Phd abstract irina pata

“Ion Mincu” University of Architecture and Urbanism

Doctoral Thesis (abstract)

VIDEO LANDSCAPE FILM AS A TOOL FOR LANDSCAPE ANALYSIS AND [RE]PRESENTATION

Supervisor: Ph. D. Professor Architect Florin Machedon Ph. D. Student: Irina Pața

Bucharest 2014

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FOR ME LANDSCAPE HAS EVERYTHING TO DO WITH CINEMA. Wim Wenders

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ABSTRACT VIDEO LANDSCAPE FILM AS A TOOL FOR LANDSCAPE ANALYSIS AND [RE]PRESENTATION Supervisor: Ph.D Professor Architect Florin Machedon Ph.D Student: Irina Pața BUCHAREST 2014

The main purpose of this research is to complete the toolkit for landscape study taking into account the way a society, characterized by movement, evolves to a continues increase of living environment rate of transformation. The research highlights the importance of dynamic analysis of the landscape and the need for appropriate tools that can capture and sustain its movement. The interaction between film and landscape is covered in two directions that relate to techniques and significance. It follows a method that is based on several steps: how the landscape is filmed, shown in various film productions (via the database of landscape videos) and how a montage is able to conveys a specific message.

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CONTENTS

I

II

III

INTRODUCTION

STUDY ACTUALITY

LANDSCAPE REPRESENTATION IN FILM

Motivation

Context

Context

Interdisciplinary

Introduction.

Elements cinematic history

Research question - objectives hypotheses

The relationship between architecture and cinema - concepts transfer

Study methodology Purpose of the study

Film as a critic and witness of landscape evolution

Glossary of terms

Architecture as a tool in film Film as a pedagogical tool Conclusion

of

Precinema Cinema Conception. Landscape dramatic role and ambience Context Landscape in decor psychology Composition.

Landscape cinematic image composition

in

The frame Compositional elements into the frame Light and colour Plan Angle of framing Camera movement Technique. Editing logic in shooting a landscape Types of montages Cinematographic punctuation The relation between sound and image Conclusions

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IV

V

VI

COMPARATIVE ANALYSIS

DATABASE

VIDEO LANDSCAPE

Landscape analysis

Proposed structure

Grid of technical suggestions

Context

Adding information

Video landscape structure

Landscape analysis through image study

Searching engine

Conclusion. Future research lines

Film analysis

Documentary sheets for video sequences

Decomposing a film sequence

Conclusion. Applicability

Phe Pulse of a Neighbourhood (2011), Marina Marquez City sounds (2013), Erick Flores Garnelo Shunpo (2012), Steven Briand La roue [The Weel] (1923), Abel Gance Radiant City (2006), Jim Brown, Gary Burns Mr. Blandings Builds His Dream House (1948), H.C. Potter Walkabout (1971), Nicolas Roeg Conclusions Annexes Bibliography Filmography List of illustrations

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abstract

I. INTRODUCTION

MOTIVATION

The environment in which we live in has the ability to shape our lifestyle and personality, the vision that we have about the concepts that guide our lives. This research starts by bringing together several of my passions: landscape studies, pedagogy and film.

As an assistant professor I want to have the ability to transmit to students, through a common language, the importance of landscape study and the complexity of the concept itself. This made me turn to the cinema. Often, I find myself in the position of giving a movie or a video as an example in order to complete my vision about an issue. Cinema is of an overwhelming complexity with almost unlimited resources in terms of cultural and spatial studies. This research wants to discover the specific features that support the landscape dynamic and the elements that make the film such a suitable medium for transmitting landscape expressiveness.

Along with the theoretical analysis regarding significance, the research has a practical side that can be used in landscape studies. It creates an online platform that completes the classic documentation of a project, a landscape video library opened for specialized users to supplement or amend. Also, the research defines a grid of parameters that can be take into consideration when you want to use video as a tool in landscape design process. This grid aims to provide a starting point in making a video landscape, some suggestions concerning the ways you can transmit a concept, some filming and montage techniques, composition ideas or usual frame length.

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This research makes additions to existing studies that support video as a tool in urban and landscape design and supports the cultural evolution of the concept.

CONTEXT

The speed that defines our contemporary society evolution calls into question how we understand and design our living environment, the vision that we have on it. Landscape as an element of synthesis between architecture and urbanism, requires theoretical and practical approaches to address the new trends in design. Charles Waldheim, professor in the Department of Landscape Architecture at Harvard University identifies two types in this aspect (Swiss Federal Institute of Technology, 2011). On one hand, a synoptic system (mainly represented by GIS applications and ortho-photo-plans) and on the other hand, one scenographic, sensitive, subjective (sustained by rendered images, collages and montages photos, video).

This paper investigates the sensitive direction in landscape study, it takes into consideration the influence of motion pictures upon the landscape, is considering video as a tool in landscape design.

The thesis is based on several current research lines that include: the continuous search for finding tools that can improve the design and education process and the relationship with the new technology trends; the environment capacity to store and transmit information and messages and the diversity of channels used; the subjectivity of perception and observation in reading the landscape (natural, architectural, urban, cultural, common).

