A Parallèle between Cinema & Architecture

RESEARCH PAPER | AP 403 | 2014-15

UNIVERSITY SCHOOL OF ARCHITECTURE AND PLANNING Guru Gobind Singh Indraprastha University Kashmere Gate, Delhi

RESEARCH PAPER 2014-15

A PARALLÈLE BETWEEN CINEMA AND ARCHITECTURE: FUNDAMENTALS OF ARCHITECTURAL DESIGN IN COMPARISON TO FILM-MAKING

Akshita Garg USAP, 1590701611 Fourth Year, Section A, 2014-2015

GUIDED BY Aishwarya Tipnis

ACKNOWLEDGEMENTS

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I would like to express my deepest gratitude to my guide, Ms. Aishwarya Tipnis, for her being more than a supervisor to me, for her patience, professional guidance, thought-stimulating critics, suggestions and encouragement which guided me n in the span of this dissertation.

Her expert opinion and suggestions made available to me from time to time are gratefully acknowledged.

I would also like to thank Ms. Taniya Sanyal, Dissertation Co-ordinator for believing in my topic, in the initial days, which helped me believe in myself and motivated me to stick to it, till the end.

I also thank the Indian Film industry for producing such magnificent films which have inspired me since childhood and continue to do so.

I express my appreciation to all my friends, who have directly or indirectly contributed to my studies, special mention to Aakansha Aggarwal and Tushar Gupta, for their guidance and neverending support.

I am forever indebted to my parents, Mr. Rajeev Gupta- Mrs. Ritu Gupta and my brother Akshaan who patiently supported me and tolerated all my panic attacks during submission deadlines. Their acceptance, encouragement and inspirations have always been with me. My gratitude can never be enough.

Gautam Bindlish, Nishchay Mehta and Utsav Shah deserve more than gratefulness, for all the help with the data, and other useful material for the research. This study would have been impossible without their assistance.

In the end I pay my heartfelt gratitude to all the people whose patience and motivating support helped me in all aspects of my life, along with everyone who helped me build my never-ending love for Cinema!

Akshita Garg

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TABLE OF CONTENTS ACKNOWLEDGEMENTS.................................................................................................................. 1 TABLE OF CONTENTS..................................................................................................................... 2 CHAPTERS 1. INTRODUCTION....................................................................................................................... 3 2. LITERATURE SURVEY.................................................................................................................7 2.1. SOME TERMINOLOGIES 2.1.1. FILMS 2.1.2. ARCHITECTURE 2.1.3. DYNAMICS OF ARCHITECTURAL DESIGN 2.1.4. DYNAMICS OF CINEMATIC DESIGN 2.1.5. FUNDAMENTALS OF ARCHITECURAL DESIGN 2.1.6. ORGANISATION 2.1.7. COMPOSITION 2.1.8. FUNDAMENTALS OF CINEMATIC DESIGN 2.1.9. NARRATIVE 2.1.10. MISE-EN-SCENE 2.1.11. EDITING/MONTAGE 2.1.12. COMPARISON 3. IN-DEPTH COMPARISON........................................................................................................ 17 3.1. CONCEPTUAL ELEMENTS- NARRATIVE CORRESPONDANCE 4. SPACE, TIME AND BEYOND.................................................................................................... 19 4.1. HYPOTHESIS 4.1.1. EXISTENCE OF SPACE AND TIME IN CINEMA 4.1.2. ROLE OF ARCHITECTURE IN DEPICTION OF SPACE AND TIME ON SCREEN 4.1.3. THE REALITIES OF IMAGE AND IMAGINATION 4.1.4. MENTAL REALITY OF A PLACE 5. CASE STUDIES......................................................................................................................... 30 5.1. SELECTION OF THEMES 5.2. SELECTION OF MOVIES 6. ANALYSIS| CASE STUDY..........................................................................................................48 7. CONCLUSION OF RESEARCH.................................................................................................. 55 BIBLIOGRAPHY............................................................................................................................. 57

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1 CHAPTER ONE | INTRODUCTION 1.1 INTRODUCTION From the very beginning, encounters between film and Architecture have been unavoidable.

Carl Dreyer had argued that the Cinema’s closest relative is architecture. It may seem paradoxical to compare the most mimetic (photographic) of the arts with the construction of a new reality, and a dynamic art with a ‘Utopian’ one.

Although cinema and architecture are distant arts, dynamic and static respectively; their complex relationship gives life to each other. Sharing a mutual respect for the parallel processes involved in producing their works, the creators behind these two expressions have an understanding that one will always benefit the other. Therefore, several parallel and similar points have been discovered in the design and production processes of architecture and film by using whom one has looked through the other in order to find a field of study dealing with similar subjects, or similar concepts Both Cinema and Architecture include the much-lamented use of arbitrarily selected or previously employed sets, compelling portraits of the speed and excitement of city life, propaganda documentaries of modernism, and painstakingly accurate historical reconstructions.

“The focus on the ability to represent space incorporates the relationship of cinema and architecture and entails address to key thinker and conception of space and place. “ -Adilogu Films have the history of architecture and/or they create architecture, and hence it becomes an imaginary model sometimes even taken up by reality. So the architects of the world, indirectly, have a ‘give and take relationship’ with the film maker. They both propose conditions for inhabitation, compose spatial sequences and communicate multiple narratives which gives way to further similarities between the two fields. Though the films are made for the audiences to like it and appreciate it as either a good eye-opener or merely a time pass, it has architecture as the backdrop, whether of utmost importance or least importance, it is there somewhere affecting the wellness of a scene in a film.

The relation between architecture and cinema has begun with the first steps of the technology of moving images at the beginning of the 20th century and it has continued progressively until now by importing various intellectual, representational, and practical devices from each other in order to reconfigure their own systems of knowledge. In this investigation, the fundamental elements of architectural design and principles of their organization are used in the field of

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cinema as a methodological tool to analyse the compositional features of narrative, mise-en scene and editing/montage.

1.2 NEED IDENTIFICATION

Cinema and architecture have often been closely related but not often enough studied together.

This study will examine the fundamental elements of architectural design and its principles in the field of cinema as a methodological tool to construct an analysis in the composition of narrative, mise-en scene and editing / montage process.

1.3HYPOTHESIS

‘A comprehensive and comparative between architecture and films, studying their interrelationships and interdependence on each other, in order to redefine the design process of a film and to reveal the existence of fundamental principles and influence of architectural design in the process of filmmaking and vice versa.’

1.4 AIM AND OBJECTIVES

The main aim of this study is to reveal the similarity of approach to the process of making a composition, rather than searching for one-to-one resemblance in between the products of two domains; a comparative analysis between both domains has been encountered on the correspondences of conceptual elements – narrative, physical elements – mise-en scene, and relational elements – editing / montage .

1.5 METHODOLOGY 1.5.1 LITERATURE SURVEY Introduction to the various related terminologies and keywords to be used during the research like Film, Architecture, Fundamental elements of architectural design, fundamental principles of architectural design, composition, organization, order, form, narrative, mise-en scene, editing, montage and film form.

Understanding the terminologies and applying them in architecture and films as well as understanding how they are applied through the medium of film in architecture and vice versa in the following manner: 1. The end products of both domains are conceived as a form of composition, and in this respect, the compatibility of their design dynamics is examined.

2. The fundamental design elements and principles of both architecture and cinema are defined and the influence of each other on one another can be established.

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1.5.2 CASE STUDIES: COLLECTION & ORGANISATION OF DATA The comparative analysis of the two, focusing on how different THEMES (narratives) in filmmaking are adopted with conceptual elements by testing the theory- ‘Primary/ Conceptual Elements of a place define the Space and Time in Cinema’, by doing a Case study of three major themes that are observed in Hindi Cinema, carefully selected based on several factors.

1.5.3 ANALYSIS OF DATA- WRITTEN/GRAPHIC A comparative visual and written study of the basic or primary elements of a theme showcased in various movies set in different eras.

A detailed analysis of one theme selecting three movies based on the respective theme and proving the hypothesis 1.5.4 CONCLUSIONS Getting to a conclusion of the case study, to support the existing analysis of the domain and summing the dissertation up to express a point of view highlighting certain facts in the form of a conclusion which would unfold throughout the research.

The final conclusions will be drawn from the analysis, which will validate the hypothesis and further implications will be derived from the statement.

1.6 SCOPE

The scope of this research is the in-depth research, meeting cinema as a discourse through another discursive experience, Architecture through the common fundamental elements of both, which are:

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1.7 LIMITATIONS

This research is limited to focusing on the first parallèle, Conceptual elements of design with the narrative of film-making, along with Hindi Cinema, or rather popular cinema due to lack of time and the advantage of first-hand experience of watching and comprehending Bollywood popular cinema since childhood along with limited references and resources due to self-belief and ideology.

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2 CHAPTER TWO| LITERATURE SURVEY 2.1 SOME TERMINOLOGIES Dome terminologies like Film, Architecture, Fundamental elements of architectural design, fundamental principles of films, composition, organization, order, form, narrative, mise-en scene, editing, montage and film form are explained in this chapter.

