FRAME[D] [ANNOTATED] BIBLIOGRAPHY
M. PRUETT SMITH FALL 2018
[ANNOTATED] BIBLIOGRAPHY LITERATURE Antunes, Luis Rocha. The Multisensory Film Experience : a Cognitive Model of Experiental Film Aesthetics. 2016.
Luis Rocha Antunes has a Ph.D. in film studies for the University of Kent and a Ph.D. in aesthetics for the Norwegian University of Science and Technology. His work investigates film’sphilosophy of perception. Although film has traditionally been studied as an audio-visual medium, in this book, Antunes discusses the neurological and philosophical ways in which we engage with a film. He defines the filmic experience as multisensory and experiential on many levels.
Barthes, Roland. The Rustle of Language. 1st ed., Hill and Wang, 1986.
Roland Barthes was a French literary theorist, philosopher, linguist, critic, and semiotician. Barthes’ infuence reached far, exploring diverse theoretical fields including structuralism, semiotics, social theory, design theory, anthropology, and post-structuralism. His section in this book titled, “Leaving the Movie Theater” explores the hypnotic and all-consuming experience of film in a poetic and experiential manner.
Bordwell, David and Kristin Thompson. Film Art: An Introduction (10th Ed.). McGraw Hill, 2013.
Calvino, Italo. “THE ADVENTURE OF A PHOTOGRAPHER.” Art on Paper, vol. 12, no. 4, 2008, pp. 42–47.
Italo Calvino was an Italian journalist and writer of short stories and novels. In this critique on the physical act of photography, documentation, and the [static] image, Calvino uses his main character, Antonino Paraggi to illustrate the flaws and joys of
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David Bordwell is an American film theorist and film historian whose work has focused closely on film form and formal analysis. Kristin Thompsonan American film theorist and author whose research interests include the close formal analysis of films, the history of film styles, and “quality television,” a genre akin to art film. This book is an introduction to the analysis of cinema. Bordwell and Thompson introduce a skillset by which their audience can critically analyze film and provide deeply insightful critique on classic examples.
the image and the cultural obsession with the medium.
Colomina, Beatriz. Privacy and Publicity: Modern Architecture as Mass Media. The MIT Press, 1994.
Beatriz Colomina is a Professor of Architecture and Founding Director of the Program in Media and Modernity at Princeton University. She is also the editor of Sexuality and Space, and the coeditor of Cold War Hot Houses: Inventing Postwar Culture from Cockpit to Playboy. In this book, Colomina articulates the relationship between modern architecture and the mass media. She illustrates a new way of repositioning the criticism of architecture, placing the site of an architecture within the photographs, films, publications, and exhibitions that [re]presented it. This type of displacement from location can be understood as a way to interpret buildings as defined by the image rather than their walls.
Evans, Robin. The Projective Cast : Architecture and Its Three Geometries. MIT Press, 1995. Robin Evans was a British architect, teacher and historian. This book is about the architect’s consumption of geometries and the realization of architectural forms. He argues that the architect should not depend so wholly on image to create form and that there is more to architecture than what can merely be drawn. Evans develops fields of projective transmissions that concern the discipline and investigates the interactions between drawing types, imagination and perception, and the designed object. His diagram of “The Arrested Image” serves as a platform for engaging filmic representation and interpreting its influence on other modes of representation.
Thomas Friedman is an American journalist and author. He has written extensively on foreign affairs, global trade, the Middle East, globalization, and environmental issues. In his book on globalization and the flattening of the world, Friedman accounts both the opportunities and drawbacks of our worldwide systems. His reshaping of world views as a flattened space where individuals are powerful is sophisticated and current. His representation of the world as it relates to current cultural phenomena is exacting.
Holl, Steven., et al. Questions of Perception : Phenomenology of Architecture. 2nd ed., William Stout, 2006.
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Friedman, Thomas L. The World Is Flat: A Brief History of the Twenty-First Century [Further Updated and Expanded]. Vol. 3, Picador, 2007.
Steven Holl is a New York-based American architect and watercolorist, Juhani Pallasmaa is a Finnish architect and former professor of architecture and dean at the Helsinki University of Technology, and Alberto Perez Gomes is an architectural historian. All three of these authors are well-known as theorists rooted in a phenomenological approach to architecture. This book, discusses each phenomenological aspect of the five senses and explores an architectural approach to engaging with them. They discuss identification and taste as well as the overarching tasks they believe belong to the discipline of architecture in response to the explorations.
Koolhaas, Rem. “Junkspace.” October, vol. 100, 2002, pp. 175–190. Rem Koolhaas a Dutch architect and architectural theorist, professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University as well as the founding partner of OMA. In this book, he illustrates the result of modernization as junkspace: a world in which ‘things’ are built and filled with ‘stuff’ but give no place or meaning to the world. Through this work of stream-of-consciousness prose, Koolhaas describes the devaluation of architectural contexts.