This research focus on the possibility to enrich the process of interpreting the landscape for a better understanding of the mechanisms by which we relate to it, an alternative method of reading and [re]presenting the landscape that sustain the existing approaches.

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Fig. A.001 - Landscape approach from an interdisciplinary perspective // [source: author]

The thesis proposes video as a tool for landscape study. The research develops in two stages of analysis that will be reflected in two lines of practical implementation.

On one hand, it aims to study the relationship between cinema and urbanism - how landscape is represented in films: its role, meaning, metaphors or symbols, filming and editing techniques.

From this line will emerge a database, a library of video landscapes, structured with the purpose of defining and presenting the context and significance that different landscapes have in films, both in terms of significance or image composition and editing techniques.

On the other hand, it aims at a comparative research between landscape analysis and film analysis in order to highlight common concepts that refer to landscape context or composition. Its result will be a grid of technical suggestions that may be considered in making a landscape video.

Film as a tool for analysis and [re]presentation in landscape studies is supported by the two directions described above. The landscape analysis through film is achieved by the video survey (the direct recording of the landscape using a video camera) and by the landscape video library (documentation regarding technical representation and

Fig. A.002 - Phases in the dissertation structure // [source: author]

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landscape significance). Landscape [re]presentation is done

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through a video landscape. The term [re]presentation is preferred for marking the duality of the instrument as a means of representation (in terms of cultural approach) and the technical presentation in front of an audience (video montage of classic representations of landscape, text, sound and moving images). The study wants to be completed in two directions: the way the landscape is seen through the camera and later, how it is represented through editing.

The research does not focuses on film as a tool for spatial design or as steps in landscape intervention structure, only on film as a tool of analysing and representation.

The films, as cinematographic productions, chose as examples belong to different categories (genres). The research is concerned more on stressing the diversity of roles that a landscape can play in a film and less on finding certain trends or characteristics of an era or of a specific culture. This diversity supports the concept of landscape complexity and interdisciplinary. In addition to films, the database (landscape video library) can gather music videos, commercials, short films and other montages that have the main subject a landscape or the landscape representation technique increases the diversity of ways in which a landscape can be embodied.

RESEARCH QUESTION - objectives - hypotheses

The study is based on an initial research question: • How film can be used in landscape design process? and the main purpose is to identify the relationships between moving images (as a mean of expression) and landscape by investigating the way it is represented in and through film (as a language). The thesis aims to a research line that is not enough explored - the relationship between film and landscape in professional design process. It aims to identify ways in which the film facilitates landscape analysis and significance transfer.

From here emerges the main objective of the research: to identify how film can be used as a tool for landscape analysis and representation.

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The hypotheses that support the research and the objectives are: • society evolution requires the adaptation to new requirements for the living environment planning and design instruments; • the new technologies have implications for how we interact between us and the landscape; • film can be used as a tool for landscape studies - the only one able to capture its dynamics and movement; • film, as a language, is capable to enrich the expressivity of landscape design projects; • film is a universal language, more and more used by different users; • a Technology Era demands dynamic and accessible tools to work with, online tools to support the knowledge exchange and sharing.

STUDY METHODOLOGY

This paper searches for tools able to strengthen the relationship between film and landscape as a new line of research regarding the design process.

The methodology of this paper contains two parts.

The first structures the context in which the research is developed emphasizing the importance of the study in today’s literature, both from theoretical and practical point of view (by analysing different case studies). It builds the theoretical framework: the relationship between film and landscape in terms of concepts (symbols, metaphors, significance), composition and technique through a comparative study of landscape and film analysis. The interaction between film and landscape is approached from two main directions that relate to techniques and significance.

It uses a method that is based on the way the landscape is captured by a camera, presented in various film productions and the role of editing in sending a specific message.

The conclusions of the theoretical framework are used for the practical approach of the thesis and are materialized in two levels of detail: a database, an online library - the synthesis tool

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by irinapatza Fig. A.003 - Thesis logical diagram// [source: author]

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for landscape elements in film - and a video landscape as an example of how landscape can be analysed and represented through film.

The conclusions of the second part will be used in pointing to possible directions for future research.

PURPOSE OF THE THESIS

The analysis of urban space and landscape often overlook relevant elements or the quantity of information is so great that synthesizing it is almost impossible, in both cases is neglected, most of the time, the sensitive nature of the landscape. Andrei Pleşu (2009) emphasize that the classical landscape analysis still relies heavily on fragments rather than the whole, on levels, is selective, abstracted, isolated or searches differences and can often pass the overall view, it’s fluidity, complexity, subjectivity that is, in fact, the landscape: stopping cannot be a good way to understand the fundamental movement of nature, its coherence, lacking in fragments (Pleşu 2009, 46). It is desirable therefore, to analyse the way how film captures different landscape features otherwise omitted and if by this way of reading and interpreting, we can improve the landscape design process.