2.1.1Films Films can be defined as two-dimensional art that create the illusion of a third dimension through their “walk-around” capability as a result of both ‘editing / montage’ and ‘compositionin-depth’ techniques. Although the stage where the scene recorded is three-dimensional – except animations produced in computers as a product of virtual reality – the projected image on the screen is two dimensional. Nevertheless, this does not mean that the art of cinema is limited with the elements of two-dimensional design. On the contrary, it is the organization of a great number of separate pieces as in the processes of scenario, mise-en scene and editing / montage including the elements and principles of three-dimensional design.

Also, Films are Cultural artefacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular Entertainment and a powerful method for educating — or indoctrinating — citizens. The Visual elements of cinema give motion pictures a universal power of communication.

Film is considered to have its own language. Examples of the language are a sequence of back and forth images of one actor's Right profile speaking, followed by another actor‘s right profile speaking, then a repetition of this, which is a language understood by the audience to expression of silent reflection, and then changing to a scene of a younger actor who vaguely indicate a conversation. Another example is zooming in on the forehead of an actor with and resembles the first actor, indicating the first actor is having a memory of their own past.

2.1.2 Architecture As a process, architecture is the activity of designing and constructing buildings and other physical structures by a person or a computer, primarily to provide shelter. A wider definition often includes the design of the total built environment, from the macro level of how a building integrates with its surrounding landscape to the micro level of architectural or construction details and, sometimes, furniture. Wider still, architecture is the activity of designing any kind of system.

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Architects have as their primary object providing for the spatial and shelter needs of groups of some kind (families, schools, churches, businesses, etc.) By the creative people in organisation of materials and components in a land- or city-scape, dealing with mass, space, form, volume, texture, structure, light, shadow, materials, program and pragmatic elements such as cost, construction limitations and technology, to achieve an end which is functional, economical, practical and often with artistic and aesthetic aspects.

Separate from the design process, as discussed earlier, architecture is also experienced through the senses, which therefore gives rise to aural, visual and tactile architecture. As people move through a space, architecture is experienced as a time sequence. Even though our culture considers architecture to be a visual experience, the other senses play a role in how we experience both natural and built environments. Attitudes towards the senses depend on culture. The design process and the sensory experience of a space are distinctly separate views, each with its own language and assumptions.

2.1.3 Dynamics of architectural design The act of creating architecture is a kind of design process in which the arrangement and the organization of architectural elements are promoted in order to solve a spatial problem in response to conditions of function, purpose, form and context. According to the usual meaning of the word, “architecture is the art of constructing, ordering and ornamenting buildings in conformity and practicality with plans drawn beforehand.” Not only does architecture provide a physical shelter protecting us from environmental conditions, it also creates an orderly arranged framework for our activities by expressing symbolic or ethical values.

Also, in Francis Ching’s terms, architecture can be described as an apparatus to solve the problems of spatial configuration on the realm of architectural order by articulating the elements of design vocabulary which consists of the basic elements of architectural form and space. Architecture is the most well-known field to study and celebrate space evolving out of such architectural order and its Principles. Ching states that “architectural order is created when these elements and systems, as constituent parts, make visible the relationships among themselves and building as a whole.

When their relationships are perceived as contributing to the singular nature of the whole, then a conceptual order exists.

2.1.4 Dynamics of Cinematic design In this three-dimensional world constructed first of all in mind, afterwards on stage and then on a planar white surface, the aim of the director, like an architect, is to control the orchestration and arrangement of various elements to create an intended meaning with the use of all possibilities in its own medium. He/she captures shots selectively, frames them in a variety of graphic compositions and assigns them in sequence on the screen under a written text.

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The end product is a meaningful entity, which is formulated by the flexible sequence of shots showing a changing capacity in space-time dialectics under the control of its director.

Due to the flexibility in the sequence of shots for creating different meanings, space and time may indicate a changeable, slippery quality in the structure of a film. It means that it is possible in films to make shifts in the reality of space and time in order to affect the meaning. This attitude formulates one of the vital inputs of the design process of a film, since it enables us to understand the importance of the arrangement of cinematic elements in the continuation of filmic narration for the creation of expected meanings.

In ‘Narrative Space’, Stephen Heath compares the space-time situation between the real life and its representation in cinema. He states that continuous stories in filmic reality can be obtained by the juxtaposition of shots taken at different time and spaces.

Film art begins when the director reformulates and combines various pieces of visually qualified shots together under the impact of a written dreamed world in order to stimulate different reactions in the spectator’s mind to form out new meanings.

What keeps filmic momentum not only fluid but also structurally powerful is, as seen, the design of the cinematic chain of shots and scenes throughout the film. Design in cinema is obtained by selection, arrangement and rendering of spatial and durational elements under a conceptual, visual and relational context in order to finalize with an intended sense of completeness. It is produced by formulating the dynamics of the film as a calculated act under certain principles.

In other words, it can be stated that film art is a combination and reformulation of space and time in the matrix of narrative, mise-en scene and editing / montage under the control of director. It is the organization of the spatial and durational sequences which is divided first of all into scenes, and then scenes are divided into a whole series of pieces of shots which are designed visually qualified in the limits of a frame under the control of a pre-determined written text.

2.1.5 Fundamentals of Architectural Design It can be asserted that the implementation of the concept of “Architectural Basic Design” and its initial employment in the field of other visual arts has been mostly discussed with reference to Bauhaus.

In the systematic education of Bauhaus, the idea of formulating theories, concerning vision and human behaviour in connection with a desire to relate to materials, patterns and industrialized technologies in order to answer the needs of tomorrow’s design, has been firstly structured within the context of Gestalt Theory.

Most of the design theories applicable nowadays have been rooted within such approaches to the subjects of two-dimensional and three-dimensional design strategies.

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As a result of all these experimental studies in Gestalt Theories and Bauhaus design principles, one pure yield of knowledge in the name of “Basic Design” has come to existence and it has been referred to as the origin of all arts by Walter Gropius. Later on, studies on the concept of design fundamentals have improved increasingly covering the field of architecture and its design process, and later to begin to be used for supporting the needs of architecture in the fields of creation and perception. Consequently, architecture has confronted with the concept of its own basic design elements and principles.

After the confrontation of architecture with the concept of basic design, the issues such as shape, proportion, scale, colour, texture … etc. has started to be used in architecture under certain principles. However, it should be known that the concept of architectural basic design and its principles are not always used consciously or intently in the process of design. On the contrary, there seem to be some examples which occur accidentally. In order to clarify the means of “fundamentals of architectural design” and strengthen its conscious dominance in the design process, it will be helpful to define it briefly according to the terms of organization and composition.

The fundamentals of architectural design are categorized into three main headings by Francis D.K. Ching according to their generating process: ‘primary elements’, ‘visual properties of form’ and ‘organizations’. The primary elements of architectural design are examined as point, line, plane and volume in sequence. Point is taken as the prime generator of form that indicates a position in space. As a result of movement in space, it turns into a line; line into a plane and plane into a volume by gaining spatial dimensions.

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Fundamentals of architectural design can be described as the basics of any definable order, which is used for evaluating the level of control over various elements in the creation of any designed product. It can be explored as the basic elements and fundamental issues of a design process which grows in the search for an organization. In an organization, although completely different elements are employed so as to achieve an overall entity, common or rare properties can be detected even between distant domains. Actually, the question of how these elements from different mediums are brought together emphasizes the inner dynamics of an organization.

2.1.6 Organization Organization means the way in which the ingredients are combined and interrelated so as to have some degree of unity or internal coherence. It refers to the process of organizing or the condition of being organized. It implies some power of cooperation among the parts, though not necessarily complete harmony.

It implies that the actions of a number of different units, such as workers in a factory or dancers in a ballet, have been coordinated so as to produce a single desired effect or set of effects.

The functions of each are combined to some extent in the functioning of the whole, although conflicts and malfunctioning may occur.

2.1.7 Composition Composition can be explained as the orderly arrangement of artistic parts so as to achieve a unified whole. It is generally associated with the fine arts, including both auditory and visual components.

Thomas Munro explains the different types of composition under four main headings. According to him, utilitarian, representational, expository and thematic composition can be described as four modes of composition. It is important here to state that no art can be classed as a whole under any one mode of composition; every major art includes more than one of them.

Moreover, it is not implied that these are the only modes of composition in the arts, but as here defined they are inclusive enough to cover the main varieties of form and style in the arts, past and present.

2.1.8 Fundamentals of Cinematic design The concept of film form is examined focusing on the formal principles of a film. The basic elements of cinematic design are investigated under three main headings narrative, mise-en scene and editing / montage.

