eff
emerging shot is
the calculation on
juxtaposition of t
Let us, in fact, dr

of these four succ
Borrowed from French cinéma,
shortening of cinématographe
(term coined by the Lumière
brothers in the 1890s), from
cinema Ancient Greek κίνημα (kínēma,
“movement”) + Ancient Greek -
γράφειν (-gráphein,
“write(record)”).
movies γράφειν (-gráphein,
“write(record)”).
movies γράφειν (-gráphein,
film “write(record)”).
Precursors to What did people do before the
movies?
cinema
Flip book/Zoetrope
PANORAMA RUE MONTMARTRE, 1802
PANORAMA RUE MONTMARTRE, 1802
PANORAMA LEICESTER SQUARE, 1801
PANORAMA MESDAG, 1881
CAMERA OBSCURA
KINGSLEY NG (25 Minutes Older, 2016)
Architecture
as/of/in
cinema
BUSTER KEATON (Steamboat Bill, Jr. (1928)
Architecture
as/of/in
cinema
Architecture as
cinema
Painting has remained
incapable of fixing the total
representation of a
phenomenon in its full visual
multidimensionality.... Only the
film camera has solved the
problem of doing this on a flat
Architecture as surface, but its undoubted
cinema ancestor in this capability is --
architecture.
Sergei Eisenstein
‘Montage & Architecture’
the description or portrayal of someone

or something in a particular way. Painting has remained
the depiction of someone or something incapable of fixing the total
in a work of art."Picasso is striving for representation of a
some absolute representation of reality" 
a picture, model, or other depiction of multidimensionality.... Only the
someone or something.
architecture.
Sergei Eisenstein
the description or portrayal of someone

or something in a particular way. Painting has remained
the depiction of someone or something incapable of fixing the total
in a work of art."Picasso is striving for representation of a
some absolute representation of reality" 
a picture, model, or other depiction of multidimensionality.... Only the
someone or something.
architecture.
Sergei Eisenstein
Painting has remained

incapable of fixing the total
representation of a
multidimensionality.... Only the
architecture.
Sergei Eisenstein
The Acropolis is a
dedicated to the w
the mark made by
olive tree sacred to At
In immediate proxim
both gods.
The site being empty af

a new sanctuary on the
was moved to point S a
The highest point (P) wa

time of the Pisistrades a
temple of Athene - the
? ... ,
Between the Parthenon
disposed a series of smal
ancient and the new A
sal statue of Athene Pro
fifth century B.C.
JIL
The Propylaeum (M) for
.. (in both the old and th
The two layouts differe
sal stat
fifth ce
JIL
The Pro
.. (in bot
The two
collecti
laid out
cleared
Acropol
of build
others
[This] b
before v
assemblage 10
4 .. ..
View of
Propyl
We see
wings -
SO. .. .
The Acropolis is a cliff, isolated on all sides, whose summit is
dedicated to the worship of the national deities. At point T was
the mark made by Poseidon's trident, while near to it grew the
olive tree sacred to Athene.
At fi
In immediate proximity to this sacred spot a temple was built to
both gods.
in fa
gener
The site being empty after a fire, it was therefore possible to build
a new sanctuary on the very spot indicated by legend. The temple
was moved to point S and given the name of Erechtheion.
The highest point (P) was the site in this and another era (the
time of the Pisistrades and after the Persian War) of the great
temple of Athene - the Parthenon.
sity
? ... , E4
Between the Parthenon and the entrance to the Acropolis was
disposed a series of smaller temples, evidently relating to both the First
ancient and the new Acropolis. . . . In this same space the colos-
sal statue of Athene Promakhos (the Warrior) was erected in the
fifth century B.C.
laeum
JIL
..
The Propylaeum (M) formed the frontal fagade of the Acropolis
(in both the old and the new layout) ...

theio
The two layouts differed only in detail. The first, however, was a
In th
collection of buildings of various epochs, whereas the second was
laid out to a single plan and adapted to the site, which had been
cleared as the result of a fire. The apparent assymetry of this new
Acropolis is only a means of lending picturesqueness to this group
of buildings, which have been laid out with more art than any Erech
ch creates an impression of
s its significance when the visi-
assemblage 10
of sculpture.
pectives. To modern thinking,

of the Acropolis - should be The Acropolis is a cliff, isolated on all sides, whose summit is
but the Greeks reasoned quite In immediate proximity to this sacred spot a temple was built to
both gods.
olis has an uneven surface, and

tural relief, placed the main

? ... ,
disposed a series of smaller temples, evidently relating to both the
dge of the cliff, facing the

JIL
fifth century B.C.

