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Cinema and Architecture Schedule

WEEK 1: Der Golem

Screening:
The Golem (Paul Wegener, 1920)

(PDF Document) Lecture powerpoint

Required reading:
- Anthony Vidler, ‘ The Explosion of Space: Architecture and the Filmic Imaginary’ in Assemblage, No. 21, August 1993, pp. 44-59

 

Further reading:
- John R. Clarke, ‘ Expressionism in Film and Architecture: Hans Poelzig's Sets for Paul Wegener's The Golem’ in Art Journal, Vol. 34, No. 2 (Winter, 1974-1975), pp. 115-124
- Lotte Eisner, The Haunted Screen (London: Thames and Hudson, 1969), Chapters 2, 3, 7 and 9.
- Hans Dieter Schaal, ‘Spaces of the Psyche in German Expressionist Film’ in Architectural Design, Vol. 70, No. 1 (2000).
- Claudia Dillmann, ‘Realising the Spiritual City: Hans Poelzig and The Golem’ in Architectural Design, Vol. 70, No. 1 (2000).
- Tim Bergfelder, Sue Harris, and Sarah Street, Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (Amsterdam: Amsterdam University Press, 2007), Chapter 1
- Renée Tobe, Film, Architecture and Spatial Imagination (London: Routledge, 2017), Chapter 1 – German Expressionist film and Heidegger’s fourfold

 

Additional viewing:
The Cabinet of Dr. Caligari (Robert Wiene, 1920)
Waxworks (Paul Leni, 1924)
M (Fritz Lang, 1931)

 


WEEK 2: L’Eclisse

(PDF Document) Lecture Powerpoint

Screening:
L’Eclisse (Michelangelo Antonioni, 1962)

 

Required reading:
- Colin Rowe and Fred Koetter, Collage City (London: The MIT Press, 1978), pp. 86-117

 

Further reading:
- Mitchell Schwarzer, ‘The Consuming Landscape: Architecture in the Films of Michelangelo Antonioni’ in Mark Lamster (ed.), Architecture and Film (New York: Princeton University Press,
- Michelangelo Antonioni, The Architecture of Vision: Writings and Interviews on Cinema (Chicago: University of Chicago Press, 2007).
- Laura Rascaroli and John David Rhodes (eds.), Antonioni: Centenary Essays (London: Palgrave Macmillan/BFI, 2011).

 

Additional viewing:
Red Desert (Michelangelo Antonioni, 1964)
La Notte (Michelangelo Antonioni, 1961)
L’Avventura (Michelangelo Antonioni, 1960)
A Clockwork Orange (Stanley Kubrick, 1971)

 

WEEK 3: Vertical City

(PDF Document) Lecture Powerpoint

Screening
Die Hard (John McTiernan, 1988)
Dredd (Pete Travis, 2012)

 

Required reading:
- David Nye, American Technological Sublime (Massachusetts, MA: MIT Press, 1994), Chapter 4 – Bridges and Skyscrapers: the Geometrical Sublime. Available as EBook through library.
- Dogma (Pier Vittorio Aureli & Martino Tattara), ‘ Stop City

 

Further reading:
- Stephen Graham, Vertical: The City from Satellites to Bunkers (London: Verso, 2016)
- P. F. Parshall, ‘ Die Hard and the American Mythos’ in Journal of Popular Film and Television, (1991), 18(4), pp. 134.
- Roberta Moudry (ed.), The American Skyscraper: Cultural Histories (Cambridge: Cambridge University Press, 2005).
- Stephen Keane, Disaster Movies: The Cinema of Catastrophe (New York: Columbia University Press, 2006), Chapter 2 – Transitions: Action and Disaster.
- Robynn Stillwell, 'I Just Put a Drone under Him...': Collage and Subversion in the Score of Die Hard’ in Music & Letters, Vol. 78, No. 4 (Nov., 1997), pp. 551-580
- Mary McLeod, ‘Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism’ in K. Michael Hays (ed.), Architectural Theory Since 1968 (Cambridge, MA: The MIT Press, 1998).
- J.G. Ballard, High Rise (London: Harper Perennial, 2005)

 

Further viewing:
Rising Sun (Kaufman, 1993)
The Towering Inferno (Guillermin, 1974)
High Rise (Wheatley, 2016)
The Raid (Evans, 2011)
District 9 (Blomkamp, 2009)
Elysium (Blomkamp, 2013)

 


 

WEEK 4: Metropolis

 (PDF Document)Lecture Powerpoint

Screening:
Metropolis (Lang, 1927)
Metropolis (Rintaro, 2001)

 

Required reading:
- Laurence Bird, ʻ States of Emergency: Urban Space and the Robotic Body in the Metropolis Talesʼ in Mechademia vol. 3 (2008).
- Andreas Huyssen, “ The Vamp and the Machine: Fritz Lang's Metropolis” in After the Great Divide: Modernism, Mass Culture and Postmodernism (Basingstoke: Macmillan Press, 1992).