It is approved that a film is not an accidental collection of events. There is an internal system that governs the relations among parts which is called form. In its broadest sense, film form can be defined as the total system that the viewer perceives in a film. In other words, it is the overall system of relations among the elements that spectators can perceive in the whole film. In order to find out adequate answers to the questions of by what principles a film is brought together

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and how the various parts relate to one another to create an entity, the system of film form must be well defined.

Basic Pre-Requisites of a Film: a) Movement b) Physical Nature- Tangible, palpable nature of the content of the film c) Basic principles of editing the principles which is the film’s weapon against its realistic bonds. Time and space succumb to imagination, become fluid.

Editing - arrangement of cinegrams to deliver the message of each element of the file (scene) which incorporates the modification of space termed as mise-enscene as well as modification of time termed as montage, both these phenomena being considered as principles of organisation.

Mise-en-scene - involving subject, content Montage

- manipulation of subject

“Setting up a scene is as much as organisation of time as well as of space. The aim of this is to discover in film, a psychological reality that transcends physical, plastic reality.”

The human element is the main protagonist around which space and time interweaves relationships to create a habitat. This is the most important aspect whether it be in film or architecture.

Film which expresses an idea or issue can only be portrayed through the response to human behaviour under the stimulus of that ides or issue.

2.1.9 Narrative Akshita Garg,USAP, GGS I P University |

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Narrative means in its simplest terms ‘telling a story’. In a broader definition, it is concerned with how stories get told, how they are constructed and how a representative environment is created with the techniques of storytelling.

Allan Rowe states in his article ‘Film Form and Narrative’ that: “Narrative involves the viewer in making sense of what is seen, asking questions of what we see and anticipating the answers. In particular, narrative invites us to ask both what are going to happen next and when, and how will it all end. It operates on the tension between our anticipation of likely outcomes drawn from genre conventions and the capacity to surprise or frustrate our expectations.”

David Bordwell and Kristin Thompson consider a narrative to be a chain of events in cause effect relationship occurring in time and space. According to them, “a narrative begins with one situation; a series of changes occurs according to a pattern of cause and effect; finally, a new situation arises that brings about the end of the narrative.” Although all the components of this definition such as causality, time and space are thought to be important for the narratives in most media, Bordwell and Thompson put causality and time at the centre, since a random string of events is hard to perceive as a story. Therefore, they make sense of principles of narrative construction by identifying its events under a story and a plot; and linking them by cause and effect, time, space and patterns of development.

Although narrative can be explored with the terms idea, story, synopsis, treatment, character, time, space, cause and effect relationships, development patterns, plot, scenario / script, storyboard / screenplay, production planning and cast; the comparative analysis in this study will deal mostly with the harmony within the character, space and time triangle including cause and effect relationships with the development patterns to formulate a story method corresponding to the conceptual elements of architectural design.

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2.1.10 Mise-en-scene The term mise-en scene – the frame of the screen which functions as the basis of composition in a moving picture, also defines the world of film apart from narrative.

Since the cinematic space is suggested to be the projection of a three dimensional imaginary space on a white planar surface which shows at first what is in the frame, films are considered with their spatial features that contain at once what is in the frame as well as what is out of it.

Therefore, mise-en scene can be taken into consideration with the terms of both staging and framing including the type of shots, the camera angles, the set and the photography. In short, it refers to everything that is framed and staged in front of the camera. In other words, it includes all the physical conditions in front of the scene including the figurative and camera features which are critical in determining not only what we see but also how we see.

2.1.11 Editing/Montage Editing / montage is defined as the cutting and joining of lengths of film to place separate shots together to manage to suggest a sense of a continuing, connected and realistic flow of events and narrative. In brief, it determines how shots are joined together.

With the impacts of rhythms, patterns, continuities and discontinuities produced by editing / montage, the transitions and relations from shot to shot, from scene to scene and throughout the film as a whole can be considered easily. To sum up, it is a manner in which shots flow smoothly without any compositional or spatial inconsistencies.

However, in English, the ideological function of editing is defined as montage, the process by which an editor takes two pieces of film of tape and combines them to emphasize their meaning. It is a method through which two unrelated shots may create a third and different meaning. It is created by juxtaposing different shots together to have a conceptual connection.

This connection can be, symbolic or ironic.

For example, in ‘Modern Times’, Chaplin juxtaposes the image of factory workers going to work with that of sheep being led to the slaughter house. Therefore, as Steve Campsall points out that “montage is an edited series of shots that works as an ‘individual unit’ of meaning greater than the individual mise-en scenes from which it is created.”

As seen, editing and montage can be considered as one of the most important techniques of cinema due to their capacity in putting all the shots of the film together into a coherent whole by fulfilling the functions of narration, rhythm, continuity, and ideological expression.

In spite of the slight difference between these two terms, as a rule, this study is dealt with the formal analysis of filmic structure in association with the relations between shots one after another; so that the difference in the meanings of both editing montage will be neglected.

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2.1.12 Comparison After describing the main aim of architectural design as to establish visual harmony and order for the final product starting with the conceptual elements, following with the real conditions Akshita Garg,USAP, GGS I P University |

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for final appearance, and lasting with relational and/or organizational elements; it is actually possible to observe the same procedure for the field of cinema in different headings.

In cinema, the process of filmmaking starts with narrative; generates with mise-en scene and gets its final shape with the components of montage/editing.

The following Table displays the possible correspondence from architecture to cinema in reference to their fundamental elements of design.

Due to the limitation of time, this study would mostly be focusing on the first aspect of comparison, that is, the parallèle between the Conceptual/Primary Elements of design of a space with the Narrative in Cinema.

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3 CHAPTER THREE | IN-DEPTH COMPARISON 3.1 CONCEPTUAL CORRESPONDANCE

ELEMENTS

IN

ARCHITECTURE-

NARRATIVE

IN

CINEMA

Of all the ingredients that compose a moving picture, the importance of the narrative is the least understood or appreciated by an audience. On the contrary, as Robert Gessner states that it is the key that unlocks most of the secrets in cinema: “A character can be fascinating for his expressions of love, hate or indifference. A plot can be intriguing for its involvement, detachment, or puzzling dilemmas. The rhythm and acceleration of camera and editing may pace our concentration. Yet all these factors find their first life on paper, without which their final form on the screen could not exist. Even colour and music have been indicated or suggested in some scripts. That there is a difference between the script page and the moving image is as obvious as the distinction between a printed play and a performance on a stage. Yet in the beginning there is the word (mind). … It is reasonable to conclude that no picture in cinema resembles exactly the mental image originally evoked in the language of words; conversely, no picture exists on the screen without first having had a prior form in the mind and usually on paper. 7” The importance of narrative for the process of filmmaking is lying at drawing the outlines of the final product, formulating the parts or elements that compose the whole. Similar to the conceptual architectural elements, narrative enables us to conceive the final product in the mind before it takes on physical shape. Therefore, a comparative analysis between architecture and cinema may be realized on the resemblance of approach in the configuration of these primary elements.

While, in the case of architecture, point, line, plane and volume give basic shape to a design element; in the case of filmmaking, the properties of character, time and space - the place of the story, the combination of these three inputs in the name of ‘cinematic volume’ and their gathering in cause and effect relation under a development pattern contribute to the primary formation of filmic narrative.

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As they both guide the initial decisions and establish the basis for the final appearance of the end products, the principles of organization in both fields can be compared, starting with the primary elements of each, as shown in the Table:

The similarity between a ‘point’ and the ‘descriptive adjectives of each character, time and space’ belong to their resemblance in being the smallest and most basic element of their own fields. The descriptive adjectives can be exemplified as young, tall, thin, handsome, clever, poor…etc. for the character; in an ordinary day, at war time, after 1980’s, in the future...etc. for time; and in a town, in a city, on a planet, in a room, at school…etc. for space. Since they have no length, breadth or depth in space, and they influence the origins of their domains by articulating the transformative quality of the end product, ‘points’ and such ‘psychological and physiological properties’ are mostly used to form the conceptual thoughts by indicating only the descriptive qualifications.

Like a point, marking or indicating the limits of the two ends of a line, descriptive adjectives point out the limits of both concrete and abstract expressive qualifications. Nevertheless, it is difficult to talk about a creation of a composition by using just a number of these elements because the end product will still be neither an ‘architectural object’ nor a ‘film’.

In other words, without any visual or topological properties, or without any relational elements, they will be left behind as conceptual.

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4 CHAPTER FOUR | SPACE, TIME AND BEYOND 4.1HYPOTHESIS ‘A comprehensive and comparative between architecture and films, studying their interrelationships and interdependence on each other, in order to redefine the design process of a film and to reveal the existence of fundamental principles and influence of architectural design in the process of filmmaking.’

This research deals with a simple question, ‘Does Architecture influence Cinema?’ And if it does, then how.

Cinema and Architecture are distinct arts, dynamic and static respectively; whose complex relationship gives life to each other. Architecture, gives films its believability; setting the mood, character, time and place for the action.

Films, on the other hand, provide an outlet for realising visions that exist or can exist and entreat experiences that in reality have occurred or have not occurred, when we talk about both movies based on the real world and the science fictions respectively.