.. (in both the old and the new layout) ...
5.
all faces the spectator

of buildings, which have been laid out with more art than any
others ...
------------
[This] becomes clear from the series of panoramas that unfolded
before visitors to the Acropolis in the fifth century B.C.
4 .. ..
referred oblique views: they View of the Propylaeum. The general idea of the plan of the
Propylaeum can be seen in figure 3. ...
We see the symmetrical central block and two noticeably different
ntal view of the faGade is

wings - the right-hand one broader and the left-hand one less
SO. .. .
At first sight, nothing could be more uneven than this plan, but
in fact it constitutes a completely balanced whole in which the
lotted a specific role. An

general symmetry of the masses is accompanied by a subtle diver-
sity in the details. . . . The optical symmetry is impeccable. ...

E4
First view of the square; Athene Promakhos. Passing by the Propy-
laeum, the spectator's eye embraces the Parthenon, the Erech-
hile a view en face is a calcu- theion, and Athene Promakhos (figure 4).
In the foreground towers the statue of Athene Promakhos; the
Erechtheion and the Parthenon are in the background, so that
the whole of this first panorama is subordinated to the statue,
118
m the Erechtheion, let us continue
At point B the Parthenon is still the
*#~
vision, but if we move on to point
hat we shall be unable to encompass
e Erechtheion becomes the center of
rom this point that it offers us one
s (figure 7).
by the Porch of the Caryatids,

ough against a background specifi-
ed before us, corresponding to the

and C - on figure 4.
Eisenstein
chitectural monument was dominant:

at point B, the Parthenon; and at
This one, principal motif ensures
and the unity of the picture.
creates an impression of
ts significance when the visi-
f sculpture.
what careful thought this has

ctives. To modern thinking,
f the Acropolis - should be
ut the Greeks reasoned quite
he following additional cornm-

s has an uneven surface, and
ral relief, placed the main
ge of the cliff, facing the
5.
7.
l faces the spectator ------------
ferred oblique views: they

tal view of the faGade is
tted a specific role. An
assemblage 10
Erechtheion and Athene Promakhos. Let us return to the starting

point (figure 4), that is, to point A', at which our whole attention
was concentrated on Athene Promakhos. The Erechtheion with
its caryatids is in the background. One might fear that the grace-
ful caryatids would appear crushed by force of contrast with the
gigantic statue of the goddess; to prevent this, the architect sited
the base of the statue in such a way that it shut out the view of
the Porch of the Caryatids - line A1RL, which only revealed
itself to the eye of the spectator when he was so close to the
colossus that he could no longer see all of it, and therefore a
comparison became possible only in memory.
Furthermore, Choisy sums up as follows:
If we now recall the series of pictures that the Acropolis has given
us, we shall see that they are all, without exception, calculated
on the first impression that they make. Our recollections invaria-
bly take us back to first impressions, and the Greeks strove, above
all, to make it a favorable one.
Both wings of the Proplyaeum balance out at the exact moment

when the general view of the building opens out in front of us
(figure 3).
The disappearance of the caryatids when looking at Athene Pro-

makhos is also calculated on the first impression (figure 4).
As for the Parthenon, the fullest view of its fagade, with its asym-
metrical flight of steps, is revealed to the spectator when he passes
through the precinct around the temple of Athene Ergane.
This creation of a favorable first impression was evidently the

constant concern of Greek architects.
The calculation of a [film-] shot effect is obvious, for

there, too, the effect of the first impression from each new,
emerging shot is enormous. Equally strong, however, is
the calculation on a montage effect, that is, the sequential
juxtaposition of those shots.
Let us, in fact, draw up the general compositional schemes

of these four successive "picturesque shots" (figure 8).
It is hard to imagine a stricter, more elegant, and more

triumphant construct than this sequence.
Shots a and b are equal in symmetry and, at the same

