Architecture and Cinema

Code:

50137C5

Acronym:

50137C5

Keywords
Classification	Keyword
CNAEF	Architecture and Urbanism

Instance: 2017/2018 - 1S

Active?	Yes
Responsible unit:	Arquitectura (A)
Course/CS Responsible:	Integrated Master Degree in Architecture

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
MIARQ	54	MIARQ	4	-	3	-	81
			5

Teaching language

Suitable for English-speaking students

Objectives

The Course will systematize the affinities between architecture and cinema. It will explore how urban and architectural space, real or staged,  is a constituent element of cinema, as well as the multiple dimensions in which cinema can be seen as a tool in the creative process, in the perception and dissemination of architecture.

It will address how the moving images have the capacity to create a 'sense of place', a phenomenon related not only to the physical reality of the filmed spaces but also to the experiential connection that the spectator establishes with light, sound, the mise-en-scène or narrative structure. The cinema represents the architectural spaces as 'inhabited' places, stimulating, thus, an intense debate around the architecture and the urban life.

Learning outcomes and competences

At the end of the semester students will be asked to present a critical text related to one of the subjects of the course and to carry out a filmic (fictional or documentary) essay that reflects on the intersections between architecture and cinema.

The course intends to suggest themes for the development of Integrated Masters Theses at FAUP, as well as to foster collaboration in research work at the Center for the Study of Architecture and Urbanism (CEAU-FAUP).

Working method

Presencial

Program

1. Between architecture and cinema
2. Intersections between architecture and cinema
3. Architecture and city in the Portuguese cinema
4. Predecessors and pioneers
5. Expressionism
6. Filming architecture
7. Modernity and urban symphonies
8. Realisms
9. Michelangelo Antonioni, architect filmmaker
10. Utopias and Dystopias
11. Architects at the cinema
12. Viewing and commenting on films made by the students

Mandatory literature

Rodrigues António 340; Cinema e arquitectura. ISBN: 972-619-175-0
Neves José 340; O^lugar dos ricos e dos pobres no cinema e na arquitectura em Portugal. ISBN: 978-989-8217-28-8

Teaching methods and learning activities

The weekly theoretical-practical classes will be divided between the presentation of the theoretical arguments and the viewing of films, and a subsequent discussion time is expected. In some sessions, the themes of the individual critical text and the filmic essay will also be discussed.

keywords

Humanities > Arts > Visual arts > Film studies
Technological sciences > Architecture

Evaluation Type

Distributed evaluation without final exam

Assessment Components

designation	Weight (%)
Participação presencial	10,00
Trabalho escrito	30,00
Trabalho prático ou de projeto	60,00
Total:	100,00

Eligibility for exams

It is a prerequisite for obtaining course frequency the presence in at least 75% of the classes.

Calculation formula of final grade

The final course evaluation is calculated by summing the scores obtained by applying the weighting factors to each of the evaluation components: attendance (10%), written work (30%), group filmic essay (60%).

Observations

Calendar


October 18, 2017 - choice of writing and film themes

 

November 8, 2017 - film script and repérage delivery

 

November 22, 2017 - storyboard delivery and movie planning

 

November 23, 2017 to December 10, 2017- filming

 

December 13, 2017 - delivery of the essay written and roughcut of the film

 

January 10, 2018 - Movie delivery and viewing



Bibliography

ALBRECHT, D. Designing dreams: Modern architecture in the movies. London: Thames and Hudson, 1987.

AL SAYYAD. N. Cinematic urbanism: A history of the modern from reel to real. London: Routledge, 2007.

BARBER, S. Projected cities: Cinema and urban space. London:  Reaktion Books, 2002.

BRUNO, G. Public intimacy: Architecture and the visual arts. Cambridge (Massachusetts): MIT, 2007.

CINEMATECA PORTUGUESA (ed.), Cinema e Arquitectura. Lisboa: Cinemateca Portuguesa/ Museu do Cinema, 1999.

CLARKE, D. The cinematic city. London: Routledge, 1997.

COVERT, N.  Architecture on screen. Boston: G.K. Hall, 1994.

DIMENDGBERG, E. Film noir and the spaces of modernity. Cambridge (Massachusetts): Harvard University Press, 2004.

FITZMAURICE, T. & SHIEL, M. Cinema and the city: Film and urban societies in a global context. Oxford: Blackwell Publishers, 2001.