The main goal of this research is to complete the toolkit for landscape studies by using video recording technologies (the increasing importance of video language in today’s communication process). The study emphasizes the importance of landscape dynamic analysis and the need for specific tools that can support and capture its movement. This thesis supports and complements similar researches that forms a new direction in landscape approach and design. Film is proposed as a tool for this new method that opens original perspectives. Both the database and the grid of technical suggestions in making a video landscape, are designed to encourage the use of this tool and explore other ways of communicating and interpreting landscapes.

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II. STUDY ACTUALITY - previous researches

Chapter II highlights the context in which this research takes place, the relationship between the studied fields, the interdisciplinary of the concepts used in reference to theoretical and practical directions: • The relationship between architecture and cinema - concepts transfer; • Film as a critic and witness of landscape evolution; • Architecture as a tool in film; • Film as a pedagogical tool.

The relationship between film and landscape is investigated in order to underline the relations between environment, senses and representation. The film is studied not only as a mean, but as a language1, and further more, as an instrument of representation. Landscape representation in architectural drawings has not the power to grasp its complexity due to three attributes that landscape incorporates: landscape spatiality (places, like things, conjure up a wealth of images and ideas), landscape temporality, and landscape materiality (landscape experience belongs to the sensorium of the tactile, the poetry of material and touch) (Corner, 1992, 147-149).

The existing theoretical background leans mainly on the relationship between architecture and cinema (Cairns, Eisenstein, Godard, Higham, Koolhaas, Nouvel, Pallasmaa, Tschumi), landscape perspective is less analysed (Bruno, Girot, Hopkins). Thus, we can identify an insufficiently discussed segment that is intended to be approached and explored in more detail.

Film as an instrument is based on the transfer of processes, concepts and meaning, develops a critical thinking on how to watch a movie, has a documentary role and explores other relationships in terms of landscape analysis and representation.

Film is more than a mean of expression, is a language based on image, a reproduction of reality affecting the subjective and acquires significance (Martin, 1981, 30-35).

1

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Film as a tool supports a new space design method, recently debated, particularly in academia, with an experimental character, more in architecture and with timid attempts in urbanism and landscape. It is another tool with other principles that has the ability to enrich the perspectives and attitudes towards space design: ... it is very difficult to accept that it (the sounding approach of urban phenomenon, a.n.) also can be a synthetic one, that it can start vice versa, that the decoding and caring systematization of urban aspects are not the only way in which it can be contained. [...] filmic approach is essentially synthetic ... it does not decompose, but recompose ... the whole can be regarded otherwise than as a sum of its individual components. (Popescu, 2007, 205).

Girot concluded that precisely this ability to find, integrate and synthesize such complexity (of a landscape, a.n.) in thinking and design is what we lack today. (Girot, 2006, 91) Landscape is essentially a cinematic space by the way it is organised in time, through the dynamics of space and movement in space. A landscape in a film can be a source of inspiration, a critic on a specific issue, can act documentary or metaphorically (using symbols for transmitting messages) or instrument of analysis and investigation (video surveying, editing), of design or presentation and representation (the transformation of cinematographic techniques and effects into stylistic principles or spatial organization).

This paper focus on film as a tool for analysis and [re]presentation of the landscape, the line for cinematographic concepts transfer into the logic of landscape design is only mentioned and is open for future research.

III. LANDSCAPE REPRESENTING IN FILM the relationship between film and landscape Chapter III details landscape’s form of expression in cinema evolution by developing some specific elements of history of landscape representation in film in terms of design, composition and technique.

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The analysis of how landscape is captured in film (as a representative for moving images in

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general) was performed in order to create a critical attitude (from landscape architecture’s point of view) on how to watch a movie and how to develop the capacity to filter and select the presented information. The close relationship between urbanism / landscape architecture and film / stage design is reflected by the experience of discovering the space (urban / natural or cinematographic), visually and culturally. Landscape in film may reflect both an objective structure of reality or a metaphorical one, different views and attitudes embodied in a given space and time. Such an analysis is needed for a better connection to context and cultural elements in landscape design and planning.

Summarizing the theoretical framework, landscape role in film can be defined as: • decor - supports the film ambience, the landscape is in the background, it is not thought as a show itself, but supports the narrative and character development. The landscape may be setting itself or can have a documentary role.

• character - a dramatic role, a symbolic landscape, dynamic, with continuous changes, developing and completing with the narrative or the characters.

• sub-textual - metaphorical or allegorical, landscape is more than a decor or a character in the movie, it appeals to cultural and conceptual values to increase the visual and dramatic expressiveness, rises multiple interpretations that go beyond the screen and grasps the subjective reality of the spectator.

In a cinematic sequence, a landscape can fulfil multiple roles, the style of a film can be defined as the ratio between the dramatic scenery and ambience (Bazin, 1949, 216).

Capturing the landscape dynamics, relating to its evolution over time or to the perception in motion, requires a simplified composition1, but with a greater expressivity than static images (by calling the sense of proportion, balance and logic of editing). The study of stage-lighting, framing and the structure of compositional lines of the landscape in film completes the symbolic and metaphorical structure in reading it (landscape roles) with elements related to the organization in space. This study highlights the role of movement in landscape discovering. It show the relationship between composition and landscape: • Framing and changing plans determine the reading of the landscape between whole and detail, macro-landscape relates with micro-landscape.