time, the opposites of each other in spatial extent. Shots c
The calculation of a [film-] shot effect is obvious, for there, too, the effect of the first impression
and d are in mirror symmetry, and function, as it were, as
enlargements of the right-hand and left-hand wings of shot
from each new, emerging shot is enormous. Equally strong, however, is the calculation on a 120
montage effect, that is, the sequential juxtaposition of those shots…It is hard to imagine a
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All use subject to http://about.jstor.org/terms
stricter, more elegant, and more triumphant construct than this sequence
The Acropolis is a
dedicated to the w
the mark made by
olive tree sacred to At
In immediate proxim
both gods.
The site being empty af

a new sanctuary on the
was moved to point S a
The highest point (P) wa

time of the Pisistrades a
temple of Athene - the
? ... ,
Between the Parthenon
disposed a series of smal
ancient and the new A
sal statue of Athene Pro
fifth century B.C.
JIL
The Propylaeum (M) for
.. (in both the old and th
The two layouts differe
collection of buildings
laid out to a single plan
sal statue of Athene Promakh
fifth century B.C.
JIL
The Propylaeum (M) formed
.. (in both the old and the new
The two layouts differed onl
collection of buildings of va
laid out to a single plan and
cleared as the result of a fire
Acropolis is only a means of
of buildings, which have been
others ...
[This] becomes clear from the
before visitors to the Acropolis
4 .. ..
assemblage 10 View of the Propylaeum. The
Propylaeum can be seen in
We see the symmetrical centr
wings - the right-hand one b
SO. .. .
At first sight, noth

The Acropolis is a cliff, isolated on all sides, whose summit is

in fact it constitute
general symmetry o
both gods.
The highest point (P) was the site in this and another era (the sity in the details.
E4
? ... ,
First view of the sq
laeum, the spectato
JIL
fifth century B.C.

theion, and Athene
In the foreground t
Erechtheion and th
tes an impression of
gnificance when the visi-
lpture.
assemblage 10
es. To modern thinking,

Acropolis - should be
he Greeks reasoned quite
s an uneven surface, and The Acropolis is a cliff, isolated on all sides, whose summit is
elief, placed the main


both gods.
the cliff, facing the

5.
? ... ,
es the spectator ------------

fifth century B.C.
JIL
ed oblique views: they

ew of the faGade is
others ...
[This] becomes clear from the series of panoramas that unfolded
a specific role. An
before visitors to the Acropolis in the fifth century B.C.
4 .. ..
View of the Propylaeum. The general idea of the plan of the
Propylaeum can be seen in figure 3. ...
view en face is a calcu-

We see the symmetrical central block and two noticeably different
wings - the right-hand one broader and the left-hand one less
SO. .. .
At first sight, nothing could be more uneven than this plan, but
in fact it constitutes a completely balanced whole in which the
general symmetry of the masses is accompanied by a subtle diver-
sity in the details. . . . The optical symmetry is impeccable. ...

E4
First view of the square; Athene Promakhos. Passing by the Propy-
laeum, the spectator's eye embraces the Parthenon, the Erech-
theion, and Athene Promakhos (figure 4).
resented en face, just as

In the foreground towers the statue of Athene Promakhos; the
Erechtheion and the Parthenon are in the background, so that
the whole of this first panorama is subordinated to the statue,
arthenon, crossing the 118

m the Erechtheion, let us continue
At point B the Parthenon is still the
*#~
vision, but if we move on to point
hat we shall be unable to encompass
e Erechtheion becomes the center of
rom this point that it offers us one
s (figure 7).
by the Porch of the Caryatids,

ough against a background specifi-
Eisenstein
ed before us, corresponding to the

and C - on figure 4.
chitectural monument was dominant:

creates an impression of
ts significance when the visi-
f sculpture.
at point B, the Parthenon; and at

ctives. To modern thinking,
f the Acropolis - should be
ut the Greeks reasoned quite
This one, principal motif ensures

s has an uneven surface, and
ral relief, placed the main
ge of the cliff, facing the
and the unity of the picture.

