Architecture and Film
Architecture is immobile, but the architectural experience is more of movement, like standing in a space and looking around, or walking along a corridor. "From the 1920's and after, film and architecture were, in a fundamental sense, entirely different media utilizing their respective technologies, the one to simulate space, the other to build it, now, by contrast, the increasing digitilization of our world has rendered them if not the same, at least coterminous".8 As an example, Michelangelo Antonioni uses architecture in his films to depict the state of mind of his characters, or perhaps as a stage to end the conflict between them. In his film L'avventura, old building ruins can be seen in the background when the two main characters appear tired and exhausted after they have finally realized their mistakes (sample movie). Similarly in real life, and outside of film, a young couple sit on the steps of a Greek temple, so full of youth, watching the noisy street and people go by, and yet only the calm and quiet structure that sillouetes behind them exists in their mind, only them and the architecture (see analytique for theme on two cities). Sergei Eisenstein, a pioneer in architecturally stimulated films, developed a comprehensive theory of what he called "space constructions" that found new meaning in the romantic formulation of architecture as "frozen music":
At the basis of the composition of [architectural] ensemble, at the basis of the harmony of its conglomerating masses, in the establishment of the melody of the future overflow of its forms, and in the execution of its rhythmic parts, giving harmony to the relief of its ensemble, lies that same "dance" that is also at the basis of the creation of music, painting, and cenamatic montage.8 -- Sergei Eisenstein