MAKEIEFF, M. Jacques Tati: Deux temps, trois mouvements. Paris: Naïve; 2009.

NEUMANN, D. Film architecture: From Metropolis to Blade runner.  London; New York: Prestel, 1996.

NINEY, F. Visions urbaines: Villes d'Europe a l'ecran. Paris: Centre Georges Pompidou, 1994.

PALLASMAA, J. The architecture of image: existencial space in cinema. Hämeenlinna: Karisto Oy; 2007.

PENZ, F. & THOMAS, M. Cinema & architecture: Méliès, Mallet-Stevens, multimedia. London: British Film Institute, 1997.

PERRATON, C. Un nouvel art de voir la ville et de faire cinéma: Du cinéma et des restes urbains. Paris: L’Harmattan, 2003.

SCHAAL, H. Learning from Hollywood: Architecture and film. Fellbach: Edition Axel Menges, 1996.

SCHWARZER, M. Zoomscape: Architecture in motion and media. New York: Princeton Architectural Press, 2004.

SHONFIELD, K. Walls have feelings: Architecture, film and the city. London: Routledge, 2000.

URBANO, L. Histórias simples: Textos sobre arquitectura e cinema. Porto: AMDJAC/FAUP, 2013.

URBANO, L. (ed.) Revoluções: Arquitectura e cinema nos anos 60/70. Porto: AMDJAC/FAUP, 2013.

WEBBER, A. & WILSON, E. Cities in transition: The moving image and the modern metropolis. London: Wallflower Press, 2008.

 

Filmography

 

ONE WEEK, BUSTER KEATON, EDWARD F. CLINE, 1920
THE CABINET OF DR. CALIGARI, ROBERT WIENE, 1920
MANHATTA, PAUL STRAND, CHARLES SHEELER, 1921
O COURAÇADO POTEMKIN, SERGEI EISENSTEIN, 1925
BERLIN: SYMPHONY OF A GREAT CITY, WALTER RUTTMANN, 1927
METROPOLIS, FRITZ LANG, 1927
SUNRISE: A SONG OF TWO HUMANS, F.W. MURNAU, 1927
THE MYSTERIES OF THE CHATEAU OF DICE, MAN RAY, 1929
DOURO FAINA FLUVIAL, MANOEL DE OLIVEIRA, 1931
THE BLACK CAT, EDGAR G. ULMER, 1934
MODERN TIMES, CHARLIE CHAPLIN, 1936
THINGS TO COME, WILLIAM CAMERON MENZIES, 1936
REBECCA, ALFRED HITCHCOCK, 1940
CITIZEN KANE, ORSON WELLES, 1941
ROMA CITTÀ APERTA, ROBERTO ROSSELLINI, 1945
THE ROPE, ALFRED HITCHCOK, 1948
THE NAKED CITY, JULES DASSIN, 1948
MR. BLANDINGS BUILDS HIS DREAM HOUSE, H.C. POTTER, 1948
GERMANIA ANNO ZERO, ROBERTO ROSSELLINI, 1948
LADRI DI BICICLETTE, VITTORIO DE SICA, 1948
THE FOUNTAINHEAD, KING VIDOR, 1949
THE THIRD MAN, CAROL REED, 1949
REAR WINDOW, ALFRED HITCHCOCK, 1954
THE NIGHT OF THE HUNTER, CHARLES LAUGHTON, 1955
THE SEARCHERS, JOHN FORD, 1956
MON ONCLE, JACQUES TATI, 1958
NORTH BY NORTHWEST, ALFRED HITCHCOCK, 1959
HIROSHIMA MON AMOUR, ALAIN RESNAIS, 1959
SHADOWS, JOHN CASSAVETES, 1959
LES QUATRE CENTS COUPS, FRANÇOIS TRUFFAUT, 1959
PSYCHO, ALFRED HITCHCOCK, 1960
STRANGERS WHEN WE MEET, RICHARD QUINE, 1960
L'AVVENTURA, MICHELANGELO ANTONIONI, 1960
LA DOLCE VITA, FEDERICO FELLINI (1960)
À BOUT DE SOUFFLE, JEAN-LUC GODARD, 1960
THE APARTMENT, BILLY WILDER, 1961
L'ANNÉE DERNIÈRE À MARIENBAD, RESNAIS, ALAIN, 1961
LA NOTTE, MICHELANGELO ANTONIONI, 1961
L’ANNÉE DERNIÉRE À MARIENBAD, ALAIN RESNAIS, 1961
LA JETÉE, MARKER, CHRIS, 1962
L'ECLISSE, MICHELANGELO ANTONIONI, 1962
THE BIRDS, ALFRED HITCHCOCK, 1963
DEUS E O DIABO NA TERRA DO SOL, GLAUBER ROCHA, 1963
LE MÉPRIS, JEAN-LUC GODARD,1963
OS VERDES ANOS, PAULO ROCHA, 1963
A CAÇA, MANOEL DE OLIVEIRA, 1964
BELARMINO, FERNANDO LOPES, 1964
SOY CUBA, MIKHAIL KALATOZOV, 1964
IL DESERTO ROSSO, MICHELANGELO ANTONIONI, 1964
DOMINGO À TARDE, ANTÓNIO DE MACEDO, 1965
SÃO PAULO, SOCIEDADE ANÔNIMA, LUIS SÉRGIO PERSON, 1965
MUDAR DE VIDA, PAULO ROCHA, 1966
PLAYTIME, JACQUES TATI, 1967
ROSEMARY’S BABY, ROMAN POLANSKI, 1968
ZABRISKIE POINT, MICHELANGELO ANTONIONI, 1970