l faces the spectator
5.
------------
ferred oblique views: they

tal view of the faGade is
tted a specific role. An
what careful thought this has

le a view en face is a calcu-
is presented en face, just as
he following additional cornm-

he Parthenon, crossing the
ception of the two examples --
y calculated, all the other

angle - as does the temple of
or reaches its precinct at 7.
rechtheion, let us continue
t B the Parthenon is still the
*#~
but if we move on to point
hall be unable to encompass
theion becomes the center of
assemblage 10
Erechtheion and Athene Promakhos. Let us return to the starting

point (figure 4), that is, to point A', at which our whole attention
was concentrated on Athene Promakhos. The Erechtheion with
its caryatids is in the background. One might fear that the grace-
ful caryatids would appear crushed by force of contrast with the
gigantic statue of the goddess; to prevent this, the architect sited
the base of the statue in such a way that it shut out the view of
the Porch of the Caryatids - line A1RL, which only revealed
itself to the eye of the spectator when he was so close to the
colossus that he could no longer see all of it, and therefore a
comparison became possible only in memory.
Furthermore, Choisy sums up as follows:
If we now recall the series of pictures that the Acropolis has given
us, we shall see that they are all, without exception, calculated
on the first impression that they make. Our recollections invaria-
bly take us back to first impressions, and the Greeks strove, above
all, to make it a favorable one.
Both wings of the Proplyaeum balance out at the exact moment

when the general view of the building opens out in front of us
(figure 3).
The disappearance of the caryatids when looking at Athene Pro-

makhos is also calculated on the first impression (figure 4).
As for the Parthenon, the fullest view of its fagade, with its asym-
metrical flight of steps, is revealed to the spectator when he passes
through the precinct around the temple of Athene Ergane.
This creation of a favorable first impression was evidently the

constant concern of Greek architects.
The calculation of a [film-] shot effect is obvious, for

there, too, the effect of the first impression from each new,
emerging shot is enormous. Equally strong, however, is
the calculation on a montage effect, that is, the sequential
juxtaposition of those shots.
Let us, in fact, draw up the general compositional schemes

of these four successive "picturesque shots" (figure 8).
It is hard to imagine a stricter, more elegant, and more

triumphant construct than this sequence.
Shots a and b are equal in symmetry and, at the same

time, the opposites of each other in spatial extent. Shots c
and d are in mirror symmetry, and function, as it were, as
enlargements of the right-hand and left-hand wings of shot
Architecture of
cinema
Architecture as
cinema
Architecture "is appreciated while on the move, with one's feet... while
walking, moving from one place to another.... A true architectural promenade
[oﬀers] constantly changing views, unexpected, at times surprising.”
Le Corbusier, 1964
LE CORBUSIER (Villa Savoye, 1931)
Edison Studios, Frankenstein (1910)
Architecture of What is the
new language
cinema of cinema?
Sergei Eisenstein, Battleship Potemkin (1925)
Architecture of What is the
new language
cinema of cinema?
editing/cutting/montage
zoom/point of view
repetition
camera in movement
House & Home
Architecture: How buildings are used in sci-fi films
Many film-makers return to familiar landscapes, believing that the destruction of places we know is more
disturbing
Edwin Heathcote NOVEMBER 23, 2013
Ennis House, in Los Angeles was used in 'The House on Haunted