 

Further reading:
- Thomas Elsaesser, Metropolis: BFI Film Classics (London: BFI, 2000)
- Osamu Tezuka, Metropolis (Milwaukee: Dark Horse Comics, 2003)
- Anton Kaes, ‘The Phantasm of the Apocalypse: Metropolis and Weimar Modernity‘ in Gyan Prakash (ed.) Noir Urbanisms: Dystopic Images of the Modern Global City (Oxford: Princeton University Press, 2010).
- Tom Gunning, The Films of Fritz Lang: Allegories of Vision and Modernity (London: BFI, 2000).
- Renée Tobe, Film, Architecture and Spatial Imagination (London: Routledge, 2017), Chapter 6 – Modernist Utopia: The spirit of the future.

 

Further viewing:
Akira (Katsuhiro Otomo, 1988)
Tokyo Babylon (Kôichi Chigira, 1992)
Ghost in the Shell (Mamoru Oshii, 1995)

 


WEEK 5: The Hyperbolic City and Psychetecture

 (PDF Document) Lecture Powerpoint

Screening:
Dark City (Proyas, 1999)

 

Required reading:
- Mister X Series 1 (Vortex Comics, 1984-1988). Issue No 1, No 2, No 3, No 4.
- Anthony Vidler, ‘ Warped Space: architectural anxiety in digital culture‘ in Terry Smith (ed.) Impossible Presence: Surface and Screen in the Photogrnic Era (Chicago: University of Chicago Press, 2001).

 

Additional reading:
- Charles Jencks, Modern Movements in Architecture (London: Penguin, 1985), Chapter 4.
- Anthony Vidler, ’Framing Infinity: Le Corbusier, Ayn Rand, and the idea of “ineffable space“‘ in Warped Space: Art, Architecture, and Anxiety in Modern Culture (London: The MIT Press, 2001).
- Le Corbusier, The City of Tomorrow and Its Planning (New York: Dover Publications, 1987).
- Manfredo Tafuri, Architecture and Utopia: Design and Capitalist Development (London: The MIT Press, 1976), Chapter 6 – The Crisis of Utopia: Le Corbusier at Algiers.

 

Additional viewing:
Inception (Nolan, 2010)
The Matrix (Wachowski Borthers, 1999)
Batman (Tim Burton, 1989)
The Fifth Element (Luc Besson, 1997)
Brazil (Terry Gilliam, 1985)

 

WEEK 6: Reading Week



 

WEEK 7: The Shining

 (PDF Document) Lecture Powerpoint

Screening
The Shining (Stanley Kubrick, 1980)

 

Required reading:
- Juhani Pallasmaa, The Architecture of Image: Existential Space in Cinema (Helsinki: Rakennustieto Publishing, 2001), ‘ Monster in the Maze – Stanley Kubrick’s The Shining‘.

 

Further reading:
- Mark Fisher, ‘Home is where the haunt is: The Shining’s hauntology‘ in Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (London: Zero Books, 2014).
- Joanna Walsh, Hotel (London: Continuum, 2015).
- Roger Luckhurst, The Shining (BFI Film Classics) (London: BFI, 2013)
- Garret Brown, ' The Steadicam and "The Shining"', in American Cinematographer, 61(8), August 1980.
- Herb Lightman, ' Photographing Stanley Kubrick's The Shining' in American Cinematographer, 61(8), August 1980.
- Barry Curtis, Dark Places: The Haunted House in Film (London: Raktion Books, 2008).
- Siegfried Kracauer, The Mass Ornament: Weimar Essays (London: Harvard University Press, 1995), pp.173-188 'The Hotel Lobby'

 

Further viewing:
Room 237 (Ascher, 2012)
Demon Seed (Donald Cammell, 1977)
Hellraiser (Clive Barker, 1987)
Candyman (Bernard Rose, 1992)
Psycho (Alfred Hitchcock, 1960)

 


 

WEEK 8: Mulholland Drive

 (PDF Document) Lecture Powerpoint

Screening
Mulholland Drive (David Lynch, 2001)

 

Required reading:
- Richard Martin, The Architecture of David Lynch (London: Bloomsbury, 2014), Chapter 1 – Town and City.