Leach, Neil., and NetLibrary, Inc. The Anaesthetics of Architecture. MIT Press, 1999. Neil Leach is a British architect and theorist. This book is a critique on the growing obsession with the image and image-making within the architectural discipline. Leach believes that the saturation of image obscures deeper concerns, anaesthetizing architects from current social and political problems of contemporary culture.
Gerald Mast was an author, film historian, and a faculty member at the University of Chicago. Bruce F. Kawin is a Professor of English and Film Studies at the University of Colorado, and author. He is also the editor of William Faulkner’s MGM screenplays. This book is a historical account of film from the earliest beginnings into the digital age.
McGinn, Colin. The Power of Movies : How Screen and Mind Interact. 1st ed., Pantheon Books, 2005.
Colin McGinn a British philosopher and a professor of philosophy at Rutgers University. In this book, McGinn discusses how film is able to make such an impact on the
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Mast, Gerald, and Kawin, Bruce F. A Short History of the Movies. Abridged 9th ed. / abridged by William Costanzo., Pearson Education, 2007.
human race. He investigates film as screen, film as consciousness, and film as dream. He argues that filmic techniques and editing echo the processes of our consciousness, helping us to find our own minds in the films we watch.
Murch, Walter. In the Blink of an Eye : a Perspective on Film Editing. 2nd ed., Silman-James Press, 2001.
Walter Murch is an American film editor and sound designer. He has worked on many significant projects such as Apocalypse Now, Godfather I, II, and III, and the English Patient. His book is a culmination of his experience in the industry and discusses, in depth, how and why things are edited the way they are. Chapters 1-6 and chapter 13 have been particularly helpful in the discussion of how film editing shapes a narrative and spatial cognition, as well as visualizing time and space.
Pallasmaa, Juhani., and ProQuest. The Eyes of the Skin : Architecture and the Senses. 3rd ed., Wiley, 2012.
Juhani Pallasmaa is a Finnish architect and former professor of architecture and dean at the Helsinki University of Technology. This book questions why the visual sense has become the one that is dominantly catered to in the profession of architecture. Pallasmaa argues that by suppressing the other four senses: taste, smell, hearing, and touch, we have suppressed 4/5ths of the opportunities in the built environment.
Pallasmaa, Juhani. The Embodied Image: Imagination and Imagery in Architecture. Wiley, 2011.
“Part One.” The Aesthetics of Disappearance, by Paul Virilio, Semiotext(e), 2009, pp. 9–40. Paul Virilio is a French cultural theorist, urbanist, and aesthetic philosopher who has written extensively on the topics of speed and technology. In the first part of this text, Virilio describes a particular phenomena called picnoleptic. It is the essential understanding that moments in our lives, memories, and ideas disappear. He relates this
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Juhani Pallasmaa is a Finnish architect and former professor of architecture and dean at the Helsinki University of Technology. He has written many works on the image and its relationship to our sensory perception. This book recognizes the image as a multi-sensory depiction of space and time. Pallasmaa relishes in the possibilities that the poeticised image can evoke in perceived space. He analyzes projections of oneself onto an image and the projection of images onto physical space within the mind. Pallasmaa articulates the mental impact that stems from the image of an architecture and its use for the architectural discipline.
to our comprehension of time and space and the ways in which we collapse these circumstances.
Sterling, Bruce, et al. Shaping Things. MIT Press, 2005. Bruce Sterling is a futurist and American science fiction author. In his book on the future of objects and our relationship to them, he challenges those who would like to be part of the technosoical transformation and engages a language for what might be possible. Sterling defines our current world in terms of cognitive load and opportunity cost in response to the overwhelming amount of information at our fingertips and our evolving reaction to it.
Tarkovskiĭ, Andreĭ Arsenʹevich. Sculpting in Time : Reflections on the Cinema. Alfred A. Knopf, 1987.
Tarkovskiĭ, Andreĭ Arsenʹevich was a Russian filmmaker, writer, film editor, film theorist, theatre and opera director. In this book, Tarkovskiĭ discusses his works, methodology, and filmic theory. His chapter on the film image introduces ideas about what the image means, how people interpret it, and what its significance is in history. He emphasizes the importance of content and its relationship to the human conscience, as well as the collapse of time and space in film.
“The Explosion of Space: Architecture and the Filmic Imaginary.” Warped Space: Art, Architecture, and Anxiety in Modern Culture, by Anthony Vidler, MIT Press, 2000, pp. 99–110.