Hill' (1959), 'Twin Peaks' (1990) and 'Blade Runner' (1982)
There are usually four types of homes in science-fiction films: futuristic, retro, dystopian or
modernist.
The futuristic, space-age dwellings are mostly white, in which tables and chairs might hover
above the floor and doors slide open automatically with a hum. This was the default style of
the mid-20th century. It has been used less frequently in recent years.
Retro homes, in which the architecture of the future resembles a version of the past, embrace
everything from steampunk Victoriana to the kind of fantasies in which other planets look
like Tolkienised England or Tunisian mud brick villages. More commonly, though, the look is
some kind of art deco revival, which is probably to do with the extraordinary skyscrapers of
1920s and 1930s New York still looking like an ideal city of the future.
Dystopian homes, meanwhile, tend to show a world of ruins and apocalyptic landscapes.
The fourth type of home in a sci-fi film is often the location scout’s favourite: the already
built, real-world modernist house – not too well-known, strange but also familiar enough to
correspond with some futuristic vision.
The first type is, unexpectedly perhaps, most often the dullest. This is because it is generally
the most predictable. Nothing, the cliché states, dates faster than the future. Take Alison and
Peter Smithson, arguably Britain’s most intellectual and influential modernist architects, who
designed a “House of the Future” for the Ideal Home Show in 1956. It looks laughable enough
on its own, but with the “futuristically” dressed actors inhabiting it, the projection becomes a
hoot. It shows just how difficult it is to get it right.
The classic image of this kind of screen futurology comes from the 1936 film, Things to Come,
based on the HG Wells novel. This is a pretty weak film, except for its uncomfortably salient
predictions about the nature of the coming world war and its impressive visions of a
subterranean world carved out beneath the ruins of the now uninhabitable cities on the
surface. futuristic, retro, dystopian, modernist
futuristic
How architects are using virtual reality to walk through buildings that don't yet exist - Los Angeles Times 3/10/2018, 11)44
ADVERTISEMENT
Reading
Carolina A. Miranda, “How architects are using virtual reality to
walk through buildings that don't yet exist” Los Angeles Times,
CARO LIN A A . MI RA NDA ARTS & CU LT U RE E NTERTAINMENT
July 3, 2018. Accessed September 18, 2018.
How architects are using virtual reality http://www.latimes.com/entertainment/arts/miranda/la-et-cam-

to walk through buildings that don't yet architecture-vr-ocmabuilding-morphosis-20180703-story.html
exist Questions for thought:
By CAROLINA A. MIRANDA JUL 03, 2018 11:10 AM ! " # 1. What potential do the virtual reality technologies in the article
K
|
E
have to change the way that architects relate to non-architects? To
E change the way architecture is made?

ADVERTISEMENT
T W SEE HOW FORM

2. Describe the ways in which a virtual reality experience of a
E X FOLLOWS
FUNCTION
given space would be different from an experience of that same
space in reality?
N
A rendering of the Orange County Museum of Art by
Morphosis Architects. The firm is using virtual reality to ! "
BOOK NOW
3. What are some other professions or disciplines that are being
transformed by virtual reality? Do you think the technology has the
allow for immersive views of the building. (Morphosis
Architects) capacity to transform everyday life?
LATEST CAROLINA A.
MIRANDA
In the studios of Morphosis Architects in Culver
City, it is possible to step into the lobby of the new Essential
Orange County Museum of Art — even though Arts &
http://www.latimes.com/entertainment/arts/miranda/la-et-cam-architecture-vr-ocma-building-morphosis-20180703-story.html Page 1 of 12
SCMP.COM
. 1 2
C T
Arts & Culture
IL O
N T
Made for the fake-news era, this
r y o a d
U
photographer’s work was ahead of
N a l l e 's R
its time
IT IO r G u e e n
–
IB i n e 0 Q d a y
American Philip-Lorca diCorcia tested the line between fact
r
E H Z 's , 8
David Zwirner in Hong Kong shows
u s
and 8ction in the pre-Photoshop era, as a retrospective at
X w e You know art photography is having a moment in Hong Kong when David
i d e n , T
The work of a very different photographer, Qin Yifeng, is
e g
Zwirner devotes its gallery to the medium – and for the third time in less than
a v u o n
featured at White Cube – Hat monochromes born of his
Q
D F, H ong K .
interest in calligraphy and abstract painting
two years.
Its survey of the work of American Philip-Lorca diCorcia, known for blending
staged photography and reportage, has a particular resonance at a time when, in
6 /
Topic | Photography
H p m Hong Kong and around the world, the veracity of news photography is
5- tral, 7 constantly being questioned. That diCorcia was testing the line between fact and
Aaina Bhargava
m - 9 0 0 fiction in the pre-Photoshop era shows his prescience.
n a
Christina Ko
e
C ay: 1 1
Published: 4:30pm, 20 Sep, 2019
9 5 The show opens with Heads, experiments in street photography in which
2 11 diCorcia mimicked studio lighting in a public outdoor setting. The resulting
d
images have the drama of meticulously planned shots but the immediacy of
F r i 5 2 ) candid photography. Accompanying these are a collage of Polaroids and, in the

next room, an early series of staged moments featuring diCorcia’s friends and
l : ( 8 family.
T e
. 1 2
C T
IL O
N T r y o a d
N U a l l e 's R
IT IO r G u e e n
–
IB i r n e 0 Q d a y
E X H Z w 's , 8 u e s
i d e e n g , T
a v Q
D F, H ong K .u o n
6 / H p m
5- tral, m - 7 0 0
extra credit
e n 1 1 a 5 9 (replaces your lowest in class

