Architecture in Cinema Guide: Neel Naik

Architecture in Cinema: Investigating spaces of Memory and

Imagination

Introduction
Cinema and Architecture are two distinctive yet similar, expressive art forms which share a symbiotic
relationship. With its most common association with a built form, architecture can be defined as the art of
cautiously designing a structure of something. Any work of architecture holds a certain spatiality that not
only defines it formally via its physical parameters (length, breadth, height) but also talks about higher
qualities like expression generated, emotions evoked, and more. Thus the spatiality of a built form
manifests the experience designed by an architect. Parallel to this, cinema focuses on portraying an
experience. By definition, it means the art of making a motion picture. A Series of frames move
consecutively, forming a narrative.

Both cinema and architecture use tools to engage the senses and create an experience. Both are
sequences of space and time, rooted in a specific context. This generates a paradox of whether cinema uses
an architectural process to bring forth narratives or architecture uses the cinematographic approach to
create spatial narratives. Space in cinema serves as a background to the protagonist amidst the flow of
frames. Spectators of the art might not be able to directly observe space in the narrative.

“Unconscious peripheral perception transforms retinal gestalt into spatial and bodily experiences.”

Pallasmaa

The research tries to understand this combined and complex realm of architecture and cinema by
particularly looking at how emotions are portrayed or enhanced with the help of architecture in cinema.
With the help of contrasting case studies and using drawing as an analytical tool, the study tries to create a
direct link between emotions and spatiality. The study of dwellings and specific contexts used by a
particular narrative speaks about the emotions of characters and the mood setting of the larger theme of a
film. This then does not leave space as a mere background in a narrative but extends its role as a silent but
integral supporting character. This character through its setting i.e mise-en-scene speaks about protagonists
in many ways, the study of which can provide one with social anthropological relations. Chosen case studies
are of different genres of films; one whose premise is real and situated in a practical world whereas other
whose context is fictitious and is rooted inside the brain. The case studies thus provide an opportunity to
delve into spaces of memory and imagination with their contrasting genres.

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Research Questions
How does architecture help create the atmosphere of a movie?

Are different emotions portrayed or enhanced by the spatial qualities?

Is there a direct link between architectural attributes/elements with emotions in a narration?

Hypothesis
Architecture is an inert and integral deriving force in any movie. It uses its spatial powers to bring forth
different narrations weaved in emotions. Architecture in its qualitative (setting/ambiance/color) and
quantitative (proportions/scale/dimensions) resolution evokes emotions in the spectator’s mind and hence
constructs a unique atmosphere of a movie. This link between space and emotions in a particular narrative
can be studied using drawing as a tool.

Aim
To study the role of architecture in narratives for Indian cinema (between 2010-2020), through investigating
spaces of memory and imagination in case studies in order to understand the connection between
spatiality and emotions.

Objectives
To study the role of space in a narrative, particularly in portraying or enhancing emotions in it.

To understand the importance of dwelling in cinema for constructing the image of the protagonist.

To identify a connection between a character’s emotions with the use of a specific context/setting/space.

Scope and Limitations

1. The study is limited to Indian cinema in the period, 2010 to 2020 and analyses only two genres from the
vast narratives available to be able to conduct a detailed study.

2. The genres are selected such that both have contrasting features thereby the research can cover diverse
instances.

3. The focus of the study is limited only to the architectural aspect of films and does not analyze in detail
the technicality of filmmaking unless it supports any particular instance.

4. The study limits its scope to understanding the mood and emotions via space of only protagonists of the
chosen case studies and does not include in detail other characters.

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5. To be able to be consistent in the analysis of contrasting narratives, the movies are chosen with the same
creative director. Thus, the study is restricted to a similar method of using spatiality.

6. The plans constructed are sketches formed from observations and do not replicate the original
location/set.

7. The study uses spatial sketches/diagrams to further strengthen/support the established relation between
narrative-architecture-emotions in existing research.

Methodology
1. Part I Introduction: The research introduces one with the combined complex realm of architecture and
cinema. It tries to understand some of the concepts and theories relating to the two art forms and
describes the relevance of the resultant realm.

2. Part II Identification: The study tries to identify and analyze the construct of space in different narratives
to form a basis for further investigation as well as to understand the relevance of the study.

3. Part III Examining tool: The study examines drawing as an analytical tool to study the relationship
between space and the atmosphere of movies by studying the sketches made by specific directors and the
extraction of architectural drawings from movies by authors.

4. Part IV Analysis via case studies: The study will first use theory and concept explained in parts I and II to
decode space in a movie and then further use drawing as an analytical tool (examined in part III) to create a
link between emotions portrayed to the spatiality decoded. This procedure will be done for two cases:
1 Ship of Theseus
2 Tumbbad

5. Part V Comparative analysis: In this section, the study will take drawings/sketches/illustrations produced
in part IV and compare them to form inferences.