The close-up plan exceeds its role of visual detail, the textures representation creates an haptic image.

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A complicated framework requires a rudimentary composition. (Bouleau, 1979, 49).

1

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•Capturing the landscape into a cinematographic image presents stylistic effects (of composition, colour and light) that can be translated into landscape design elements. Working with accents, rhythm, proportions of textures, lights and shadows, colour can map the basis for any concept in a landscape project.

• Filming techniques (travelling and panning) approach the audience to actual reading of the landscape, in movement. These techniques capture the idea of paths in space (used many times in both urban and landscape design), used for a sequentially discovery of it.

Editing principles of a landscape film serve to emphasize the rhythm of perception and reading, its symbolic and cultural value accentuated by similarities or contrasts of sound, image and meaning, the spatial relationships between landscape and man (user) or its evolution, development, and transformation.

• Editing logic approaches to the structure of photomontage and collage as a technique of representing the landscape, overlapping characteristic and defining features for its identity, emphasizing or veiling parts for the message to have persuasive power. A montage is closer to the storyboard method (which otherwise is borrowed from cinema), the sequential presentation of paths or landscape dynamics (both in analysis and proposals). Unlike these techniques, the montage captures two important elements of the landscape: the movement and sound.

In this chapter it was analysed the way how landscape is represented in film, the role it plays and its plastic expression. The analyse reveals two major landscape presentation lines (directions which are complementary and overlapping): • The documentary role of the landscape - real or imaginary landscapes presented as cultural expression of a certain period in time and space, objective or metaphorical structure, full of visions, symbols and associations.

• Landscape as a moving picture - the study of film images focuses on compositional effects of elements that can be translated into the functional and aesthetical structure of a landscape project. Space and paths design require the study of changes in a the dynamic landscape composition, as one of the possible ways.

Editing principles can be used to structure the presentation of the landscape project, either as video sequence or as the logic of the presentation. Through montage, landscape can be captured in its complexity, putting, in a short sequence of time, its defining characteristics, whether the context, details and textures, compositional structure - the dominant colour accents, rhythm, overlaid plans - or cultural symbols. Editing methods and techniques give coherence and meaning to the sequence and are designed to develop other ways of presenting

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a landscape, otherwise difficult or even indecipherable. The montage is used in this way to synthesize.

IV. COMPARATIVE ANALYSIS - deciphering the landscape through film analysis Chapter IV proposes to develop an analysis of a landscape in a film sequence taking into account the elements used for landscape deciphering in urban analysis through image study and the structure of elements used in film analysis. The methodological approach used in deciphering the landscape through film analysis is embodied in three steps: • Landscape analysis, in terms of urban studies, with emphasis on subjective reading of the landscape and image study; • Film analysis with emphasis on specific concepts used within and their interdisciplinary character; • Decomposing a film sequences using the already analysed criteria, deciphering how the landscape was represented and then synthesised its elements in a grid of suggestions in making a video landscape.

Fig. A.004 - Proposed approach to deciphering the landscape through film analysis// [source: author]

Thus, it is proposed to find new relations between these two fields (landscape architecture and cinema), relationships that encourage film concepts to enrich the perspectives on landscape.

The analysis reveal a number of common elements used in landscape or movie decoding referring to context and language elements.

Subchapter Decomposition a film sequence proposes to exemplify a landscape deciphering method through film, analysing 7 clips (three short films made at different levels of

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professionalism, and four movie clips, different in terms of the ratio between technique and significance). It investigates several levels (concept, editing logic and transition types, image composition, shooting technique and frame length) and how each clip addresses these issues. [urbanism]

[cinematography]

landscape analysis Context

Language elements

Structure Organisation Image Accents, dominants Compositional axes, force lines Panoramas and successive plans Textures and colours

Perspective point

film analysis urbanism territory evolution spatial organisation, land use landscape ambiance Node, landmark

cinematography narrative editing, Mise-enscène Decor axes intersection, symbol paths, limit in compositional territory armature visual depth of fields camera movement, panning shot, framing Tonal proportion Relation between build and natural - the light and colour degree of intervention into landscape Types of perspective Angles of filming

Fig. A.005 - Summary table of the common elements of landscape or movie decoding in specialized analysis // [source: author]

The analyses are carried out in terms of how the landscape appears in film, both in terms of significance (the relationship between the general concept with the landscape, the role of landscape in clip - as decor, as character, sub-textual role) and technique (how to edit - as an expression of the concept - filming technique and landscape composition).

