Forms of the Cinematic: Architecture, Science, and the Arts

Description

This interdisciplinary collection explores how cinema calls into question its own frame of reference and, at the same time, how its form becomes the matter of its thought. Building on the axiom (cherished by philosophers of cinema from Epstein to Deleuze) that cinema is a medium that thinks in conjunction with its spectators, this book examines how various forms of the cinematic rethink and redraw the terrain of traditional disciplines, thereby enabling different modes of thought and practice. Areas under consideration by a range of leading academics and practitioners include architecture, science, writing in a visual field, event-theory and historiography. Title Page Copyright Page Contents Figures Contributors Forms of the cinematic: An introduction References Part 1: Rethinking: from Idea to Structure Chapter 1: Idea and image Chapter 2: The screen as barrier and support: Monitoring, projection and perfectionism in Brad Bird’s Tomorrowland: A World Beyond (2015) Chapter 3: Surface thoughts: On the look of cinema Films, non-philosophy and Laruelle Thinking democracy A film of philosophy A behavioural tangent: Being true to the idea (a film du Look) Conclusion: How to behave like a film philosopher Chapter 4: The film event: From Bazin to Deleuze Part 2: Revisualizing: from the Tangible to the Intangible Chapter 5: What film studies is: Mapping the discipline Surveying the discipline Film theory/criticism Film and philosophy Film and modern languages Identity Chapter 6: A cinematic aided design approach and the need for (in)-disciplinarity Film as a site of post-occupancy studies Understanding everyday life through cinema Data mining the filmic archive An architectonics of cinema Detecting cinematic cultural differences: Descola’s ontologies A new digital methodology to analyse filmic data Systematic analysis of spatial cultural differences Practice-based approaches to spatial cultural differences Conclusion Acknowledgements Chapter 7: Microcinematography and biomedical science Acknowledgements Chapter 8: Cinematic forms and cultural heritage Olden times Beyond cinema: Simulation and immersion Interpretation History, myth, cultural heritage and audiovisual media: Focusing on women Keeping up with the times Part 3: Reconstructing: from Writing to Architecture Chapter 9: The modulation of emphasis: Screenwriting as a literary art An expanded notion of ‘writing’ Audiences: The screenplay as time-specific address Affect: The screenplay as empirical experience Duration: The screenplay as a sequence of prompts of varying emphasis Conclusion: Screenwriting as a model for the performativity of all writing Chapter 10: Mapping Andrei Tarkovsky’s Stalker: An architectural exploration of the ‘Zone’ Locating the pro-filmic space The choreography of the three-dimensional plateau Beyond the Zone The Zone The Battlefield The Dry Tunnel The Meatgrinder, the Sand-dunes Shed and the Room In lieu of conclusions: Framing the landscape Chapter 11: Architecture Beyond Sight: Filming blindness Acknowledgements Chapter 12: Towards an architecture of the cinematic Index