C ay: 11 9 writing assignment grade)
r i d 2 ) 2
F ( 8 5 please see tutor for details
T e l :
"A candidate shall not engage in plagiarism nor employ nor seek to employ any other unfair means at an
examination or in any other form of assessment. Plagiarism is defined as direct copying of textual material or
willful use of other people's data and ideas, and presenting them as one's own without acknowledgement, whether
or not such materials, data and ideas have been published."
Put it simply, plagiarism is copying the work of another person without proper acknowledgement. There are two
parts in the definition: copying and the absence of proper acknowledgement. As a result, it gives an impression to
IS M
an ordinary reader that the work is the original work of the author when in fact it was copied from some others'
work. The idea underlying plagiarism is very simple: if you appropriate the work of another person, you should give
proper recognition to that person.
A R
Plagiarism covers "any other form of assessment". It covers theses, dissertations, take-home examinations,
I
assignments, projects, and other forms of coursework. It applies to both undergraduate and graduate students.
G
LA
P
"A candidate shall not engage in plagiarism nor employ nor seek to employ any other unfair means at an
examination or in any other form of assessment. Plagiarism is defined as direct copying of textual material or
willful use of other people's data and ideas, and presenting them as one's own without acknowledgement, whether
or not such materials, data and ideas have been published."
Put it simply, plagiarism is copying the work of another person without proper acknowledgement. There are two
parts in the definition: copying and the absence of proper acknowledgement. As a result, it gives an impression to
IS M
an ordinary reader that the work is the original work of the author when in fact it was copied from some others'
work. The idea underlying plagiarism is very simple: if you appropriate the work of another person, you should give
proper recognition to that person.
A R
Plagiarism covers "any other form of assessment". It covers theses, dissertations, take-home examinations,
I
assignments, projects, and other forms of coursework. It applies to both undergraduate and graduate students.
G
Sanction
LA
Plagiarism is a serious offence in the academic world. This University takes plagiarism seriously. Academically, it
P
is almost certain that the plagiarized work will receive a fail grade (and most likely a zero mark). There may also
be disciplinary action against the student who commits the offence of plagiarism. A warning letter will be issued
in case of minor plagiarism. In the more serious cases, the students concerned will be referred to the Vice-
Chancellor for referral to the University Disciplinary Committee for disciplinary action. The Disciplinary
Committee, which comprises 3 members from the Senate and 2 student members, will investigate the complaint
and may impose a wide range of penalties once a student is found guilty of a disciplinary offence. These penalties
include a published reprimand, suspension of study for a period of time, and even expulsion from the University.
Some students who are found guilty of plagiarism are suspended from their studies. If you are expelled, you will
probably never be able to re-enroll in this or indeed any university. Disciplinary action may be taken even after
graduation, particularly in the case of research students who commit plagiarism in their thesis or dissertation. If a
student lends his work to another student for copying, both students will be punished.
R D ED
OA A D
Y B LO
O R U P
T
S D&
TE
IN
PR
OFFICE HOURS! THIS WEEK:
FRIDAY 1-2pm
Knowles Building, 409
A K
R E
B
Architecture in
cinema
Films used:
Metropolis (1927)
The Fountainhead (1949)
Rear Window (1954)
Mon Oncle (1958)
Hiroshima Mon Amour (1959)
North by Northwest (1959)
Psycho (1960)
La Notte (1961)
Last Year in Marieband (1961)
Contempt (1963)
Playtime (1967)
Rosemary’s baby (1968)
The Party (1968)
The Tenant (1976)
Manhattan (1979)
The Shining (1980)
Blade Runner (1982)
Brazil (1985)
Batman (1989)
Batman Returns (1992)
El Día de la Bestia (1995)
Dark City (1995)
The Fifth Element (1997)
Lost In Translation (2003)
Synechdoque, NY (2008)
(500) Days of Summer (2009)
Inception (2010)
The Tree of Life (2011)
Cloud Atlas (2012)

