کتاب Cinema and Architecture

کتاب Cinema and Architecture؛ ارتباط خلاقانه میان سینما و معماری

کتاب “Cinema and Architecture” به بررسی رابطه جذاب و پیچیده میان دو هنر تأثیرگذار، سینما و معماری، می‌پردازد. این اثر منحصربه‌فرد نشان می‌دهد که چگونه فیلم‌ها می‌توانند بازتاب‌دهنده فضاهای معماری باشند و معماری چگونه می‌تواند الهام‌بخش روایت‌های سینمایی شود.

درباره کتاب

در این کتاب، نویسنده به تحلیل تأثیر معماری در روایت‌پردازی فیلم‌ها و خلق فضاهای بصری خاص می‌پردازد. همچنین، تأثیر سینما بر معماری معاصر و نحوه نمایش فرهنگ، هویت و سبک‌های معماری در سینما مورد بررسی قرار می‌گیرد. این کتاب با رویکردی میان‌رشته‌ای، برای علاقه‌مندان به هر دو حوزه بسیار جذاب است.

موضوعات کلیدی کتاب

• سینما به‌عنوان فضای معماری: تحلیل نقش معماری در خلق فضاهای سینمایی.
• معماری در فیلم‌ها: تأثیر سبک‌های مختلف معماری بر روایت داستانی و ایجاد حس و حال در فیلم.
• رویکرد تاریخی: بررسی ارتباط سینما و معماری از آغاز تاریخ سینما تا امروز.
• نمونه‌های برجسته: تحلیل فیلم‌هایی که معماری نقش کلیدی در آن‌ها ایفا کرده است.
• بازتاب فرهنگ و هویت: نمایش هویت‌های فرهنگی و اجتماعی از طریق معماری در فیلم‌ها.

ویژگی‌های برجسته کتاب

1. میان‌رشته‌ای و جامع: مناسب برای علاقه‌مندان به سینما، معماری و هنر.
2. تحلیل عمیق: ارائه دیدگاه‌های نوآورانه درباره تأثیرات متقابل این دو هنر.
3. مطالعات موردی: بررسی فیلم‌ها و ساختمان‌های نمادینی که نمایانگر پیوند سینما و معماری هستند.
4. تصاویر و منابع بصری: ارائه تصاویر و نمودارهایی که به درک بهتر مفاهیم کمک می‌کنند.

چرا این کتاب را بخوانید؟

• اگر علاقه‌مند به کشف ارتباط‌های هنری میان سینما و معماری هستید.
• اگر در زمینه معماری یا سینما فعالیت می‌کنید و به دنبال الهام‌گیری هستید.
• اگر می‌خواهید درک عمیق‌تری از نحوه نمایش فضا و معماری در سینما داشته باشید.

مخاطبان کتاب

• دانشجویان و پژوهشگران معماری، سینما و هنرهای بصری.
• معماران و طراحانی که به دنبال الهام از سینما هستند.
• فیلم‌سازان و نویسندگانی که به تأثیر معماری در روایت‌های سینمایی علاقه دارند.
• علاقه‌مندان به هنر و فرهنگ.

سفارش کتاب

برای تهیه کتاب “Cinema and Architecture” و آشنایی با تأثیرات متقابل این دو حوزه هنری، به بخش فروشگاه سایت مراجعه کنید یا از طریق تماس با ما سفارش خود را ثبت کنید.

این کتاب دیدگاهی تازه و جذاب به نقش معماری در سینما و تأثیر سینما بر معماری ارائه می‌دهد و به شما کمک می‌کند تا این دو هنر را از زاویه‌ای نو بشناسید.