Although the sequences occupy a fairly wide range, there are some recurring elements and lines of solutions:

1. Context: The relationship between the concept and the narrative structure (of the

landscape) materialized by the editing logic (the way the shots are added and paste reflects the overall concept and it subordinates to narrative, the meaning, the message). This is reflected by:

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a. Plans with inserted text - can be part of the generic and have an important role in completing the visual information with written information, presents the clip concept or conclusion. It is an objective way of transmitting information, leave fewer interpretations, presents the author’s vision. b. Montage rhythm - fast, symmetrical, slow, upward to one or more points of intensity, generally organized on a classical narrative structure in three or five points. Either as a whole or a clip sequence we find a part of orientation (introduction in context or general issue), a complication (with one or more points of tension) and a resolution (conclusion). It is determined by the frame length and type of transitions.

2. Composition: how landscape is depict in motion:

a. The shooting technique determines the frame length and the type of information transmitted: how landscape is captured emphasizes its rollers in the clip, the author’s attitude and message that he wants to communicate. b. The image composition reflects and supports the concept by different techniques: compositional axis, repetitive frames as leitmotivs, close-up and long shots alternation, movement in frame, colours, light and contrast, audio composition). It can be a symbolic or metaphorical image. c. The transitions types used influences the message: image cuts, sound cuts, motion cuts, compositional or ideas cuts.

V. DATABASE - working and synthesis instrument for landscape elements in film Chapter V proposes to organize an online platform to include a landscape video library with a documentary role; its structure takes into account three directions studied in Chapter III landscape in film concept, image composition and representation technique.

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The Database is proposed as a working and synthesis tool for landscapes features represented in films. This is the result of interaction between cinema and urbanism and aims to facilitate the search of different landscape issues (conceptual - how the urban development was addressed in films, the relationship between landscape dynamic and sociocultural or political trends, landscape and urban design troubleshooting, or technical - how to capture a landscape through the camera lens and editing logic).

The database will be an online library of video landscapes (Landscape video library - http:// www.lvl.pata.ro/). Each sequence or landscape film will be represented by an identification sheet which will include written data, images and / or videos.

These data are divided into two classes of information, one that refers to the entire film / video (text data - title, year, credits, presented landscape and real location, keywords, comments images or hyperlinks) and the second will highlight one or more significant sequences from a particular point of view in terms of landscape representation technique (text data - comments, keywords, location, reviews, sequence localization, simple or as tables - and videos).

VI. VIDEO LANDSCAPE - tool for analysis and [re]presentation

Chapter VI proposes synthesizing the analyses elements from the first part of the paper in a grid of technical suggestions in making a video landscape, exemplify this concept by creating an montage, and drawing future lines of research.

The grid of technical suggestions in making a video landscape is a rough guide and is directed by two general categories according to the type of landscape to be analysed or represented: tense / dynamic / diverse landscape and calm / unitary / balanced landscape.

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Film / Video General Information Title La roue [The Wheel] Year

1923

Credits

Abel Gance (director)

Presented Landscape [year]

France: mountains landscape [1923]

Actual Location [year]

Nice; Saint-Gervais d’Auvergne; Mont Blanc mountains; Chamonix [1923] La roue

External Links - IMDB, youtube, vimeo

General Information: Subject - Content – Meaning Keywords – Tags dynamic perception of landscape, train, accelerate montage; black and white

Textbox Comments

The movie is presenting the landscape from Saint-Gervais d’Auvergne to Nice viewed from the train, the dynamic perception of the landscape.

The mountain landscape of Mont Blanc is also playing an important role in the visual image of the movie. The landscape is more than a visual background, is emphasizing the narrative and the characters.

Sequence: Composition and shooting techniques Time Sequence Location [1:39:14 – 1:44:34]

Actual Location [year]

trainscape; mountain landscape [1923] France [1923]

Image Composition)

[Structural Lines] [Light] [Colour] [Sound] [Rhythm]

Camera Movement

[Travelling] [Panoramic] [Zoom] [Dolly Zoom] [Camera Angles]

Montage

[Rhythmic Montage] [Symbolically Montage] [Spatial Connections] [Decoupage technique] [Analytic Assembly] [Sound Montage] [Contrast Montage]

Presented Landscape [year]

Sequence that presents one of the first accelerate montages. The usage of different types of shots (concerning the length, angles and field sizes) embodies the scene with great expressivity.

Comments

Keywords – Tags External

accelerate montage, close-up shots

Links - Googlemaps

Saint-Gervais d’Auvergne -> Nice

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Fig. A.006 - Database (landscape video library)- example of a film documentary sheet// [source: author]

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Technical suggestions in making a VIDEO LANDSCAPE Tense / dynamic / diverse Calm / unitary / balanced landscape landscape.

Determines the organization of video image and is defined by the relationship between - motion - sound - and significance.

Concept Landscape role

Composition

Compositional means

Lines

Light and colour

Framing effects

Plans

Angle of framing

In particular, documentary and sub-textual roles - completes the objective context with subjective valence to find and communicate specific values of the landscape (description of landscape ambience).

The use of symbols and metaphors to underline the concept and transmit meaning.

Organizing the image in order to transmit a message.

A complicated framework imposes a simplified composition.

Using different proportions in terms of light, colour or predominant character lines.

Unity, symmetry, balance, static Contrast, asymmetry, fragmentation, stiffness, composition.

