Terri Meyer Boake BES BArch MArch LEED AP
Professor | School of Architecture | University of Waterloo
 

Arch 443/646: Architecture and Film
Winter 2014: Course Home Page

metropolis

 

"icons + f/x"

 

Fridays: ARC1001 1 to 5pm

Course Description:
This course explores the relationship between Architecture and the development of early and modern films. Students will look at the source and portrayal of architectural expression in film: precedents for imagery, its relationship to the development of early modern architecture, and its vision of the urban future.

The theme for this term is "icons + f/x". What constitutes an "icon" when it comes to the role of architecture in film. Is the film iconic or is it the presentation of the architecture? Can the architecture take on a character role in a film? We will be viewing a variety of films that manipulate our reading of architecture and the urban environment through the use of special effects and general manipulation of environments. Such manipulation will include the use of models and other devices that change the perception of the architectural environments. f/x for the purpose of this exploration will be taken very broadly and also include any manipulation of sound, lighting and filming angles that are used to change the depiction of space. Rather than focusing on the "Hollywood" idea of f/x (Inception, Tron, Armageddon...), we will look at more subtle ways to modify the reading of the film - ones that are able to be replicated by you when you create your own films.


 

We will be using Adobe Premiere Pro to make our films. You may start with the free 30 day trial download and extend your use with a Cloud purchase as required. The films will be required reflect on the role of architecture and urban setting with respect to f/x in film.

Pedagogic Objectives:
The course is intended to develop a critical perspective of the use of architecture in film. Students will learn to examine both the medium of film and the form and style of architecture as they relates to the development of both film media and culture. Students will engage in research to understand the choices and expression of architecture used in film and the impact of the same on the narrative aspects of the film.

Completion Requirements:
The course will be run in a seminar format. Each week we will view a film, discuss its relevance to architecture, culture, environments, and the perception of all three. The discussions will take place in a “for credit” mode and include a digital submission of an answer to an assigned question. Attendance is mandatory. Two missed classes will constitute failure of the course.
Discussions to be effective require all students to be present. Students must also submit their short intro exercise film and completed final film.

IMPORTANT: IF YOU MISS SEEING A FILM
Many of these films are not in Musagetes. If you miss seeing a film in class, please arrange to see it. However I am not lending out my personal copies, so keep this in mind.

last updated Wednesday, April 16, 2014 12:57 PM

 

Schedule of Classes and Films:

Date Film Name and Details Reviews and Links
CLASSES START AT 1pm IN MAIN LECTURE HALL    

January 10
First half of class

The Cabinet of Dr. Caligari 1920 | 72 minutes | Robert Wiene

The film that forged the dark, ominous cinematic movement known as German Expressionism - and influenced vanguard filmmakers for generations. Werner Krauss stars as a deranged hypnotist who spreads death through the countryside from a ramshackle traveling carnival. In making the film Robert Wiene and designers combined techniques of painting, theatre and film to conjure a nightmare world of splintered reality ... boldly creating a visual representation of insanity .. taking the art of cinema a lengthy stride into unexplored stylistic and psychological terrain, hinting at the terrifying power the medium might possess.

http://www.film.u-net.com/Movies/Reviews/
http://www.geocities.com/Hollywood/
http://www.mdle.com/ClassicFilms/
http://victorian.fortunecity.com/
http://www.plume-noire.com/movies/cult/caligari.html
http://www.filmmonthly.com/Silents/Articles/Caligari/
http://www.german-cinema.de/app/filmarchive/

please read short article in "Metropolis to Blade Runner" p. 50-57

metropolis
January 10
Second half of class

 

Fritz Lang’s Metropolis 1926 | 145 minutes | Fritz Lang

Fritz Lang's most famous silent film uses science fiction and spectacular special effects to tell a story of biting social criticism. In a futuristic time and place, an above ground city of lightness, culture and respectability is kept going only by the enslaved proletariat laboring beneath in the underground city: a nightmarish, cruel and dark place. An innovative and influential film in its day and now considered one of the hippest films of the sci-fi genre.

http://shipofdreams.net/sfmovies/metropol.htm http://www.kino.com/metropolis/ http://www.uow.edu.au/~morgan/Metroa.html http://www.activitaly.it/immaginicinema/metropolis.html http://www.silentera.com/DVD/metropolis-cmhDVD.html

We will be watching the complete restored version released in Fall 2010.