Architecture in Cinema
The Great Beauty (2013)
by: Jorge Luengo Ruiz
The Grand Budapest Hotel (2014) source: https://vimeo.com/213544574
Ridley Scott, Blade Runner (1982)
Ridley Scott, Blade Runner (1982)
Wong Kar-wai, In the Mood for Love (2000)
Wong Kar-wai, Chungking Express (1994)
Wong Kar-wai, 2046 (2004)
Christopher Nolan, Batman (2004)
Jacques Tati, Playtime (1967)
Architecture
as/of/in
cinema
tips for writing
brainstorm
write
revise
edit
tips for writing jot down thoughts
collect notes from source
brainstorm
write down your main point
outline a structure
write
revise
edit
brainstorm
complete each thought in a sentence outline a structure
elaborate thoughts into paragraphs

write
elaborate on each source
make associations
revise
edit
brainstorm

write
make associations rework paragraphs
find a logical structure
revise reconsider/strengthen main point
consider conclusion
edit
brainstorm

write
make associations rework paragraphs
find a logical structure
revise reconsider/strengthen main point
work with a partner consider conclusion

simplify sentences
take out extra words edit
proofread
editing
editing
editing
editing
editing
in my opinion
from my point of view
according to me
editing
adverbs
editing
redundancy
editing
fine tuning
tips for in-class exercise
words
phrases
sentences
paragraphs
tips for in-class exercise adjectives
observations
words
descriptions
ideas
phrases
sentences
paragraphs
observations
words
descriptions
complete words into phrases ideas
combine similar descriptions

group types of observations
phrases
join ideas to supporting descriptions
sentences
paragraphs
observations
words
descriptions

phrases
determine main/supporting ideas
turn phrases into sentences
sentences group sentences together
find a logic between sentences
paragraphs
observations
words
descriptions

phrases
determine main/supporting ideas
turn phrases into sentences
sentences group sentences together
find a logic between sentences
find main point of each paragraph
check logic between paragraphs
check opening and closing paragraphs

proofread
in-class exercise 2
JULIUS SHULMAN (Pierre Koenig, Stahl House (1959)

W5.Film 2019

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PANOPTO ON

Erechtheion and Athen

IMAGE, SPACE AND its caryatids is in th

SOCIETY the Porch of the C

W5: Technology &

Production: Cinema all, to make it a fav

Both wings of the

CCHU 9030 As for the Partheno

University of Hong Kong This creation of a fa

Let us, in fact, dr

‘Montage & Architecture’

the description or portrayal of someone

‘Montage & Architecture’

the description or portrayal of someone

‘Montage & Architecture’

Painting has remained

‘Montage & Architecture’

The site being empty af

The highest point (P) wa

(in both the old and the new layout) ...

pectives. To modern thinking,

olis has an uneven surface, and

tural relief, placed the main

dge of the cliff, facing the

The Propylaeum (M) formed the frontal fagade of the Acropolis

all faces the spectator

ntal view of the faGade is

lotted a specific role. An

sity in the details. . . . The optical symmetry is impeccable. ...

by the Porch of the Caryatids,

ed before us, corresponding to the

chitectural monument was dominant:

what careful thought this has

he following additional cornm-

ferred oblique views: they

Erechtheion and Athene Promakhos. Let us return to the starting

Furthermore, Choisy sums up as follows:

Both wings of the Proplyaeum balance out at the exact moment

The disappearance of the caryatids when looking at Athene Pro-

This creation of a favorable first impression was evidently the

The calculation of a [film-] shot effect is obvious, for

Let us, in fact, draw up the general compositional schemes

It is hard to imagine a stricter, more elegant, and more

Shots a and b are equal in symmetry and, at the same

The site being empty af

The highest point (P) wa

At first sight, noth

In immediate proximity to this sacred spot a temple was built to

The Propylaeum (M) formed the frontal fagade of the Acropolis

es. To modern thinking,

elief, placed the main

In immediate proximity to this sacred spot a temple was built to

the cliff, facing the

es the spectator ------------

ed oblique views: they

view en face is a calcu-

sity in the details. . . . The optical symmetry is impeccable. ...

resented en face, just as

arthenon, crossing the 118

by the Porch of the Caryatids,

ed before us, corresponding to the

chitectural monument was dominant:

at point B, the Parthenon; and at