Clear plans, studied composition dynamic composition. in terms of structural, light and Image composition rate is colour. subject to editing, and images may be blurred.

The use of filters and effects, metaphorical and symbolic images.

The skyline - 1/3 of the image - opening; 2/3 of the image oppression.

Compositions with vertical or Compositions dominant diagonal strong dominants. horizontal.

Straight lines, upward.

Curves, continue, downward.

Shadow and light. Colour - concept theme.

The dramatic role of light (time of day the filming).

Accents, cold tone proportion, Balance, proportion warm tone, varied. uniform.

Ellipse - induced image or sounds outside the frame.

Synecdoche - adding detail, intercalation with a close-up.

Symbol - suggest an idea through an image.

Depth of field - to highlight the movement in frame or the action carried out on several levels.

Exchange between long shots Using a small number of shots, and close-ups, plans of shorter with great length, mainly long lengths, especially close-ups. shots, stacked in depth.

Deep space - elements in Working with a single montage foreground (depth of filed). plan.

Using multiple plans simultaneously.

Divers angle of framing, dynamic The angles of framing are mostly exchange: horizontal, at different horizontally or plonge. levels of framing, plonge, contra plonge.

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VIDEO LANDSCAPE - FILM AS A TOOL FOR LANDSCAPE ANALYSIS AND [RE]PRESENTATION

Shooting techniques

Editing Narrative structure

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Travelling, handheld camera, Shooting with a fixed camera, accelerated movement, sudden, panoramas, slow movements. zooms, rapid exchange of shots Uses 1 or 2 filming techniques. and filming techniques.

Slow motion frame (or still Movement in frame. frames).

Support landscape concept through editing logic, marking important points through counterpoint or contrast.

Development on multiple lines Linear development, single point with multiple points of intensity; of intensity that marks the most asymmetric organization, important element; classic, interlaced generic. symmetric organization.

Expressive montage: analytic, Montage Expressive montage: analytic, contrast (sound, ideologic). symbolic, similarity.

Narrative Montage: alternate, Narrative Montage: alternate or parallel. successive.

Rhythm Normal speed, fast and ultra fast, Slow or normal speed, uniform, with breaks, uneven. linear, descriptive. given by: the movement in space, plans length, composition complexity, movement in frame.

Transitions Cut, pan.

Fondue (fade), fondu-enchaĂŽnĂŠ, shutter and iris.

Transitions The similarity of processes, psychological or ideas connections.

Motion, sound contrast or Composition, image, sound counterpoint. counterpoint connections.

Sound Juxtaposition in counterpoint or contrast with the image, sound or image ellipses.

Mostly diegetic.

Diegetic, extradiegetic.

Shoot length Framing: frame detail: between 1frame/ 1s (often repetitive) and 1frame / 3-6s; Overall frames: between 8-11s; Shooting technique: the movie from fixed: between 2-4s; coated frames moving (travelling or panning) with speed and image rate between 5-7s / 10-20s; The point is that the narrative structure: 3-5 frames / s and 1frame / 2-3s- for high intensity points; between 4-10s - for breaks; Plans with text inserts: between 2-7s to 14s depending on quantity and complexity.

Fig. A.007. - Table of technical suggestions in making a video landscape // [source: author]

The proposed clip, as a possible way of making a video landscape, emphasizes landscapes multidimensional perception, haptic, through details. These are the ones that compose the image, whether textures (mineral or vegetable), elements of urban furniture or different users (how space is used). The video shows in parallel, a full picture of the landscape and its

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breakdown into three sections, details at different height. It was selected University Square in Bucharest to discuss, in an urban square, the relationship between pedestrian and cars.

In achieving this, it was taken into account the grid of technical suggestions detailed above and the conclusions of comparative analyses presented in Chapter IV, detailing levels referring to concept, narrative structure and editing technique, rhythm and shooting technique, image composition and length frames.

A video landscape does not necessarily provide a true picture of the analysed site (because of the composed framework and the multiple and simultaneously perspectives from different angles), but rather a subjective vision, already passed through a personal filter and express the movement in space, the roles of textures and how sound influences the perception (ratio between details and overview). The montage captures the elements filmed by the camera that emphasize different landscape attributes: a public space structured and strongly influenced by traffic, the adjacent noise, a space that lives, however, both as transit line and as a meeting point.

In a context where video is more and more an universal medium of expression, information and communication, a research on how the landscape can be investigated and represented through film is considered to be appropriate.

The proposed tools for this study (the video landscape and the database) are integrated in the sensitive reading process of the landscape in some steps (these are not exhaustive and may be supplemented) which refers to the analysis and [re]presentation.

Video survey - it refers to the direct recording of the landscape through video camera.

It materializes, in particular, the third line of the landscape survey (Stan, 2012, 75-76), the survey of landscape dynamics. It reflects the real-time dynamics of the landscape (the dynamic landscape and movement in landscape) through montage, that can expand to other temporal scales.