 

 

     
     

man with the movie camera
January 17

The Man With the Movie Camera 1929 | 68 minutes | Dziga Vertov

A cameraman travels around a city with a camera slung over his shoulder, documenting urban life with dazzling inventiveness. This playful film is at once a documentary of a day in the life of the Soviet Union, a documentary of the filming of said documentary, and a depiction of an audience watching the film. Even the editing of the film is documented. We often see the cameraman who is purportedly making the film, but we rarely, if ever, see any of the footage he seems to be in the act of shooting!

http://www.imagesjournal.com/issue05/
http://www.nottingham.ac.uk/film/journal/
http://en.wikipedia.org/wiki/Man_with_the_
http://www.25hrs.org/vertov.htm
http://www.sensesofcinema.com/contents/
http://www.imdb.com/title/tt0019760/
http://dziga.perrybard.net/
http://www.silentsaregolden.com/debartoloreviews/

 

 

avante garde

 

Avant-Garde Shorts

Varied selections from this compilation. The number will depend on the amount of time we have available.


http://www.aracnet.com/~jester/clockdva/delivery.html

http://www.ubu.com/film/ray.html

Ballet Mecanique:
http://www.antheil.org/film.html
http://www.albany.edu/writers-inst/fnf96n3.html
http://www.medienkunstnetz.de/works/ballet-mechanique/

Andalou

discussion questions

Un Chien Andalou 1929 | 16 minutes | Salvidor Dali

Acclaimed as a surrealist masterpiece, Un Chien andalou aggressively disconnects itself from narrative flow. The creators of this short film. Luis Buñuel and Salvador Dalí, fully intended there to be no links between successive scenes. Fortunately this didn't inhibit their dreaming up of some of the most striking moments ever to be projected upon the silver screen. The opening focuses on a man (Luis Buñuel) stropping his cut-throat razor, honing it to a perfect edge.

 

Un Chien Andalou:
http://en.wikipedia.org/wiki/Un_chien_andalou
http://www.film.u-net.com/Movies/Reviews/
http://www.sensesofcinema.com/contents/cteq/
http://www.lib.berkeley.edu/MRC/bunuel6.html

 


     
     

Lisbon Story
January 24

discussion questions

The Lisbon Story 1995 | 104 minutes | Wim Wenders

A German filmmaker summons his sound recorder friend to join him in Lisbon. When the latter arrives, his friend has disappeared, leaving a few cans of silent footage. The sound man will wander aimlessly through the streets of Lisbon recording sounds of the old city to match the images left by his friend.

 

http://www.imdb.com/title/tt0110361/
http://www.wim-wenders.com/movies/movies_spec/
http://www.deep-focus.com/flicker/lisbonst.html
http://archive.sensesofcinema.com/contents/

 

 

On a completely different theme, 40 Architecture Documentaries to Watch, as listed by ArchDaily

http://www.archdaily.com/467225/40-architecture-documentaries-to-watch-in-2014/

     
     

Saturday, January 25 tentative at 1pm

Adobe Premiere Tutorial
We will be demonstrating Adobe Premiere. Please note that the 30 day free trial will not provide you enough time to complete both assignments unless you are very fast. You will need to extend with a Cloud version.

THIS TUTORIAL IS OFFERED ON A SATURDAY AND IS OPEN TO THE ENTIRE SCHOOL.

Adobe Premiere Tutorials:
http://www.tutorialized.com/tutorials/Premiere/1
http://www.adobe.com/ap/products/tips/premiere.html
http://tv.adobe.com/show/learn-premiere-pro-cs5/

http://www.youtube.com/watch?v=kTJYwQhbKpA

Online tutorials that were given in 2013 by F_RMlab and Terri
http://frmlab.com/2013/01/23/video-editing-f_rmlab-and-terri-meyer-boake/

Final Cut Pro/Express Editing Tutorial

Film Editing Powerpoint from Saturday, Jan 25

     
     

Alphaville 1965 | 99 minutes | Jean Luc Godard

A cockeyed fusion of science fiction, pulp characters, and surrealist poetry, Jean Luc Godard's irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution, on a mission to kill the inventor of fascist computer Alpha 60.

http://www.faithfulandtrue.de/GODARD.HTM
http://www.lib.berkeley.edu/MRC/
http://www.pifmagazine.com/SID/638/
http://www.coldbacon.com/movies/
http://www.lafn.org/~cymbala/alphavil.html
http://michaelbenedikt.tripod.com/godard.html
http://www.kirjasto.sci.fi/eluard.htm
http://en.wikipedia.org/wiki/Alphaville
http://www.cinematicreflections.com/Alphaville.html
http://www.filmref.com/directors/dirpages/godard.html

