However, it can be argued that architecture has borrowed some of its
concepts from cinema such as framing, montage and, in turn, cinema
fromarchitecture such as space, window. Furthermore both have borrowed
from otherfields, for example, from art: perspective, depth, and from
philosophy: representation, reality, and symbol. Architecture and cinema
have much in commonwhen these concepts are concerned.
'Then the bad guy goes to the
girl's house and kidnaps her. He takes her to the suburbs and locks her
up in an abandoned, ruined building. At that moment the lover of the
girl who is a policeman runs after a thief in the slums.' In a film, it
seems impossible tonarrate these events independent of space.
Various optical effects, such as
the stationary point of the camera, or scale of the shot, can give clues
about off-screen space. A door is seen from the outside. The viewer
knows that this door is a part of a public building as many people go in
and out. He knows that the camera is in an urban space, a street or a
square, since he sees the door from eye level. If the door is seen from
bird's eye view, for instance, he imagines that the shot is taken from a
high-rise building nearby. When the viewer sees a man at a window on the
next shot, he imagines that the man is looking at the door from the
window of a high-rise building.
作者简介
北爱尔兰贝尔法斯特女王大学建筑学高级讲师（副教授，博士）。
她在美国、荷兰、土耳其、爱尔兰和英国从事建筑和电影交叉领域研究超过20年。
About Gül Kaçmaz Erk
A senior lecturer (Assoc.
Prof. Dr.) in Architecture at Queen’s University Belfast in Northern
Ireland, UK.
She has been conducting interdisciplinary research
at the intersection of architecture and cinema in the USA, the
Netherlands, Turkey, Ireland and the UK for 20+ years.