 

Further reading:
- Dimendberg, Edward, Film noir and the Spaces of Modernity (Harvard: Harvard University Press, 2004
- Orr, John, ‘Inside Out: Hitchcock, Film Noir and David Lynch’, in Hitchcock and Twentieth-Century Cinema. Ed. John Orr, 152–175. London: Wallflower, 2005.
- Klock, Geoff, ‘“Goodnight, Sweet Betty”: Levels of Illusion in Mulholland Drive and Hamlet’ in Quarterly Review of Film and Video, 34:1, 2017, 50-65
- McGowan, Todd, The Impossible David Lynch (New York: Columbia University Press, 2007), Chapter 9: ‘Navigating Mulholland Drive, David Lynch’s Panegyric to Hollywood’

 

Additional Viewing:
Lost Highway (David Lynch, 1997)
Sunset Boulevard (Billy Wilder, 1950)

 


 

WEEK 9: Modernity and Supermodernity in Buenos Aires

 (PDF Document) Lecture Powerpoint

Screening:
Fantasma (Alonso, 2006)
Medianeras (Taretto, 2011)

 

Required reading:
- Mitchell W. Schwarzer, ‘ The Emergence of Architectural Space: August Schmarsow's Theory of "Raumgestaltung"‘ in Assemblage, No. 15 (Aug., 1991), pp. 48-61

 

Further reading:
- Nelson Brissac Peixoto, ‘Latin American Megacities: The New Urban Formlessness‘ in Rebecca Biron (ed.), City/Art: The Urban Scene in Latin America (London: Duke University Press, 2009).
- Laura Podalsky, Specular City: Transforming Culture, Consumption, and Space in Buenos Aires, 1955-1973 (Philadelphia: Temple University Press, 2004), Chapter 2 – High-Rise Apartments, Arcades, Cars, Hoteles de Cita, and the Public-Private Divide.
- Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience (London: University of California Press, 2009).
- Rainer Schützeichel, ‘Architecture as Bodily and Spatial Art: The Idea of Einfühlung in Early Theoretical Contributions by Heinrich Wölfflin and August Schmarsow’ in Architectural Theory Review, 18:3, 293-309
- Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity (London: Verso, 2000)
- Tim Bergelder, Sue Harris, and Sarah Street, Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (Amsterdam: Amsterdam University Press, 2007), pp. 21-25

 

Further viewing:
Los Muertos (Lisandro Alonso, 2004)
La Libertad (Lisandro Alonso, 2001)
Shirin (Abbas Kiarostami, 2008)

 

 WEEK 10: Late Spring

 (PDF Document) Lecture Powerpoint

Screening:
Late Spring (Ozu, 1949)

 

Required reading:
- Noel Nurch, ‘On Architecture‘ in To The Distant Observer: Form and Meaning in Japanese Cinema (Los Angeles: University of California Press, 1979), pp. 198-201
- Junichiro Tanizaki, In Praise of Shadows (London: Wintage, 2001).

 

Further reading:
- Mitchell Schwarzer, Zoomscape: Architecture in Motion and Media (New York: Princeton Architectural Press, 2004), pp.
- Kristin Thompson, ‘Late Spring and Ozu’s Unreasonable Style‘ in Breaking the Glass Armor: Neoformalist Film Analysis (Oxford: Princeton University Press, 1988), pp. 317-52
- Kiju Yoshida, Ozu’s Anti-Cinema (Ann Arbor: University of Michigan Press, 2003), pp. 60-86.
- Donald Ritchie,
- Abé Mark Nornes, ‘The Riddle of the Vase: Ozu Yasujiro’s Late Spring (1949)’ in Alastair Phillips and Julian Stringer (eds.) Japanese Cinema: Texts and Contexts (London: Routledge, 2007).

 

Additional viewing:
Tokyo Story (Yasujiro Ozu, 1953)
Late Autumn (Yasujiro Ozu, 1960)