در ادامه فهرست این کتاب قابل مشاهده است:

Chapter 1
Cinema
Movies and Cinema
The Definition of Cinema based on Martin Scorsese
How Does Cinema Work?
Cinema Functions
Artistic Function
Industrial Function
Communication Function
Art Media
The History of Cinema
Publicizing Cinemas
Opening of Special Halls for Women
The Announcement of Grand Cinema and the Entry of Women
Architecture
The Definition of Architecture based on the Great Architects of the World
Cinema and Architecture
Architecture and Cinema
The History of Architecture and the City in Cinema
Early Works of Cinema
The Relationship between Cinema and Architecture
Space in Cinema and Architecture
Montage as the Cinema Architecture
The Intersection of Architecture and Cinema
Economic Classes and the Image of Urbanization in Cinema
Cinema, Architecture in Motion
Space in Cinema and Architecture
Rhythm in Cinema and Architecture
Motion in Cinema and Architecture
The Comparison of Motion in Cinema and Architecture
The Concept of Motion in Architecture
Motion Factors in Architecture
The Comparison of Motion in Cinema and Architecture
Methods of Expression in Cinema and Architecture
The Expressive Elements of Cinema
Ironic Expression or Coded Language in Cinema
Major Forms of Expression in Cinema
Simile in Cinema
Personification in Cinema
Symbol in Cinema
Parable in Cinema
The Nature of Expression, the Relationship between Expression and Language
Cinema Expression Capability
Scenarios in Cinema and Architecture
The Art of Giving Meaning to Space
Structural Elements in Cinema and Architecture
About Cinematic Syntax
General Elements and Principles of Architectural Design
Architectural Design Elements
Point in Architectural Design
Line in Architectural Design
Shape in Architectural Design
Form in Architectural Design
Chapter 2
Cinema
Identity
Identification
The Sense of Place of Cinema, Preservation of Historical Monuments as a Continuation of Identity
The Effect of Cinema on Modern Architecture
Cinema, the Identity of Places in the City
The Importance of Location in Cinema
The Concept of Identity
Identity and Architecture
The Most Important Features of Architectural Identity
Space Organization
Time Organization
Semantic Organization
General Design Principles
Identity
The Effect of Cinema on Society
The Effect of Cinema on People’s Lives
The Effect of Cinema on Life and Community
The General Effect of the Movies
The Effect of Movies on Viewers
The Destructive Effect of Movies on Children
Immediate Imitation
Modeling the Costumes and Clothing of the Actors/Actresses
Sociologists’ Views on the Effect of Cinema on Society and People
The Use of Cinematic Components and Concepts in Motion-Themed Architectural Design
The Effect of Architecture on Cinema
Cinema and the Art of Interior Design
Location and Stage Design in Cinema
Historical Course of Stage Design in Cinema
Silent Cinema
The Effect of Architect on the Stage Design
Postmodern Architecture in the Contemporary Cinema Stage Design
Chapter 3
Examples
Architecture in Cinema, Cinema in Architecture
Cinema Architecture
The Subjective Truth of Place
Scenes of Fear
The Basics of Cinema
Cinema, a Multidimensional Art
The Definition of a Word: Simulation
Criticism
Sound, Camera, Architecture
The Effect of Architecture on Expressionist Cinema
Expressionism
Abstract Expressionism
Neo-Expressionism
Expressionist Cinema
The Characteristics of an Architect as a Director
The Golden Architect of the Hollywood Era
If Directors were Architects
Movies that an Architect should Watch
Chapter 4
Kids’ Cinemas in Southern California
A Floating Cinema in the Straits of Malacca
Container Cinemas
A ’50s-Themed Cinema
A Boat Cinema
An Art Cinema
A Hot Tub Cinema
A Caravan Cinema
An Apocalyptic Cinemas
The Architecture of Old Cinemas in Tehran
Hollywood and Architecture
Features and Components of Hollywood Interior Decoration Style
Hollywood Architecture Star
References

در ادامه بخشی از مطالب این کتاب قابل مشاهده است:

