Narrative interpretation of image architecture
When taking about the theme narrative, I want to mention the “frame” in the movie. “This multiple view point frame-view method is a film method.” Le Corbusier is an architect who knows how to transform architecture into motion. ” Giuliana Bruno said, “He added a lot of long strip windows to the design so that as you travel, a series of panoramas will unfold before your eyes. From the ramp he designed, you can see that this is a building designed for walking experience. This building and film generally link the visual and spatial arts-thus it is perfect physically, mentally, philosophically, theoretically and practically. “
“In Columbus” is a movie that rarely re-recognizes the charm of “architecture”. This charm has been obscured by “space” in the history of cinema. At least since Antonioni discovered the “space” of the film, the spirit of architecture The rhyme faded. Why is the scene shown in “Columbus” an architecture, not a space? Isn’t there anyone in the movie? The reason is that it places the camera on the outside of the building and presents the building in a flat form, so that the image can only act on the eyes of the viewer for reading; rather than being involved in the space as it is in the space Among them, he was forced to use his senses to experience.
Formally drawing on the relationship between the immaterial and material aspects of the film’s picture space and the carrying screen space, French master architect Jean Nouvel successfully “hidden” the building. People tend to pay more attention to the skin or visual content of the building and ignore its existence: details, colors. Levels, materials, image projection, reflection, refraction, projection, etc., all of these-all become the picture constituent elements of this architectural “movie”. They are combined together to form an image, and the screen itself seems to cease to exist temporarily in the consciousness of the viewer’s material world. People seem to have long forgotten the material space on which this virtual immaterial image must be carried when watching architectural movies, just like the reality of dreams in the movie “The Empire of Hackers” The argument is the same: Illusion replaces reality, and reality disappears.
The image is just a part of the film space. The space of a film is much more complicated than its image. It is a cross-complex of material space and image space and screen space. It is both physical and virtual. Therefore, the film space first has the composite of virtual and real intersection. This feature of the screen’s material existence and the overlap of immaterial images, then we see another possibility, that is, architecture becomes immaterial when it is expressed in the film. You can also use your own physical entity to provide a skin or surface that is similar to ingestion or presentation of images (it can present visual depth like a mirror or movie picture) to achieve the visual and psychological partial elimination of its physical entities. hidden”.
Yetta 