“Film provides a very rich representation of architecture”

-Gerard

Gerard stated in our interview September 2010 that “film as a medium develops the conception (both the mental picture and the act of conceiving) of architecture He elaborated on this topic by describing how the filmic space confronts us with specific aspects of physical space that as architects we are contributing to (and physical space has to be taken here in its broadest meaning: the sensorial space, the social space… etc.)

The architecture in a film i.e. the whole setting of space and its depiction makes the user or viewer understand the respective setting i.e. of the location (where the story is based- SPACE) and TIME (the time aspect of the storyline).

On the other hand, cinema also helps us form an image of a place and as for architects, it helps them to actually see and understand the use of spaces in particular, both interior and exterior.

Perhaps it is more accurate to say that the audience enters into and subsequently becomes immersed in the body of the film as they would a building. The director arranges shots in sequence as the architect designs a floor plan, framing and confining, dissecting and condensing elements through which the spectator is encouraged to partake in the flow of movement.

Similarly, both architecture and film possess the ability to effect the audience in a somewhat unconscious manner.

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4.1.1. Existence of Space and Time in Cinema “The focus on the ability to represent space incorporates the relationship of cinema and architecture and entails address to key thinker and conception of space and place.”

- Adiloglu Cinema is a pure representation of space, how one space can be used for depiction of a particular emotion, how it can foster a sense of connection between the viewer and the film.

The viewer here can be anybody from a nonprofessional to an architect. He can have the same or different outlook about the representation of the same emotion in that same particular space. Here is where, the space ‘entails address to the key thinker and conception of the space and place’.

Among orientation devices, time has been traditionally viewed as inextricably tied with narrative, both in the sense that it cannot be conceived outside its expression in narrative (Ricoeur, 1984), and in the sense that it is through the weaving of events in time that narratives realize their meaning-making and interpretive functions (Brockmeier, 2000).

Space and time are not simply thought of as nouns; that is, as places, dimensions or objects with stable forms and boundaries. Rather, space and time are also understood as ‘relational verbs’, that is, as dynamic and productive practices and relations through which the world of people and objects is made and constantly remade. Examining human experience through the lens of time and space “can provide fresh insights into the way we construct and perceive the world” Every movie, irrespective of its theme, genre or message, is based in some SPACE and in a particular TIME. No movie can exist in fluidity. Even movies like Inception and Matrix have a specific Time frame and different designed spaces.

4.1 A still from the movie, Inception

4.2 A still from the movie, Matrix

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The director, like the architect, assumes the role of constructing and overseeing a project which is carried out by a team of individuals who are specialists in their respective field.

The overarching vision of the director is what holds these disparate elements together allowing the finished product to be read as a cohesive whole. Like architecture, which intends to direct movement through a physical space, the film maker must manipulate time in order to direct the viewer’s experience of a fictional or psychological space.

“What is the essence of the director's work? We could define it as sculpting in time. Just as a sculptor takes a lump of marble and inwardly conscious of the features of his finished piece, removes everything that is not part of it – so the film maker from a 'lump of time' made up from an enormous...cluster of living facts, cuts off and discards what he does not need, leaving only what is integral to the cinematic image.”

-Andrei Tarkovsky Film as a medium holds the ability to present a condensed view of the world that is authentic to our experience of reality. Through the choices made by the director, objective and subjective views are merged and overlapped resulting in a finished work that is a product of yet remains unburdened by objective reality. Within “Space and Place – The Perspective of Experience” Yi Fu Tuan explains; “It is a common tendency to regard feeling and thought as opposed, one registering subjective states, the other reporting on objective reality. In fact they lie near the two ends of an experiential continuum and both are ways of knowing” The house image holds the ability to manipulate both ends of this experiential spectrum, providing a useful tool that can manipulate our sense of 'existential space'. The traditional focus upon narrative elements within film is dismissed in order to draw attention to the more subtle aspects of film making; Space and Time.

4.3 A still from the movie Play Time (1967)

The movie’s carefully considered environment shows characteristics of the modernist movement at that time: repetition and regularity (the result of industrialisation) are represented from the smallest objects in the interiors to the larger scale of the city’s urban plan.

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Talking about the Hindi Cinema, every movie, being Raj Kapoor’s movies in 1950’s set up in Bombay, giving a total different view of the place with the Art Deco buildings along Marine Drive with cars from that era, or be it the movie Special 26, though set up in 2011, trying to recreate a Bombay of that time.

4.4 A still from the movie, Shree 420 (1955)

4.5 A still from the movie, Special 26 (2013)

Even period films like Mughal-e-Azam, Umrao Jaan, Eklavya, Jodha Akbar, Lagaan, Taj Mahal, Mangal Pandey, though shot in the present time, creates a space, which forces the user to believe their experience of time as reflected in these movies. They create a sense of ‘FALSE TIME, and thus play with the mind of the audience.

4.6 A still from the movie, Jodha Akbar (2008)

4.7 A still from the movie, Umrao Jaan (1981)

Not only with Time, Cinema has also played well with the portrayal of a certain space, which a viewer might be well informed of, in setting up the FALSE SPACE in a completely new location, and hence fool the audience which is made to believe that the false space is the ‘REAL SPACE.’

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In movies with excessive Set Designing, like Rohit Shetty films and even the movie Delhi 6, The false space has always played an important role.

4.8 A still from the movie, Chennai Express (2013)

4.9 A still from the movie, Delhi 6 (2009)

Therefore, each movie , irrespective of its Story, Screenplay, narrative, or Theme, is bound to have Space and Time. But how is this Space and Time depicted on screen? What is the medium to showcase the particular space and reflect the time period of the movie?

The research of various Hindi Movies, gave a common and the most convincing medium to portray Space and Time on screen, that is, through Architecture.

4.1.2. Role of Architecture in Depiction of Space and Time on screen It is evident from the informal research of various movies, in the previous chapters, that every movie, is set up in some Space and Time. Architecture, plays a very important role in determining that Space and time and also in creating a Cognitive Image of a certain place, in the mind of the viewer, and hence having the ability to affect the audience. This ability relies in their common tendency to manipulate what Richard A. Etlin defines as 'existential space'; “...architecture creates...enclosures for us in which the vertical middle axis remains empty...The spatial construct is an emanation of the human being present, a projection from within the subject, irrespective of whether we physically place ourselves inside the space or mentally project ourselves into it.�

In this way, the hollows of time which create a film may be seen as the cinematic equivalent of the inhabitable negative spaces of architecture.

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Cinema constructs spaces in the mind, creates mind-spaces, reflecting thus the inherent ephemeral architecture of human mind, thought and emotion. The mental task of buildings and cities is to structure our being-in-the-world and to articulate the surface between the experiencing self and the world.

There are hardly any films which do not include images of architecture. This statement holds true regardless of whether buildings are actually shown in the film or not, because already the framing of an image, or the definition of scale or illumination, implies the establishment of a distinct place. On the other hand, establishing a place is the fundamental task of architecture; the first task of architecture is to mark man's place in the world. As Martin Heidegger expresses it, we are thrown into the world.

Through architecture we transform our experience of outsideness and estrangement into the positive feeling of domicile. The structuring of place, space, situation, scale, illumination, etc., characteristic to architecture - the framing of human existence - seeps unavoidably into every cinematic expression. In the same way that architecture articulates space, it also manipulates time.

'Architecture is not only about domesticating space,' writes Karsten Harries, 'it is also a deep defence against the terror of time. The language of beauty is essentially the language of timeless reality.' Re-structuring and articulating time - re-ordering, speeding up, slowing down, halting and reversing - is equally essential in cinematic expression.

The relations of the two art forms could, for instance, be studied from a multitude of viewpoints: how different directors depict a city, as Walter Ruttman in Berlin, der Sinfonie der Grossstadt (1927) or Fritz Lang in Metropolis (1927); how buildings or rooms are presented, as in German Expressionist films with their fantasy architecture suspended between reality and dream; over the real architectural projects of these architects of notable buildings. An architect who made superb projects both as a designer of buildings and set designer was Paul Nelson. His project Maison Suspendue, a house in which individual rooms are suspended within a steeland-glass cage like bird nests, is as fantastic as any of the ideas expressed through the art form of projected illusion.

4.11 Paul Nelson’s project Maison Suspendue (1936-38)

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Lived space is not uniform, valueless space. One and the same event - a kiss or a murder - is an entirely different story depending on whether it takes place in a bedroom, bathroom, library, elevator or gazebo. An event obtains its particular meaning through the time of the day, illumination, weather and soundscape.

In addition, every place has its history and symbolic connotations which merge into the incident.

Presentation of a cinematic event is, thus, totally inseparable from the architecture of space, place and time, and a film director is bound to create architecture, although often unknowingly.

It is exactly this innocence and independence from the professional discipline of architecture that makes the architecture of cinema so subtle and revealing.