O CERCO, ANTÓNIO CUNHA TELLES, 1970
O MAL-AMADO, FERNANDO MATOS SILVA, 1974
TAXI DRIVER, MARTIN SCORSESE, 1976
MANHATTAN, WOODY ALLEN, 1979
THE SHINING, STANLEY KUBRICK, 1980
BLOW OUT, BRIAN DE PALMA, 1981
BLADE RUNNER, RIDLEY SCOTT, 1982
THE DRAUGHTSMAN'S CONTRACT, PETER GREENAWAY, 1982
ONE FROM THE HEART, FRANCIS FORD COPPOLA, 1982
VISITA OU MEMÓRIAS E CONFISSÕES, MANOEL DE OLIVEIRA, 1982
NOSTALGHIA, ANDREI TARKOVSKY, 1983
PARIS, TEXAS, WIM WENDERS, 1984
AS ASAS DO DESEJO, WIM WENDERS, 1987
DANS LA VILLE BLANCHE, ALAIN TANNER, 1983
BRAZIL, TERRY GILLIAM, 1985
FERRIS BUELLER'S DAY OFF, JOHN HUGHES, 1986
THE BELLY OF AN ARCHITECT, PETER GREENAWAY, 1987
O SANGUE, PEDRO COSTA, 1989
RECORDAÇÕES DA CASA AMARELA, JOÃO CÉSAR MONTEIRO, 1989
LISBON STORY, WIM WENDERS, 1994
COMÉDIA DE DEUS, JOÃO CÉSAR MONTEIRO, 1995
LA HAINE, MATHIEU KASSOVITZ, 1995
BOOGIE NIGHTS, PAUL THOMAS ANDERSON, 1997
OSSOS, PEDRO COSTA, 1997
THE TRUMAN SHOW, PETER WEIR, 1998
AS BODAS DE DEUS, JOÃO CÉSAR MONTEIRO, 1999
NO QUARTO DE VANDA, PEDRO COSTA, 2000
RUSSIAN ARK, ALEKSANDR SOKUROV, 2002
A CIDADE DE DEUS, FERNANDO MEIRELLES, 2002
LOS ANGELES PLAYS ITSELF, THOM ANDERSEN, 2003
MY ARCHITECT, NATHANIEL KAHN, 2003
LOST IN TRANSLATION, SOFIA COPPOLA, 2003
AEON FLUX, KARYN KUSAMA, 2005
MATCH POINT, WOODY ALLEN, 2005
ALICE, MARCO MARTINS, 2005
JUVENTUDE EM MARCHA, PEDRO COSTA, 2006
OF TIME AND THE CITY, TERENCE DAVIES, 2008
ARENA, JOÃO SALAVIZA, 2009
A SINGLE MAN, TOM FORD, 2009
THE INTERNATIONAL, TOM TYKWER, 2009
SIZÍGIA, LUIS URBANO, 2012
PANORAMA, FRANCISCO FERREIRA, 2013
SHAME, STEVE MCQUEEN, 2012
HER, SPIKE JONZE, 2013
GRAND BUDAPEST HOTEL, WES ANDERSON, 2014
COLUMBUS, KOGONADA, 2017