6. Part VI Conclusion: This section concludes the produced inference to support/reject the hypothesis.

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 Introduction
Introduction to the combined complex
realm of architecture and cinema.

Identification
analysis of the construct of space in
different narratives.

Examining the tool

drawing as an analytical tool.

Analysis
decode space in a movie using the
tool under specific parameters.

Comparative Analysis
Comparing the output of both case
studies.

Conclusion
Inferences from the two - step analysis.

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Framework of Analysis

FILM

NARRATIVE

CONCEPT

PROTAGONIST

ARCHITECTURE

DWELLING SPECIFIC SETTINGS CONTEXT LANDSCAPES

Cultural Urban

Pauses Transitions
Color Symbols Scale + Condition
Proportions

Open Land Path Arcade Tunnel Clearance Layered Grid Labyrinth Shaft Rotunda Court
space marks Space

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Annotaded Bibliography

Al-Saati, M. Z., Botta, D., & Woodbury, R. (2012). Depictions of architectural spaces in film. The Internation-
al Journal of the Image, 2(3), 107–118.
https://doi.org/10.18848/2154-8560/cgp/v02i03/44056
The article helps to understand the importance of spaces as strong communicators of narratives in movies.
Through examples, it tries to explain how specific emotions are related to spaces in particular movies. In
order to understand the depiction of such evocative spaces, it uses the method of close reading of film
scenes. The article then introduces the readers with twelve basic spatial archetypes that can be used to
understand how spaces are constructed in films.

These archetypes can be used to build the framework of analysis in which each archetype serve as a
simple category into which each chosen shot can be tried to break into. Thus each chosen shot can be
related to one archetype. Through this one can try to understand how emotions are related to a particular
archetype and thus help to create a link between spatiality and emotions.

Eisenstein, S. (1986). The Film Sense. Faber & Faber.

The book looks at films as expressive mediums that can provide the viewers with evocative experiences.
Through its chapter Word and Image, it stresses the basic aim and function of montage. It stresses the task
of communicating a narrative as not merely a logical connection of frames but rather one full of emotions
and stimulating energies. Through examples, it explains how even in art that doesn’t include time factors like
a static picture, the same function of montage is applied. It makes it clear that even if the study includes only
specific shots and does not analyze the technicality of filmmaking, still the component of ‘juxtaposition of
details can’t be in total neglection.

Its other chapter ‘Color and Meaning’ helps understand how the use of colors impacts the narrative and
hence the emotions. Through examples, it helps understand certain symbols and metaphors related to
certain colors and their usage in movies.

Jacobs, S. (2007). The wrong house: The architecture of Alfred Hitchcock. 010 Uitgeverij.

The author believes that architectural history does not essentially only include the constructed forms but
also comprises the evocative architecture of other art forms such as cinema. Referring to Alfred Hitchcock he
explains how cinema benefits architecture by rendering spaces of imagination that can’t be built, providing
the fellow art form with new ideas and narratives. Further using real locations and houses, movies illustrate
how humans hold associations with different spaces. By looking at Alfred Hitchcock as an architect the book
explains how architecture through cinema can talk about characters and that settings in films are not merely
a background on the screen. Through analysis of his movies with the construction of plans of buildings used
in narratives, the book decodes the architecture of Alfred Hitchcock. The study in this book offers a base
method of conducting a social anthropological study from the study of mise-en-scene using architectural
plans as a tool. The method provides a reference to build on a framework to be able to analyze the dwellings
of protagonists in the chosen case studies.

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 Pallasmaa, J. (1999). The architecture of image - existential space in cinema. Wiley-Academy.

The book brings forth the shared realm of architecture and cinema and explains the similarities between
the two. The author by taking movies as case studies of famous directors such as Alfred Hitchcock, Stanley
Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky, explains how in their movies architecture is used as a
tool to create emotionally rich journeys of their narratives.

Through the study of architectural imagery in the case studies, the book provides a strong introduction to
the overall theme of the research. Further, through examples, it offers a theoretical analysis of space in
different genres of movies.

Pallasmaa, J. (2013). The eyes of the skin: Architecture and the senses (3rd ed.). John Wiley & Sons.

The book establishes the connection between architecture and senses. It stresses the role of all the senses in
experiencing any work of architecture and thus its needful relationship with evoking emotions.

It strongly focuses on the perception of any work of art as bodily experiences. It also elaborates on the
significance of unfocused vision and peripheral perceptions. Further the book, through the example of
literature and cinema, stresses on the power of engaging oneself in these art forms lies in the capability of
humans to enter an imagined or a remembered space.

The evidence in the book provides with an opportunity to build an introduction to the larger theme. Through
its examples and following explanations in the topic, ‘Spaces of Memory and Imagination’ it indicates with
genres of case studies chosen.

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