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What is Cinematic Space

Chapter 2
Handbook of Research on Methodologies for Design and Production Practices in Interior Architecture
The film scholar Éric Rohmer distinguished three types of space in film: Image Space (the spatial conditions and characteristics in a single shot), architectural space (the ensemble of landscape, buildings and objects as it was arranged before filming) and cinematic space (the virtual space that the viewer composes in his imagination with the help of fragmentary individual parts that the film provides him). Cinematic Space is the primary unit of filmic spatial representation and is commonly referred to as ‘scenic space’. Beyond Rohmer’s distinctions, cinematic space comprises three types and reference values: the space that is represented in the individual shot, the assembled space of the montage and the spatial imagination stimulated by sound. Moreover, the cinematic conception of space is driven by the access of spaces that are only indicated or implied off screen.
Published in Chapter:
Beyond the Haze of Carnival Candles: Cinematic Space in Architectural Design Education
Andreas Kretzer (Technology University of Applied Sciences Stuttgart, Germany)
Copyright: © 2021 |Pages: 23
DOI: 10.4018/978-1-7998-7254-2.ch002
Abstract
This chapter addresses new approaches for design and production practices by applying film as a medium and production design techniques as a method in (interior) architectural education. In various courses and formats with international students on Bachelor and Master level, the author is exploring cinematic tools for phenomenological analysis, scenographic reinterpretation, and architectural storytelling in order to expand the range and toolbox of contemporary academic teaching in the architectural context. The common ground of architectural and cinematic space goes back much further than the history of film itself. But despite comprehensive literature on both the topic of sequence in architecture and fundamental film theoretical writings on cinematic space, we are still the men who stare at static representations. Off the beaten path of tried and tested design methods and beyond Gottfried Semper's “haze of carnival candles,” cinematic methods are providing valuable tools for the creation, evaluation and representation of spatial designs in (interior) architecture.
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