Not only Cinema, a similar pattern can be observed in Plays, Video Games or even in a Book which requires Architecture to define the Space and Time in the story.

For instance, in the game Prince of Persia, the player is forced to believe, the main character of the game, Jaffar (the prince) is actually placed in Persia, in a specific time, because of the presence of the Castle in the game.

4.11 A still from Prince of Persia: Gameplay

Even in plays conduced on Stage, the Props, which are 2 D representation of Architecture form a major role in telling the audience about the location of the place in the story of the play, and the time in which it is based upon.

4.12 A still from a play on William Shakespeare’s novel

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In the mid to late 1990s two influential books raised fundamental questions about the ways in which design can be conceptualised as an aspect of narrative organisation and how in some instances it can transcend this positioning. Charles Affron and Mirella Jona Affron’s Sets in Motion: Art Direction and Film Narrative was groundbreaking for its production of criteria for determining the extent to which a set engages with narrative. The Affrons are interested in examining ‘the degree of design intensity applied to the decor’ and in so doing propose five main analytical categories.

4.13 Sets in motion-Book by Charles Affron

In the first, ‘denotation’, a set is a conventional, generic signpost to narrative. It is not particularly obtrusive, aiming to create a ‘reality effect’ in the sense that ‘the familiar’ is depicted ‘through the verisimilitudinous’, that is to say, through the deployment of objects and settings that ‘seem right’ because we have seen them many times before on screen. With repetition, they seem entirely appropriate for a particular genre such as the thriller. While we have never physically experienced to be authentic, fitting for the action.

The second category, ‘punctuation’, is a little more interventionist. In this type of set the decor ‘punctuates’ the narrative at key points, as in Mildred Pierce, where design can be seen to accentuate important character and plot points.

It does more independent work than a denotative set since it is ‘intermittently opaque, it invites reading and can be perceived as an image with manifest pictorial and compositional elements rather than a representation of the real, everyday world’. Also, ‘its specificity exceeds standard generic and cultural codes’. Yet its function is still related to the narrative, working as an elaborate support – hence the word ‘punctuation’ –to connote emphasis.

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Again talking about Hindi Cinema, if any movie is to show the Dandi March which took place in 1930, the directors are bound to show nothing but the Rann of Kutch along with Sabarmati Ashram, with several people and a portrayal of Gandhiji with sticks in hands marching for protest.

4.14 A still from the movie, Gandhi (1982)

Similarly, if any movie is to show the Indo-Pak or Kargil War, 1999, the presence of rocky mountains of Kashmir, in LoC area of the Kahmir and Pakistan border, mountains covered with snow, tents with army men clad with guns and bombs, is likely to be seen.

4.15 A still from the movie, LoC-

Kargil (2003)

These images of places, created by the director in the movies, are not detached pictorial images, they are experiences of embodied and lived space. They are mental and embodied images, not visual pictures. These spaces have their specific temperature and odour, the texture and echo of these walls can be sensed.

The city is a phenomenon that exceeds all our capacity of description, representation and recording and, consequently, it is always experientially infinite. A Street in a film does not end at the edge of the screen; it expands all around the viewer as a network of streets, buildings and life situations. Exactly this activation of the imagination is the invaluable function of literature and all art, contrary to the images produced by consciousness industry which are experienced passively and externally.

Architecture is not what fills the space but what generates it. When considering the link between architectural space and film space, one must consider that space is ultimately generated in our mind: it is a combination of our perception, our experience of space, altered or Akshita Garg,USAP, GGS I P University |

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pondered by such things as our personal knowledge, memory and our state of mind. Gerard suggests, the real space, like the filmic space you reconfigure in your mind from irreconcilable snippets, and different points of view, is ultimately a mental space. He suggests that is where film and architecture meet up, where film in generating space, in a sense, becomes architecture, and again why as architects we have to look into films.

Thus giving rise to the concept of the Cognitive Image of a place.

4.1.3. The Realities of Image and Imagination The essence of architectural space as determined by an artist, is free of the functional requirements, technical restrictions and limitations of the professional conventions of architects. The architecture conceived by artists is a direct reflection of mental images, memories and dreams; the artist creates an architecture of the mind. Yet, even the works of architects, built in matter, obtain their psychic content and echo from the very same existential experiences and images accumulated in the human mental constitution. Even real architecture can affect our soul only if it can touch the datum of forgotten memories and feelings.

Imagination is usually attached to the specific creative capacity of the artist, but the faculty of imagination is the foundation of our very mental existence, as well as of our way of dealing with stimuli and information. Recent research by brain physiologists and psychologists at Harvard University shows that images take place in the same zones of the brain as visual perceptions, and that the first are equally as real as the latter.

4.15 Image v/s Reality|illustration by Ben Heine

No doubt, actual sensory stimuli and sensory imaginations also in the other sensory realms are similarly close to each other and, thus, experientially of equal value. This affinity or sameness of the external and internal experience is, of course, self-evident for any genuine artist without the scientific proof of psychological research. The artist has always known, that the encountered, remembered and imagined are equal experiences in our consciousness; we may be equally moved by something evoked by the imagined as by the actually encountered. Art creates images and emotions that are equally true as the actual situations of life.

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Many of us can never mourn our personal tragedy with the intensity we can suffer the fate of the fictitious figures of literature, theatre and film, distilled through the existential experience of a great artist. Fundamentally, in a work of art we encounter ourselves and our own being-in-theworld in an intensified manner. Art offers us alternative identities and life situations, and this is the great task of art. Great art gives us the possibility of experiencing our very existence through the existential experience of some of the most refined individuals of the humankind.

4.1.4 The Mental Reality of Place Place and event, space and mind, are not outside of each other. Mutually defining each other, they fuse unavoidably into a singular experience; the mind is in the world, and the world exists through the mind. Experiencing a space is a dialogue, a kind of exchange - I place myself in the space and the space settles in me.

'Today more than ever I feel that cell no. 461 (...) has remained inside me, becoming the secret of my soul. Today more than ever I feel like a bird that has swallowed his cage. I take my cell with me, inside me, as a pregnant woman carries her baby in her womb,' -writes Curzio Malaparte - the owner and co-architect of the Casa Malaparte (1938-40) on Capri of the harsh memory of his prison experience.

4.16 Mental Reality of a Prison

The architecture of cinema does not possess a utilitarian or inherent value - the characters, events and architecture interact and designate each other. Architecture gives the cinematic episode its ambience, and the meanings of the event are projected on architecture. The cinematic narrative defines the boundaries of lived reality: for anyone who has seen Andrei Tarkovsky's Nostalghia, Michelangelo's Campidoglio, centering on the equestrian statue of Marcus Aurelius, can hardly be experienced without thinking of Domenico's shuddering selfimmolation on the back of the horse. The realities of material and lived image are fused.

Thus Architecture does play a vital role in the depiction and defining of Space and Time on screen.

To test this theory, I would be doing Case Studies of Hindi Movies, based on various Themes selected by me, due to reasons stated in the next chapter, in order to reflect how the Spatial Environment (Built or Unbuilt) affects the Cinema.

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5 CHAPTER FIVE | CASE STUDIES As discussed in the previous chapter, the theory- ‘Primary/ Conceptual Elements of a place define the Space and Time in Cinema’, would be tested by doing a Case study of three major themes that are observed in Hindi Cinema, carefully selected based on the factors stated in the next segment.

The research work includes the informal analysis of three major themes and twelve movies. The methodology of research will be as follows: a. Selection of three popular Themes in Hindi movies b. Stating Primary elements (Built and Unbuilt environment) as shown in movies c. Semiotics of Spaces in the movie (Analytical Methodology throughout the research) d. Conclusion of each theme with detailed analysis of one

5.1 Selection of ‘Themes’

IN its 100 years of existence, the Hindi film industry has been a witness to themes ranging from industrial revolution (Paigam, Naya Daur) to dacoit (Ganga Jamuna, Mujhe Jeene Do); extramarital affairs (Sangam, Hamraaz, Achanak) to village life (Mother India, Dushman, Upkaar), besides those of twins separated at birth (Ram aur Shyam, Sita aur Gita, Chaalbaaz) to college love affairs (Sasural, Mere Meheboob, Kuch Kuch Hota Hai, etc.)

Existence of themes, can be seen in movies, from time immemorial. While some Guru Dutt movies like Pyaasa (1957), Kaagaz Ke Phool (1959), Raj Kapoor films Awaara (1951) and Shree 420 (1955) expressed ‘social’ themes mainly dealing with working-class urban life in India, later movies like Qayamat Se Qayamat Tak (1988), Maine Pyar Kiya (1989), Dil (1990), Hum Aapke Hain Kaun (1994) and Dilwale Dulhania Le Jayenge (1995) swung the pendulum back toward family-centric romantic musicals.

Thus, Themes have always co-existed in the Hindi Cinema from the beginning.

The idea of choosing the themes revolved around , primarily, the limitation to Hindi and Popular Cinema due to lack of time, and secondly, the fact that the Three themes were to be totally different from each other in all aspects, and that they had to be popularly used in the Indian Cinema from time to time.