Tschumi, Bernard. Architecture and Disjunction. The MIT Press, 2001. Bernard Tschumi is the Principal Architect of Bernard Tschumi Architects, New York and Paris. This book combines Tschumi’s avant-garde theoretical essays from 19751990. It attempts to convey how architects might engage with a world that is dis-
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Anthony Vidler is the Dean and Professor of the Irwin S. Chanin School of Architecture at The Cooper Union, New York. In the second section of this book, Anthony Vidler analyzes warped space in terms of how artists [and architects] are depicting space by utilizing the agencies and specificities of other genres and mediums. In his chapter on “The Explosion of Space”, he explores the possibilities of film as modes of designing space. He articulates clear ideas about filmic history, cineplastics, and spaces of horror as well as their manifestation in spaces such as pan-geometries and psycho spaces.
continuous and diverse--a radically different culture in terms of social structure and spatial engagement. His essays oppose both modernism and postmodern thought, encouraging an outlook on a new world culture centered on event and program.
Yellow King Film Boy. “Quentin Tarantino Talks About Writing “I Write Screenplays Like A Novel.” Online Video Clip. Youtube, 19 March 2018. Web.
This video is an interview with Quentin Tarantino on writing screenplays for his films, specifically for The Hateful Eight. He discusses his methods on writing as a novelist and then adapting for the screen, using his narrative and characters to truly shape the visual space and allowing his methods to dictate his final product.
Vertov, Dziga, and Michelson, Annette. Kino-Eye : the Writings of Dziga Vertov. University of California Press, 1984.
Dziga Vertov was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. This collection of Vertov’s writing includes calculated manifestos and discusses the potentials of film and the control of governments which suppress filmic advancement in fear of its power. He introduces ideas about the ‘kino-eye,’ a film technique developed by Vertov. This technique was used to capture what Vertov believed was the most truthful and honest version of the world, as seen through a camera lens, and inaccessible to the human eye on its own.
Virilio, Paul. The Lost Dimension. Semiotext(e), 1991.
Paul Virilio is a French cultural theorist, urbanist, and aesthetic philosopher who has written extensively on the topics of speed and technology. In this book Virilio documents the present as a displacement of space and time and its relationship to economy and the postmodern city.
Peter Zumthor is a Swiss architect. This book discusses the composition of atmospheres and the poetics of architecture in relationship to material and place, as well as phenomenological response to physical space. Zumthor questions what the quality of a space means and its significance in the discipline.
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Zumthor, Peter. Atmospheres : Architectural Environments, Surrounding Objects. BirkhäUser, 2006.
FILMS
Bitzer, G. W., writer. D.W. Griffith, director. The Girl and Her Trust. Biograph, 1912.
This film was written by G. W. Bitzer and directed by D. W. Griffith. D. W. Griffith was an American director, writer, and producer who pioneered modern cinematic techniques. He is known as one of the first directors to use cross-cutting as a method of representing multiple places at the same time. This early film is an example of his multi-event sequences on screen.
Keaton, Buster, et al. Sherlock Jr. Kino Lorber, Inc., 1999.
Joseph Frank [Buster] Keaton was an American actor, comedian, film director, producer, screenwriter, and stunt performer. In this film, Buster depicted one of the first examples of subjective narration in film when the main character falls asleep in the projection room. Through his dream sequence, Buster is able to create several alternate representations of space and project multiple narratives in a singular screen. The famous sequence of Buster entering the movie screen and moving through changing sets is a feat of both editing and a new representation of inhabited narrative.
Murray, James, et al. The Crowd. MGM/UA Home Video, 1989.
Vertov, Dziga, director. Dziga Vertov’s the Man with the Movie Camera. Publisher Not Identified, 1929.
Dziga Vertov was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. He contributed greatly to the cinéma vérité style of documentaries as well as the montage method of Sergei Eisenstein. This film is a particularly significant example of his work describing a city through the lens of the movie camera. A short sequence of stop-motion gives the camera a life of its own, double exposures of eyes and camera shutters take on a metaphor of seeing, and a compilation of city
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This film, directed by King Vidor and starring James Murray, is about an archetypal man and woman trying to survive in a nondescript metropolis. The final scene in the film is a shot in the movie theater looking at the crowd. The camera pulls back from the couple to reveal hundreds of other movie goers, anonymously identifying with the film on the screen in front of them.
scenes and cinema houses represents the cinema as the beginning and end of the lives of the people in the city.
Welles, Orson, et al. Citizen Kane. 70th anniversary ed.]. ed., Turner Entertainment Co. : Warner Bros. Entertainment : Distributed by Warner Home Video, 2011.
This film was directed by Orson Welles, an American actor, director, writer, and producer who worked in theatre, radio, and film. The film is known as one of the best of all time because of its cinematic qualities and narrative. Welles was able to craft incredible imagery and scenic spaces in this film by using ghosted sets where only certain aspects of the scene were meticulously crafted and spaces were shot so that light of sound filled in the rest of the details.
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