Cinema

Cinema is a branch of art in which a story is displayed by a sequence of motion pictures (movies). A cinematic representation called a movie is made up of elements of image (as a set of frames) and sound (conversation, sound, and music). A movie is developed based on the screenplay or scenario and by a set of actors, directors, cinematographers, and so on. Cinema is the newest branch of art, known as the seventh art, which today presents one of the most general and popular art productions.
Cinema has its roots in the Greek word meaning motion, but in the term, it is the art and technique that uses a series of moving images to convey a message to its audience, which is the spectator.
Cinema is the last art and, in other words, the seventh art. The other six arts are theater, painting, sculpture, architecture, music, and dance. Cinema, in the meantime, is the only art that not only employs six other arts but also promotes them in some way. Cinema also employs industry and technique in its context.
Cinema is the first and arguably still the most important industrialized art form that has taken over the artistic life of the twentieth century, a form that has culminated since its humble beginnings in amusement parks to become a billion-dollar industry and the most spectacular and original contemporary art.
The advent of cinema required a premise that could only be provided by inventors. This wait did not last long after the necessary preparations were made for the advent of cinema, and different types of camcorders were invented in 1895 almost simultaneously in the United States, England, France, and Germany. These devices had strange names such as kinetoscope, bioscope, vitascope, cinematograph, and so on. All of these devices did a wonderful job of showing the black-and-white image of living people in the familiar and real world.
Early films were very rudimentary in both content and form and were nothing more than filming everyday life. The first moviegoers sat and watched ordinary scenes such as the onslaught of waves on the beach, the fast movement of cars on the street, the arrival of trains at the station, or even the people walking in the sun with astonished eyes. However, because of these rudimentary but magical images, cinema spread around the world over twenty years, evolved sophisticated technology, and went on to become an important industry to be used for educational, propaganda, and science research purposes in addition to entertainment. With these characteristics, it was not far-fetched to gradually attract the attention of businessmen, artists, scientists, and politicians.
In this way, with the spread of cinema in the world and its general popularity, inventors continued to make inventions and technical advances in the field of cinema. These discoveries were made available to artists by film merchants who were more concerned with financial stability. Artists elevated this phenomenon, which was a new means of expression, from a simple pastime to an art (seventh art) and, consequently, turned cinema into a platform for the intersection of different financial and ideological interests and tendencies.
Cinema is derived from the word cinematograph. Cinematograph is derived from the two Greek words Kinema meaning motion and graphene meaning writing, which collectively means writing in motion. This is what happens in silent cinema on the big screen.
Cinema is a general term for all the intrusions and captures that the camera makes on the film in the stages of filming, laboratory, development, and voice-over. What is produced in this process is an elaborate painting with two features, which are motion and editing. This means that in cinema, painting does not stop at the stage of creating a fixed frame, but extends along with the two elements of motion and editing.
Cinema is a creative form of expression, and the filmmaker, like any other expense, seeks to offer a personal insight. At first glance, one might think that cinema media is a combination of all artistic elements, but there is something new, special, and rare in cinema.
The set of operations for filming individual images and displaying them at a certain speed offered the possibility of expression and a combination of conditions to the new media in which the technique lay. Making a film begins with recording the subject in the form of image and sound on the film tapes, which is called the shot.
Shaping the shot enables the filmmaker to express his/her thoughts and feelings. Therefore, the shot is the basic and expressive element of cinema so that it can be considered the basic and fundamental material of cinema media, which is used to make a complete film. Structurally, a shot is the smallest component of film expression.
Shots are not stable in their components and elements but are unstable. The subject can be addressed in such a way that it has different appearances, perspectives, aspects of motion, tonalities, colors, speeds, and sounds.
Shots do not necessarily have to be a direct representation of the subject just as a painter’s color does not necessarily have to be a color representation of nature.