The criteria of choosing the three Themes are as follows:

i. THEME 1: The Bombay Mirror This theme was chosen because of the use of the place Bombay (now Mumbai) in almost all the Hindi movies. Either the placement of the set ( due to the presence of Film City in Bombay), or the location itself, due to ease of accessibility, whatever be the reason, Bombay is one place that is every director’s favourite.

This theme Bombay mirror is all about the city, Noisy with a touch of spiritualism and extravagant with a tinge of humility- is what Mumbai is all about! The ‘City of Dreams’ for millions, the ‘Financial Powerhouse’ of the country, the ‘City that never Sleeps’, the

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‘Entertainment Capital’- are just a few names that Mumbai is better known by. Sprawling beaches and up-market locales on one hand to bustling neighbours , noir (Indian Mafia) and huge slums on the other hand, Mumbai is a sheer mix of all that one can ask for!

Mumbai is home to the largest film industry in India- Bollywood. It boasts of some of the most beautiful locations, which have caught the fancy of many a film and television directors. Scenic sea-side, gorgeous malls, busy roads, crowded railways and airport, there is hardly any spot in the city which has not been captured in the frames of the camera.

From the Juhu Chowpati, Churchgate, Victoria Terminus to the most famous Marine Drive, this city has something for every movie’s perfect location. It is perhaps one of the only cities in India, which has so many primary elements and the environment with everything suited perfectly for the film-makers to shoot films here.

5.1 Taj Hotel, Gatweway of India

5.2 Marine Drive with skyline

Not just the city of dreams, Mumbai's also the city of movies, the city immortalising the aforementioned dreams. So it isn't any surprise that filmmakers often look to it for inspiration, finding it in both the city's richest and most squalid corners -- and in Mumbai's case, they often co-exist side by side. Hindi film world Bollywood is based in Mumbai itself, So it is not to the surprise that many movies since its era has portrayed the city in some of the other ways. Be it the story of Mumbai’s underworld and Mafia goons in movies like Satya, and Once Upon a time in Mumbai, or Life related to Metro everything is covered in such films.

5.3 A poster of the movie

i.

5.4 An Album Art of the film, Life in A Metro

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a) Film City: The preferred choice of most film and TV serial makers, Film City Mumbai is a ‘mini city’ spread across nearly 350 acres. Located in the posh Goregaon area, Film City boasts of having 20 indoor studios and arrangements for shooting of outdoor settings as well. It has settings for backdrops of gardens, lakes, forests, cities, houses, villages, etc and all that are required to shoot a film in the premises.

Films like ‘Bodyguard’ and ‘Ready’ were shot in the Mumbai Film City.

5.5 The sets of Baghban at Film City

b) Chhatrapati Shivaji Terminus: Among the four World Heritage Sites in the state of Maharashtra, CST (as it is better known) is a railway station having the world’s highest density of passengers (6.3 passengers daily). No wonder it is another chosen spot by directors to shoot their films. Whether it is to show the arrival of the lead characters to their ‘Dream City’, or it is to reunite long-lost lovers, this railway station has been one hot-spot for shooting. Oscar awardwinning film Slumdog Millionaire had some scenes which were shot at the Chhatrapati Shivaji Terminus.

5.6 Ek Deewana Tha at Chhatrapati Shivaji Terminus

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c) Marine Drive: The 3-kilometer long boulevard overlooking the Arabian Sea makes for picture-perfect scenery and that is exactly why it is among the most loved shooting spots in Mumbai. The fresh breeze, the setting sun, the sky at dusk, the palm trees lining the road and the abundance of restaurants in this stretch works in favor of Marine Drive, emerging as a chosen location for shooting. A part of the superhit film ‘Dhoom’ was shot here.

5.7 Munna Bhai M.B.B.S at Marine Drive

d) Colaba Causeway: Also known as the ‘Culture Square’ of the city, this spot is home to many up-market retail shops as well as roadside hawkers selling all kinds of products. Besides several restaurants and eateries, Colaba also boasts of important buildings like National Gallery of Modern Art, Chhatrapati Shivaji Maharaj Museum, etc.

Few scenes of Reema Kagti’s upcoming film ‘Talaash’ starring Aamir Khan have been shot in Colaba Causeway.

5.8 Colaba Causeway on a regular day

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e) Bandra: Located in the west-central Mumbai, Bandra is popularly known as the “Queen of the Suburbs”. Because of its rich and luxurious architecture, it prides in serving home to several Bollywood actors and other sophisticated and affluent class of people.

Bandstand, Carter Road, Pali Hill, Bandra-Worli Sea Link, and Jogger’s Park are famous places in Bandra, and have been a regular favorite of film crew. Subhash Ghai’s 2003 film Jogger’s Park was filmed on the location of the same name.

5.9 Lage Raho Munna Bhai at Bandra

f) Gateway of India: Probably the face of Indian history in Mumbai, the Gateway of India is the most important monument of the city. No wonder visitors throng this place in huge numbers, given that it is the place to begin exploring Mumbai with. The historic representation, the scenery overlooking the Arabian Sea, the amazing crowd, and the sight of vendors peddling their wares makes for a picture-perfect frame. A number of regional language films have been shot here, as also have song sequences in films like Ghajini, Bombay, Kalyug, Hero No.1 and Mann.

5.10 Ek Deewana Tha at Gateway Of India

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g) Mahalaxmi Dhobi Ghat: Mahalaxmi Dhobi Ghat is where hundreds of people earn their living as washermen, cleaning the dirty laundry of people from all over the city. The inordinate strength with which the professional washermen stand for long hours in chemically treated water, manually cleaning the dirt from each and every cloth, is what attracts tourists a lot. The world’s largest open-air laundry could not escape the eyes of filmmakers for long. Perhaps this was the reason why director Kiran Rao made the film ‘Dhobi Ghat’- as a tribute to the people of the Mahalaxmi Dhobi Ghat.

5.11 Mahalaxmi Dhobi Ghat for Amir Khan’s ‘Dhobi Ghat’

h) Juhu Beach: Among the most affluent and sophisticated areas of Mumbai, Juhu Beach is an undoubted favorite of not just visitors, but also the locals. The aesthetic appeal and the soothing neighborhood make Juhu Beach the most exploited among all the beaches of Mumbai. Classic films like CID (starring Johnny Walker), Anand (starring Rajesh Khanna) and Seeta Aur Geeta (starring Hema Malini) have been shot at the Juhu Beach.

5.12 Juhu Beach on a regular day

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i) Dharavi: Among the largest slums of the world, Dharavi thrives on the pottery, textile and recycling industry to support the thousands of people that stay there. Although always in the news for its unhealthy environment and living conditions, Dharavi has managed to find a foothold in the film industry, being depicted in plenty of films. Films like Deewar, Salaam Bombay!, Dharavi, Sarkar, Traffic Signal, Footpath and so on, have been shot here. Parts of the Oscar-award winning 2008 film Slumdog Millionaire was also filmed in the Dharavi slum.

5.13 Dharavi in Slumdog Millionare

Thus the first theme, the Bombay Mirror, would reflect portrayal of the city Bombay in 3 distinct films, with different narratives, and stories, yet forming the middle grounds on the primary elements of the place. ii. THEME 2: Going Back to the roots Hindi cinema seems to have rediscovered its bonding with rural India as is evident from the number of films in which the village has emerged as the focal point.

This theme is chosen considering that the ‘Village’ theme and the portrayal of an Urban Indian set-up on screen is the second most popular and widely observed theme in Bollywood.

Rural India has been an essential background for many Bollywood movies. Watching these movies can give you a feeling like you’re living it. Eariler, the rural India was like the most important part of any Bollywood flick but recently, it has been limited to certain movies. The movies represent the true culture and legacy of particular villages and the people represented a strong bond of harmony.

There have been many movies which adapt and showcase the culture of India through this medium but there are a few movies among them, which have made the same medium look larger than life.

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Along with villages, sometime portrayal of an NRI (non-resident of India) is also, seen often.

The directors play the NRI card to gather audience from abroad. Starting the trend by Raj Kapoor, followed by many Devanand movies including Des Pardes (1978), further taken up by many directors including Ashutosh Gowarikar in Swades (2004).

5.14 A scene from Des Pardes(1978)

5.15 A scene from Swades (2004)

For most of the movies, rural hinterland has meant villages in Punjab, Rajasthan or Haryana.

Romancing in the golden mustard fields, lush green spaces, heritage sites and a vibrant lifestyle - the charm of Punjab is making the state the destination for Bollywood's film industry.

When Yash Chopra captured the beauty of Punjab in the Shah Rukh Khan-Priety Zinta starrer 'Veer Zara', he not only made a classic cross-border love story but also broke free from the cliched European destinations of Hindi cinema.