Documentation on how to represent landscapes in film, through the landscapes video

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Landscape perception through details (2014) [source: images from the clip: https://vimeo.com/107322790

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Fig. A.008. - Extract from the decomposition scheme for the presented video landscape // [source: author]

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library. The documentation is proposed to be achieved in two directions: • at conceptual level - the landscape role, its significance, and cultural value; • at compositional, technical, and expressive level, (plastic) - image composition, filming techniques and editing logic;

Video landscape - the description of a narrative landscape (Stan, 2012, 77) through film.

Editing is performed according to the concept that is intended to be presented by using the database and the grid of technical suggestions.

Fig. A.009 - Steps used in the sensible landscape reading, through film as a tool for analysis and representation: [1] - using the database for documentation on a landscape design object (similar topics, types and landscape issues, approaches, concepts, locations (cities ), historical periods, movements, etc.); [2] - landscape analysis in situ; [3] - making a surveying video (image study) using various elements of composition and camera techniques (variety of shooting angles, framing, light, time of day, camera movements that provide the material for the next phase of editing) ; [4] documenting the logic of a montage through the database and finding the most suitable techniques to highlight the analysed landscape concept; [5] making a video (film editing) as a conceptual representation of the landscape; [6] - complete the database with the realised video landscape. // [source: author]

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Therefore, the use of the video landscape as a tool for analysing and [re]presentation in the sensible reading of the landscape involves the investigation of space through the video camera and the research of how a space can be represented through and in a film.

The relationship between film and landscape is complex and may be embodied in several directions. The present study aimed to approach the film as a tool of analysis and representation of the landscape (for professionals), by researching how it is presented in various film productions in terms of significance, composition, filming techniques and the organization of the montage.

If we consider the film as a tool in landscape design, besides the analysed directions: • the documentary role of a film - in landscape analysis - as witness of the landscape evolution, as a moving picture (compositional elements and stylistic affects translated to be applied in landscape design); • film as a language of landscape presentation and representation - as a video survey or montage (video landscape). it detaches other two possible future research lines:

1. The film - communication language for the landscaping project - for a wider range of

people (not just for specialists but also for public administration, media, users - beneficiaries).

The film study and its decoding and transmitting role of a message for nonprofessionals - film as the landscape project representation in dialogue with the public. This direction requires a separate approach especially since the legislative framework requires the existence of a participatory dialogue, a public consultation on the project.

The specialized language of urban and landscape planning can often be not enough to be able to convey the proposed vision, a representation through a language, today common, highlights the opportunities for the study in this direction.

The establishing tools of representation influence not only the entire decision making process and the media, but also subsequently the entire design and building process. The discrepancy between drawings and plans as tool of commercial and political seduction and the same documents used as a basis for the production and construction of environments has demonstrated concrete the limitation about the way we think of a city and its landscape today. (Girot 2006, 92)

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2. Using film in spatial design concept of the landscape, not just as a tool for analysis

and representation - translating the cinematographic concepts into spatial and organisational concepts, approaches in landscape intervention, narrative principles translated into ways of discovering the space - the scenographic perception of the designed space.

This direction involves completing the series of interdisciplinary concepts (sequence / sequentially, script, storyboard) and others such as cuts, filming techniques, working with plans and their depth or editing logic.

Like landscape design, film creates landscapes, it is not just reproducing them (as other areas dealing with the study of landscape do), but it also producing them (Corner, 1992). Cinema conceptualizes spaces, creates artificial spaces starting from fragments of real space (Martin, 1981, 233). Therefore, studying the relationship between film and landscape regarding the design process is seen as desirable, even essential of the field under study.

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Auguste Lumière Louis Lumière

Sortie des Usines Lumière à Lyon L’Arriveé d’un train en gare La Places des Cordeliers à Lyon Les Forgerons L’Arroseur Arrosé Repas de bébé Sortie de la pompe Mise en batterie Attaque du feu Sauvetage Le Débarquement du Congrès de Photographie à Lyon Jeux d’enfants dans une rue

1896 Francisque Doublier M. Perrigot

Couronnement du tsar Nicolas II

1897

Auguste Lumière Louis Lumière

L’arrivée d’un train à La Ciotat

1896

Georges Méliès

Escamotage d’une dame

1901

Ferdinand Zecca

Histoire d’un crime

1902

Georges Méliès

Voyage dans la Lune

1903

Edwin S. Porter

The Great Train Robbery

1915

D. W. Griffith

The Birth of a Nation

1917

Karl Freund

Die Faust des Riesen

1919

Mauritz Stille

Herr Arnes pengar

1920

Robert Wiene

Das Cabinet des Dr. Caligari

1922

F. W. Murnau

Nosferatu, eine Symphonie des Grauens

Robert J. Flaherty

Nanook of the North

1923

Abel Gance

La roue

1924

René Clair

Entr’acte11

1925

Sergei Eisenstei

Bronenosets Potemkin Stachka

1926

Robert J. Flaherty

Moana

Vsevolod Pudovkin

Mat

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VIDEO LANDSCAPE - FILM AS A TOOL FOR LANDSCAPE ANALYSIS AND [RE]PRESENTATION