Shots provide the subject with a reality that is explicit and recognizable, as well as evoking meanings and allusions to feelings and thoughts.
From words to Motivating Images
Words are symbols of human thoughts. A word is only a sign when it is used in a very practical way, that is, to indicate something or to guide and lead.
A word can be a symbol in addition to a word, while a picture can only be a symbol. A clear and unambiguous sign is the passage of a material object in front of the camera. Identifying a word without accessing its meaning is futile. One must somehow repeat the experience of word discovery to achieve its meaning.
Ortega y Gasset says:
Understanding a discussion not only requires understanding what is being said but also understanding what is not being said and what cannot be said. Imagination, however, is a very clear sign. This is both a strength and a weakness.
The image can show everything that can be displayed. The emotion evoked by the image is psychological, but the emotion evoked by a word cannot be considered the effect of that word because it is created immediately after hearing the word and the meaning does not destroy it.
The meaning of a single image in a film depends entirely on its cinematic content. Vsevolod Pudovkin describes this as an attraction in to his montage theory. He shows how the art of working is successful in forcing the viewer to experience a particular feeling.
The director creates the desired reflection in the viewer by moving the images and categorizing them. In other words, what the viewer accepts as the plot or concept of the film is nothing but the order that the director has given to a set of images.
Dina Dreyfus says about the language of cinema: Cinema is an objective art, which means that cinema is presented to human beings through objects as intermediaries. It is an art that seeks to achieve the inner world of man through the mediation of the outer world. Cinema wants to signify something and say something in the form of images not words.
So, the word becomes unnecessary. Cinema tries to offer an impossible combination of durability and superiority. The inner world and the outer world symbolize the empty view of everything, and the train that disappears from the eye on the horizon. We return to the romantic themes of the scene, which express a state of mind. The cinematic image suggests or evokes something because it cannot speak.
In most references, the invention of this important twentieth-century phenomenon is attributed to the Lumière brothers (Auguste and Louis Lumière, owners of the photographic material factory in Lyon, France) or to Edison. The Lumière brothers began their first film screening in 1895 in Paris by renting a basement. The difference between the Lumière brothers’ and Edison’s invention is that Edison’s invention was like the ancient stereopticons, but the Lumière brothers’ invention was more universal, like modern cinemas. The talkies revolutionized the film industry in 1929. The original idea for the audio and image recording came from Edison. He invented a device called a kinetograph. In the early 1900s, the development of cinema was recognized as an industry based on internationally agreed technical principles, the use of multiple angles for the camera and cinematic and dramatic expression found its way into cinema, paving the way for cinema to become more specialized in the technical, financial, marketing, and other fields. After World War I 1918-1914, a city called Hollywood (1919) was concentrated on the outskirts of Los Angeles due to the stagnation of the film industry in Europe. In the late 1900s, cinema consolidation began, with more precise camera design and higher-quality images. In 1929, the image motion speed increased from 16 frames per second to 24 frames. The 20-year period of stabilization and establishment of this media then began as the popular and entertaining film screening program continued in the 1930s and during the Second World War due to the great economic crisis. Television was introduced in 1936, but the first concerns about the device arose among filmmakers in 1950 with the closure of cinemas. Television attracted cinema customers. This led cinematographers to take new initiatives with the introduction of color into cinema, the resizing of images from 3: 4 to 3: 8, the cinemascope, widescreen filming, and the introduction of capabilities that could not be presented on television. Anyway, even today, cinema is trying to fight or accompany the virtual world by adding surround sound, which in Iran is incorrectly called Dolby, and presenting it digitally through the global highway.
Movies and Cinema