5.15 A scene from Veer Zaara(2007)

Films such as Salman Khan's 'Bodyguard', Shahid Kapur's 'Mausam', Akshay Kumar's 'Joker', Ajay Devgn's 'Son of Sardaar', Imran Khan's 'Mere Brother Ki Dulhan' and the most recent super-hit, Farhan Akhtar's 'Bhaag Milkha Bhaag', have all been shot in and around Chandigarh, Patiala and other locations in Punjab.

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ii.

Primary Elements of a Village shown in the movies

a) Open or Unbuilt environment: -Presence of Sunshine yellow mustard fields, basically agricultural fields , called ‘Khet’ in hindi Outdoor settings, especially fields and villages have always managed to be a huge part of many Bollywood movies. In some, they serve to depict romance and blooming love, while in others, they could stand as a symbol for hard work and making a living.

Dilwale Dulhaniya Le Jayenge is probably the first movie that comes to mind when one thinks of the use of beautiful backdrop of a lush yellow mustard field.

Other movies which show fields in villages are Veer Zaara, Nayak, Mother India and Dil Bole Hadippa among several other films.

5.15 A scene from DDLJ(1995)

-Presence of a ‘Panchayat’ under a huge tree, where all the villagers gather and take important decisions about the village. Many movies show the presence of Panchayat including Singh is Kingg, Lagaan , Matru ki Bijli ka Mandola, Swades to name a few.

5.16 A scene from MKBKM (2013)

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-Large Open Spaces, Presence of Mela or Bazaars, vibrant dancers, tractors or people doing agriculture are some of the other attributes in the open environment of a village. b) Built environment: -Presence of Havelis or Kothis in isolation, to represent grandeur and richness of the rich people in the village. The terraces and the of these Kothis, were mostly functional where all small and big gettogethers happen on the terrace. It is like the open front/back lawns of houses in Delhi today, which are open to sky as well as covered from the surroundings giving the needed privacy.

They act like a community space for the village people to participate in the functions happening here.

Along with the terrace, the Haveli comprises of the courtyard which is used for all sorts of congregational purposes. Its right at the ‘focal zone’ of the house with all rooms placed around it as in a typical haveli in India.

The entrance to the house generally happens from the courtyard. this space in a haveli forms a community interactive space, whether for small get-together or just a small conversation.Some movies which show large kothis with such courtyards and terraces are Jab We Met, Pardes, Luvv Shuvv Tey Chicken Khurrana, DDLJ, Namastey London etc.

5.17 A scene from LSTCK (2013)

5.18 A scene from JWM(2008)

-Mud houses or huts with sheds made of bamboo, straw, hash and other vernacular material with typical rural kitchens, is also a prime feature of the any village potrayed in Hindi movies. Some examples of movies showcasing such houses are Lagaan, Mother India, Sholay, Dabanngg , Gori tere pyar mein etc.

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5.19 A scene from Gori Tere Pyar Mein (2013)

c) Presence of any iconic building Some movies also show the presence of some iconic buildings or monuments in the vicinity to give a further reference of the place, in addition to the original set up of the film. Movies like Lagaan, Rang De Basanti, Gadar, Rab ne bana di Jodi apart from other movies, all show some kind of iconic or heritage monument.

5.20 A scene from RDB (2009)

Over the years, these and few others themes have been repackaged time and again. The latest to join the bandwagon of old theme of village is Matru ki Bijlee ka Mandola. In the last couple of years, Hindi cinema seems to have rediscovered its bonding with desi roots. More and more films are extolling our villages, small towns, gamchas, bhasha (language) and culture. The trend, which restarted with Omkara, caught momentum with films like Ishqiya, Dabangg, Aarakshan, Rowdy Rathore, Gangs of Wasseypur I & II (GOW I & II), Shanghai, Bol Bachchan, Ishqzaade and Paan Singh Tomar. iii. THEME 3: Kashmir- From Beauty to Miltiancy Kashmir has been a fascinating theme, due to the enthralling beauty of the place, along with the sensitive topic of militancy and terror that it raises, with more than 90 films been shot in the valley. An obvious choice perhaps – but this state has perennially been a hot favourite in Bollywood almost since the inception of this industry despite the political trouble the state has always been embroiled in.

The Kashmir Valley, famous for its scenic mountain beauty, has been favorite locale of the Indian film industry. Its snow-capped mountains, serene lakes and picturesque meadows have provided the backdrop for innumerable song and dance routines. That changed in 1989 with the Akshita Garg,USAP, GGS I P University |

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eruption of militancy in the state.

Kashmir, was the ultimate escape for all the directors, a place of crystalline freshness where the soul breathed freely, untied from the worries of the metropolis and the exigencies of the town.

In Kashmir's 'vaadiyan', the plains-based Indian enjoyed a little laugh, a little love, a liberty or two.

It has been an over extended film set with Kashmiri characters and narratives in these films being minimal, apart from a few exceptions. There are very few films, which have had a lead Kashmiri character. Notable among these are Jab Jab Phool Khile (1965), Kashmir Ki Kali (1964) and Noorie (1979).

When it came to Indian films, Kashmir was always synonymous with romance. During the 60’s and 70’s the scenic valleys and picturesque locations of Kashmir were the preferred place for outdoor shoots, until the time the situation started becoming turbulent there. Terror meant attacks, retaliation, damage, death and grief. It also meant silence. Once, the Valley could be shown echoing with the coquetry of lovers, the swish of golf strokes, the clatter of tea trays and the clipclop of horses.

From the quaint house boats and scenery of the Dhal Lake, to the romantic vibe of Manali, to the stark and icy lure of the Rohtang pass and the untouched picture-postcard gorgeousness of the Pangong-Tso lake in Leh,Ladakh the beauty packed into this mountain-framed state is unparalleled.

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Post the improvement in the ground situation in the Valley, films like Karan Johar’s Ye Jawaani Hai Deewani(2013), Haider, Karan Johar’s Student of the Year (2012), Yash Chopra’s Jab Tak Hai Jaan (2012), Highway, Rockstar(2011), 7 Khoon Maaf (2011), Lamhaa(2010), Yahaan (2005), Mission Kashmir and few other films were shot in Kashmir.

iii.

Primary Elements of Kashmir shown in the movies

a) Snow-Clad mountains: Kashmir is mostly portrayed in movies with snow clad mountains which makes it a picturesque location.

Many movies see the snow-caped mountains as the backdrop including Roja, 3 Idiots, Jab we met, bhaag Milkha Bhaag, Jab tak hai Jaan and film, Haider.

b) Lush green Valleys: Picturesque valley surrounded by lush green meadows, hills and covered with dense vegetation and gushing waters are enough to attract film makers to capture this serene beauty in celluloid.

Most of the evergreen romantic numbers in the Bollywood albums of the golden era of Indian Cinema were picturized on the blissful moments of love in the snow-clad and lush green locales of Jammu & Kashmir, in different seasons of the year.

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The autumnal beauty of Kashmir was best captured in many frames of the movie Jaanwar. The hilly being of Kashmir seemed to echo the eloquence of the song “Tumse achha kon hain” in praise of the heroine’s beauty in the movie.

The landscape with golden brown chinar leaves strewn here and there is a visual attraction of the song. Recent films like Yeh Jawani hai deewani and Highway also see the valleys, as the backdrop.

c) Shikaras and Colourful people: Movies also show giant house boats in Dal Lake with beautiful Shikaras, and colourful people all around, mostly when it is based in Kashmir to represent the culture of the place. Many movies like Kahmir ki Kali, Mission Kashmir, Jab Tak Hai Jaan etc. popularised the shikaras and boosted the tourism industry of Kashmir.

d) Militancy: From the last few years militancy in Kashmir has been the subject of many Bollywood movies. The Kashmir narrative was increasingly marked by nationalism which invokes violence, narrating stories of political conflict, civilian struggle and terrorism from the valley.

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Portrayal of separatist movements bursting across the country, terror was presented in the form of drug-peddling, gun-toting 'militant' villains whose ludicrous henchmen would never learn how to uncork a grenade properly.

The movies which deal with this theme are Roja (1992), Dil se (1998),Lamhaa (2010), Haidar (2014) etc.

Portraying the uncomfortable political reality of Kashmir remains a challenge for any filmmaker, more so when the issue lies at the heart of tension between the people of Kashmir and India.

The plight of the state and its people as depicted on-screen perhaps comes a full circle in realism with Haider, a far cry from the over-the-top ridiculousness marking the plastic patriotism of Bollywood in the eighties.

Haider is a daring movie, and stands apart from Bollywood’s fascination with the Valley’s Dal Lake, flower-laden Shikaras and snow-capped mountains.

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Due to the limitation of time and the fact the Indian Cinema is very vast, only one theme out of the three, can be studied in detail, which is Theme 2: Going back to the roots.

The movies selected to analyse the presence of this theme, based on three completely different plots, genres, eras, and messages are:

i. ii. iii.