Alan Crosland

The Jazz Singer

Fritz Lang

Metropolis

Walter Ruttman

Berlin: Die Sinfonie der Grosstadt

M. C. Cooper E. B. Schoedsack

Chang: A Drama of the Wilderness

1928

Victor Sjöström

The Wind

1929

Luis Buñuel Salvador Dalí

Un Chien Andalou

Dziga Vertov

Chelovek S Kinopparatom

Adalberto Kemény

São Paulo, Sinfonia da Metrópole

Joris Ivens

Regen De Brug

1930

Aleksandr Dovzhenko

Zemlya

1931

M. C. Cooper E. B. Schoedsack

King Kong

1933

Gustav Machaty

Extaz

1935

Edgar Anstey Arthur Elton

Housing Problems

Aleksandr Dovzhenko

Aerograd

Charlie Chaplin

Modern Times

Jean Renoir

Une partie de campagne

Giacomo Gentilomo

Sinfonia di Roma

John Taylor

The Smoke Menace

Ralph Steiner Willard Van Dyke

The City

John Ford

Stagecoach

1940

Alfred Hitchcock

Rebecca

1941

Orson Welles

Citizen Kane

1942

John Eldridge

New Towns for Old

1944

Henri Storck

Boerensymfonie / Symphonie paysanne

1945

Roberto Rossellini

Roma, città aperta

1946

John Ford

My Darling Clementine

Jill Craigie

The Way We Live

Roberto Rossellini

Paisà

Vittorio de Sica

Sciuscià (Ragazzi)

Alfred Hitchcock

Rope

H.C. Potter

Mr. Blandings Builds His Dream House

Vittorio de Sica

Ladri di biciclette

Roberto Rossellini

Germania, anno zero

John Huston

Treasure of the Sierra Madre

Billy Wilder

Sunset Boulevard

Akira Kurosawa

Rashomon

Anthony Mann

Winchester ’73

Giuseppe De Santis

Roma, ore undici

Akira Kurosawa

Ikiru

1953

Arne Sucksdorff

Det stora äventyret

1954

Alfred Hitchcock

Rear Window

1927

1936 1937 1939

1948

1950

1952

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Pather Panchali

Satyajit

Ivo Michiels Roland Verhavert

Seagulls Die in the Harbour

1957

Michelangelo Antononi

Il Grido

1958

Jacques Tati

Mon Oncle

Alfred Hitchcock

Vertigo

1955

North by Northwest

1959 John Ford

Sergeant Rutledge

Michelangelo Antonioni

L’Aventura

Stan Brakhage

Dog Star Man

David Lean

Lawrence al Arabiei

1963

Alfred Hitchcock

The Birds

1964

Michelangero Antonioni

Il deserto rosso

1965

David Lean

Doctor Zhivago

1966

Ingmar Berhman

Persona

Michelangelo Antonioni

Blowup

Dennis Hopper

Easy Rider

Jacques Tati

Playtime

1968

Stanley Kubrick

2001: A Space Odyssey

1970

Alejandro Jodorowsky

El Topo

Michelangelo Antonioni

Zabriskie Point

1971

Nicolas Roeg

Walkabout

1974

Roman Polanski

Chinatown

1975

Andrei Tarkovski

Stalker

Peter Weir

Picnic at Hanging Rock

Theo Anghelopoulos

O Thiassos

1976

Carol Corfanta

Serenadă pentru etajul XII

1978

Woody Allen

Manhattan

Francis Ford Copola

Apocalypse now

1981

Christian Schocher

Reisender Krieger

1982

Godfrey Reggio

Koyaanisqatsi

Ridley Scott

Blade Runner

Werner Herzog

Fitzcarraldo

1984

Eric Rochant

Comme les doigts de la main

1985

Terry Gilliam

Brazil

1987

Win Wenders

Der Himmel über Berlin

1995

James Benning

Deseret

1992

Ron Fricke

Baraka

1999

Andy Wachowski Lana Wachowski

The Matrix

2001

Lucian Pintilie

După-amiaza unui torționar

2002

Joel Schumacher

Phone Booth

The Chemical Brothers Michel Gondry

Star Guitar

Fernando Mierelles

Cidade de Deus

Martin Scorseset

Gangs of New York

Yimou Zhang

Ying xiong

1960 1962

1967

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VIDEO LANDSCAPE - FILM AS A TOOL FOR LANDSCAPE ANALYSIS AND [RE]PRESENTATION

2003

Ki-duk Kim

Bom yeoreum gaeul gyeoul geurigo bom

2006

Jim Brown Gary Burns

Radiant City

Tarsem Singh

The Fall

2009

James Cameron

Avatar

2010

Christopher Nolan

Inception

Terrence Malick

Tree of Life

Marina Marque

Phe Pulse of a Neighbourhood

Gustavo Taretto

Medianeras

Win Wenders

Pina

2012

Steven Briand

Shunpo

2013

Gore Verbinski

The Lone Ranger

Erick Flores Garnelo

City sounds

2011

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