Nowadays, the mass media are highly developed, but among the proliferated media, the importance of cinema has not diminished. However, movies have been a great means of communication in the East and West Poles, at least since the time of Charlie Chaplin and Buster Kenton, the birth of cinema in the early twentieth century. The media became pervasive through cinema in the early years of the twentieth century. Cinema entered homes effectively even with the advent of media such as television. For its first viewers, the effect of television was like owning a theater in person. However, the clarity of the TV sound was very low at that time. Cinema has since become more and more attractive, and the importance of moving images has not diminished with the advent of cable television and independent television networks, whose main programs are old and new films or television series that are examples of cinema or affected by it. In their evolution, films have benefited greatly from past hobbies such as storytelling, drama, music, humor, and technical tricks along with their media presence. The seventh art is a kind of visual art that has a more comfortable and general perception than other arts such as painting, literature, and music for many reasons. In this art, mass production, supply, demand, and marketing are of great importance because it is an industrial commodity, has greatly expanded its audience, and is now recognized as one of the most important media in the field of post-television communication. Like the masses living in big cities, cinema is a product of industry and, like the spectators themselves, is subject to the needs and rules of this field of human activity. The directors of this industrial art are influenced by the investor due to the high cost of its production and the great reliance on their customers and the people.
Regardless of its Greek and Renaissance backgrounds, cinema began to function technically in the nineteenth century. This art requires a combination of science and art to a very large extent, because moving images owe much to scientific and industrial discoveries, such as the invention of optical devices and lenses, the control of light (especially with arc lamps), and chemistry (especially cellulose production), steel production, and high-precision machining. The evolution of literary, artistic, and industrial fields along with human creativity and taste has led to the emergence of cinema in its present form.
Finally, a high-quality, highly effective, sustainable, and truly productive product has created the perfect kind of culture.
In terms of content, the art of cinema is based on various fields of humanities, communication sciences, literature, and other artistic disciplines and technically uses the fields of physics, chemistry, mechanics, and electronics. In any case, it has become one of the most powerful and widespread forms of popular culture because it feeds on popular culture. In this medium, the masses of audiences, spectators, and viewers play a major role because the cinema is the sender or injector of the message and the viewers are the real recipients of the message.
The Definition of Cinema based on Martin Scorsese
I am neither a writer nor a theorist. I am a filmmaker. When I was very young, I found something extraordinary and inspiring in the art of cinema. The images I saw filled me with excitement, but they also ignited something inside me. Cinema gave me the way to understand and how to express and draw what is valuable and fleeting in the world around me. This cognition and spark that leads from praise to creativity happens almost unconsciously. For some, it leads to poetry, music, or dance. For me, it led to cinema.
When people discuss cinema, they often talk about specific images, such as the carriage that goes down the Odessa Steps of the in the Battleship Potemkin (Sergei Eisenstein, 1925), Peter O’Toole who kills a match in Lawrence of Arabia (David Lean, 1962), The Searchers (John Ford, 1956) where John Wayne holds Natalie Wood in his arms, in The Shining (Stanley Kubrick, 1980), blood erupts from an elevator, and in There Will Be Blood (Paul Thomas Anderson, 2007) the oil ring explodes. These are amazing passages in the history of our art form and stunning images. After all, what happens if you separate them from the previous and next images? What happens if you take them out of the worlds to which they belong? In this case, the works of art will remain that have lost an essential element: the strength and intensity that exists before and after them. There will be previous moments that make them effective, subsequent moments as these images pave the way, and thousands of subtleties, contradictions, and coincidences of action and chance that make them an integral part of the film’s life. Now you have an image of the bloody elevator in The Shining, which can have its identity and be a movie for itself. I believe this image was the first “short curtain raiser” of the film.