Mother India (1957) Dilwale Dulhaniya Le Jayenge (1995) Lagaan (2001)

These three movies are the most popular movies of their times, representing the rural india to the fullest. Each of the movie is very different from the other and is based in a different decade of time period, hence contemplating, the theme with utmost accuracy.

i. Mother India (1957)

Mother India is a 1957 Hindi epic melodrama film, directed by Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar, and Raaj Kumar. The film is set in 1957, the present day at the time of shooting. When construction of an irrigation canal to the village is completed, Radha (Nargis), considered to be the "mother" of the village, is asked to inaugurate the canal. She remembers her past, when she was newly married, and the entire movie revolves around her flashback. The film returns to 1957; Radha opens the gate of the canal and its reddish water flows into the fields.

The movie is certainly one of the best movies based on rural India. The movie was even nominated for the prestigious Oscar award. It’s concept is completely based on the rural India and represents the sufferings of the rural people.

The movie revolved around the plights of a woman and how she overcomes all of her problems against the tide. The movie is an epitome of inspiration for people who tend to fall on their knees in difficult circumstances instead of trying to win the situation.

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ii. Dilwale Dulhaniya Le Jayenge (1995)

Also known as DDLJ, is a 1995 Indian romantic drama film. It was written and directed by debutante director Aditya Chopra, produced by his father Yash Chopra, and stars Shah Rukh Khan and Kajol. The film tells the story of a young couple who fall in love on a European vacation, and relates how the boy tries to win over the girl's parents so that she can marry him rather than the boy that her father has chosen for her. It was filmed in India, London, and Switzerland.

The film was declared an "All-time Blockbuster" and became the biggest Bollywood hit of the year, as well as one of the biggest Bollywood hits ever.

The film was among the first to be produced with the large and rich South Asian diaspora in the West as its target. Some films that later followed this trend, the diaspora market is seen as a safer financial investment than the desi market. They decided to go with a theme of nonresident Indians (NRIs) and the Urban Indian village.

iii. Lagaan (2001)

Another movie which was based on rural India and another movie which was nominated for the Oscars, Lagaan is a 2001 Indian epic sports drama film written and directed by Ashutosh Gowariker. Aamir Khan, who was also the producer, stars with Gracy Singh in the lead roles; British actors Rachel Shelley and Paul Blackthorne play the supporting roles. The film was shot in an ancient village near Bhuj, India.

The film is set in the Victorian period of India's colonial British Raj. The story revolves around a small village whose inhabitants, oppressed by high taxes, find themselves in an extraordinary situation as an arrogant officer challenges them to a game of cricket as a wager to avoid the taxes. The narrative spins around this situation as the villagers face the arduous task of learning the alien game and playing for a result that will change their village's destiny.

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The movie revolved around the determination and courage of Bhuvan (Aamir Khan) and the dedication of the villagers and their fight with the British people. The social message behind the movie was that one should never give up and should keep trying until the last hope with positivity.

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6 CHAPTER SIX | CASE STUDY:ANALYSIS This chapter deals with analysing one of the themes taken up in the case studies and studying it in detail with pretext of three movies based in different eras, which have the primary elements as mentioned in the theme.

6.1 Detailed Analysis of The Theme based Case Study

Since theme taken up for detailed study is Theme 2: Going back to the roots, along with the three movies, Mother India, DDLJ, Lagaan for the same, a detailed analysis of the presence of all the primary elements (Built and Unbuilt environment) in the movies and how it reflects the role of Architecture in governing the Space and Time on screen (initial theory to be tested) will be done.

The analysis will be in a tabular form, listing down all the Attributes of the respective theme as stated earlier, and with the help of snapshots of the scenes from the three movies, the attributes present in the movie, would be highlighted.

These Attributes which tell about the Built and Unbuilt environment of a Village, as observed on screen and in reality as well, play a very important role since they govern the final outcome of a place on screen.

Refer to table 6.1 (all four pages) for the detailed analysis.

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6.2 Conclusion of the analysis of Case Study

It is observed in the Case Study that the primary elements of a Village, as shown on screen, are more or less the SAME for all three movies.

First of all, in Mother India, which is based on a Socialist theme, Cultivating in the backyard of rural India, the aesthetic value of which largely remains of portraying the meager lives of poor citizens of newly formed nation, is seen to have showcased on screen, almost all the Attributes stated for an Urban Village representing a Rural Hinterland.

The movie, though set up in 1957, when the technologies weren’t as advanced as they are now, still manages to portray the view of a typical Indian village, and the viewers are well convinced and can relate themselves to the village, its life and its people.

This could have been possible by setting up the movie in the villages of Uttar Pradesh, and also by creating the Sets so as to match the Cognitive Image of a village in the user’s mind.

Secondly, in the case of Dilwale Dulhaniya Le Jayenge, which is a Romantic Drama and being an evergreen classic has a very deep thought behind its making. One can understand the ideology of the film maker. He very clearly has divided the whole movie into various parts according to the ‘feel’ of the scene, and the storyline’s demand.

The village where Simran’s ancestral house is, fulfilled two goals; first, a background for the titles in the beginning, showcasing the traditional values attached to the land, that Amrish Puri missed in London being an NRI, and second, a way to set the viewers in a place and time frame.

The space, the people, their dressing sense etc. all led to a common feeling among the viewers thatthis movie has been shot in a typical village in india during that period.

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The movie lacks many Primary elements, probably because of the focus on London and other parts of Europe in the first half, and that the demand of the story. But it still manages to create an image of a Rural hinterland in the mind of the viewers through the songs etc.

Thirdly, in the movie Lagaan, which is an epic-sports drama film, based in Champaner, an agricultural village where it had not rained in several years. To depict the 1890s era, the typical old Kutch hamlet was built by the local people four months before the arrival of the crew and yet again the audience was forced to place itself in the forced space and time created by the director of the film.

The film more or less covers all the Primary elements of a village, since the entore focus of the film is on the village, and no other location as such is highlighted. It does lack lush green fields, and not much of agriculture is shown, since the movie was about paying of imposed high taxes ("lagaan") on people from the local villages which they are unable to pay due to a prolonged drought. Yet, the elements remain the same for this movie as well.

Therefore it can be concluded from the Analysis, that A, the primary attributes of any place remain the same on screen irrespective of whatever be the plot or narrative of the movie, and B, all these attribute in the form of built and unbuilt environment is useful in defining the Space and Time in Cinema.

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7 CHAPTER SEVEN | CONCLUSION OF THE RESEARCH The research gives rise to various other inferences which were earlier not thought about. It firstly does prove the clear influence of architecture on Cinema, and also tests the theory of how Architecture plays a vital role in defining Time and place.

Thus the initial parallèle with which the research started on drawing a comparison between the primary (conceptual) elements of design with the narrative of a film have been made.

To add further, the Research gives rise to this never-ending cycle, which is:

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Explaining the diagram further, to begin with , the Architects create an Environment which comprises of the Built and the Unbuilt defining a space, which FORMS a Cognitive Image of a place (due to the rise of imagination and the reality of the place) in the minds of the viewer (including a film-maker), who thus CREATES a Virtual film for the masses getting affected by this Cognitive Image, which in turn INSPIRES, the audience (public who watches the movies, including the architect), in getting influenced by the film and thereby AFFECTS the ideas and concepts of an Architect who is , as stated earlier the Creator of the Environment, hence this being a never-ending cycle.

This cycle also gives rise to another observation, which is ‘Influence of Cinema on Architecture’.

A study on that topic, would mean a new research altogether considering the influence Cinema already has on the masses, be it Fashion, youth, society. Nevertheless, It could be concluded in the end that both Architecture and Cinema INFLUENCE each other in many ways, thereby proving the hypothesis of this research.

Moreover, Films have the history of architecture and/or they create architecture, and hence it becomes an imaginary model sometimes even taken up by reality. Therefore, the architects of the world, indirectly, have a ‘give and take relationship’ with the filmmaker. However, the films are made for the audiences to like it and appreciate it as either a good eye-opener or merely a time pass. Whatever it is, it has architecture as the backdrop, whether of utmost importance or least importance, it is there somewhere affecting the wellness of a scene in a film.

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BIBLIOGRAPHY 1. Andrei Tarkovsky: Space and Time -The Experience of Architecture in the

Cinematic Works

2. Costa, Leglise; Architecture and cinema 3. Schonheimer , Rainer; Human ‘sense of space’, moving images and architecture 4. Adiloglu, Fatos; Space and place in cinema 5. Grigor, Murray; Space in time 6. Hasan Okan Çetin; Thesis Submitted To The Graduate School Of Natural And

Applied Sciences

7. Byera Hadley Report; Spatial Experience, Narrative & Architecture 8. Terri Meyer Boake; Archtecture And Film: Experiential Realities And Dystopic

Futures 9. Juhani Pallasmaa; Lived Space in Architecture and Cinema 10. Websites:

a. b. c. d. e. f.

www.wikipedia.com www.dictionary.com www.youtube.com www.academia.edu www.cambridgescholars.com www.blogspot.in

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