In Lawrence of Arabia, however, the independent nature of Peter O’Toole’s image is one thing, and what it’s in the world of Kubrick’s film is another. This is true of each of the above examples, all of which have been put together in countless videos, sometimes artistically. Anyway, this is annoying to me because these images are usually part of the thrilling moments that are now detached from their thematic context. You have to keep in mind that most of them are a series of images: Peter O’Toole kills the match, and consequently, the sun rises over the desert. The carriage descends the stairs amidst the chaos and violence of the Cossack soldiers. Moreover, each individual cinematic image is composed of a sequence of fixed frames that create a sense of motion. They record moments in time. However, when you put the images together, something else happens. I feel surprised every time I return to the editing room. One image is connected to another, and a third imaginary event occurs in the mind’s eye, perhaps an image, perhaps a thought, or perhaps a feeling. Something happens, an absolutely unique event for this particular composition or this collage of moving images. If you remove one of the frames or add a series, your mental image will change. This is a surprise to me, and I am not alone in this feeling.
Sergei Eisenstein spoke theoretically about it, and Czech filmmaker František Vláčil made the point in an interview about his Marketa Lazarová (1967). Cinema critic Manny Farber saw it as a principle for art. As a result, he named his collection of articles “Negative Space.” This principle applies to the proximity of words in poetry or to patterns and colors in painting. I believe this is the foundation of the art of cinema. This is the intersection of the act of creation with the act of seeing and engaging, where there is a common life of the filmmaker and the spectator, in those time intervals between the filmed images that last a fraction of a second but can be vast and endless. This is where a good movie comes to life as more than just beautiful illustrations of a screenplay. This is filmmaking. Is there an “imaginary image” for viewers unaware of the process of making films? In my opinion, there is. I do not know how to read the notes and many people I know. After all, we all feel the transition from one chord to another in music that impresses us.
In the January 4th issue of TLS, a review by Adam Mars-Jones of my recent film, an adaptation of Shūsaku Endō’s Silence, was published, which was not entirely positive but thought-provoking, and I read most of the sections carefully. Anyway, I had a problem with two things about which I wrote a letter to the magazine. When the editor told me that my letter would be published on March 17, he asked if I was willing to write an article in response to Mr. Mars-Jones’ view of the art of cinema. I welcomed the proposal of Mr. Abel (editor).
Over the years, I have become accustomed to ignoring cinema as an art form for a variety of reasons: it has become contaminated with commercial aspects. It probably can’t be art because so many people are involved in its creation. Cinema is inferior to other forms of art because it leaves nothing to the imagination and very easily enchants the viewer temporarily (this claim has never been made about theater, dance, or opera because the viewer must experience them over a specific period). The strange thing is that I have been in many situations where such ideas have been perceived as accepted where they have assumed that I have to agree with them in my heart.
I do not mean to attribute all of the above to Mars-Jones. However, his views on cinema are more or less in line with such harsh assessments. “Even the most difficult book penetrates the reader’s life, while a film stops that life for a while,” he wrote. I know from personal experience that this is not true. First of all, I think we all want to surrender to art, to surrender to the “life” that flows within a particular film, painting, or dance. The question of how a work of art fascinates its fans over time (whether we stand in a gallery for a few minutes, study it for a few weeks, or watch it in a dark hall for two hours) is simply a condition, situation, or reality. So, when I watch a film from start to finish, I do not stop to call and watch the sequel again. On the other hand, I will not allow the film to overshadow my life. I watch and experience the movie. A trace of my personal experiences is evoked while watching the film. I interact with film in countless ways, big and small. It has not occurred to me once that I feel like I am sitting in a chair, letting the image take over me like a big wave, and returning to my normal state when the lights come on. Mars-Jones’ experience of watching a movie seems to be quite different from mine. For me, watching a movie has always been a source of excitement and richness, and I am sure it will be the same for many filmmakers.
Elsewhere, Mars-Jones writes: “In the book, the writer and the reader work together to create the images while the filmmaker creates the images. ” I disagree. Like famous novelists and poets, great filmmakers strive to create a sense of partnership with the audience. They do not try to deceive or surpass the audience, but seek to create a sense of intimacy with the audience as much as possible. The audience also collaborates with the filmmaker – or painter. The two encounters of Madonna and Child Enthroned with Saints paintings by Raphael will not be the same. Each new encounter will be different. This is also true of studying Dante’s Divine Comedy and George Elliot’s Middlemarch and watching The Life and Death of Colonel Blimp or 2001: A Space Odyssey. We go back to different moments in life and see things differently.