     
     

playtime
February 7

discussion questions

Playtime 1973 | 119 minutes | Jacques Tati

Jacques Tati, the choreographer of the charming, comical ballet that is Playtime, casts the endearingly clumsy Monsieur Hulot as the principal character wandering through modernist Paris. Amid the babble of English, French and German tourists, Hulot tries to reconcile the old-fashioned ways with the confusion of the encroaching age of technology.

Interesting view of 1960's (Modern) Paris. Intriguing filming, sets and a highlight of the "sounds" of modernity.

http://www.futuremovies.co.uk/moviesite/filmmaking.asp?ID=38
http://www.filmwritten.org/essays/JNC_playtime.htm
http://media-arts.rmit.edu.au/Phil_Brophy/MMAlec/Playtime.html
http://frenchfilms.topcities.com/nf_Playtime_rev.html
http://www.rottentomatoes.com/m/Playtime-1016452/

NOTE: AN OPTIONAL TUTORIAL ON ADOBE ENCORE, THE PROGRAM YOU CAN USE TO CREATE PLAYABLE DVD DISKS, WILL BE HELD AT 12:30 IN THE MLH, CONDUCTED BY FRED HUNSPERGER.

     
     
February 14 Submission of Short Films  

Sleep
February 14

discussion questions

The Science of Sleep 2006 | 105 minutes | Michael Gondry

A man entranced by his dreams and imagination is lovestruck with a French woman and feels he can show her his world.

Gondry's other film is Eternal Sunshine of the Spotless Mind.

We are screening the film as well as the "making of" documentary.

http://www.imdb.com/title/tt0354899/
http://en.wikipedia.org/wiki/The_Science_of_Sleep
http://www.rottentomatoes.com/m/the_science_of_sleep/

http://www.imdb.com/name/nm0327273/bio

   
     

READING WEEK

FEBRUARY 21

NO CLASS  
     
FEBRUARY 28 NO CLASS  
     

bRAZIL
March 7

discussion questions

10AM START IN MLH!

Brazil 1985 | 150 minutes | Terry Gilliam

Brazil is a surrealistic nightmare vision of a "perfect" future where technology reigns supreme. Everyone is monitored by a secret government agency that forbids love to interfere with efficiency. Johathan Pryce and Robert De Niro star with Michael Palin in this chilling black comedy directed by former Monty Python member Terry Gilliam. When a daydreaming bureaucrat becomes unwittingly involved with an underground superhero and a beautiful mystery woman, he becomes the tragic victim of his own romantic illusions.

Terri is away on research. Screening will begin at 10AM as Barb Ross needs the main lecture hall in the afteroon. Please submit discussion questions. Seminar discussion will recommence on March 21.

For 3B students who are participating in Toronto Coop Interview Day can you please borrow the Musagetes copy, grab some popcorn and watch this later in order to answer your questions. As there are as many Masters students in the class as 3B students, and not all students participate in the Coop day, I would rather not eliminate the film.

http://www.mrqe.com/lookup?^Brazil+(1985) http://www.suntimes.com/ebert/ebert_reviews/
http://www.trond.com/brazil/ http://www.smart.co.uk/dreams/ http://www.imagesjournal.com/issue06/features/brazil.htm http://members.aol.com/morgands1/closeup/indices/gillindx.htm http://membres.lycos.fr/brazil/GB/indexgb.htm
http://www.faqs.org/faqs/movies/brazil-faq/

     
     

Dunes

March 14

discussion questions

Woman in the Dunes 1964 | 148 minutes | Hiroshi Teshigahara

An amateur entomologist searching for insects by the sea is trapped by local villagers into living with a mysterious woman who spends almost all her time preventing her home from being swallowed up by advancing sand dunes. The woman and the trapped man begin a strange and erotic relationship that stretches over years, as the man's hope for escape dims.

Terri is away on research. Screening will begin at 1pm. Please submit discussion questions. Seminar discussion will recommence on March 21.

http://www.imdb.com/title/tt0058625/
http://en.wikipedia.org/wiki/The_Woman_in_the_Dunes

http://rogerebert.suntimes.com/apps/pbcs.dll/
     
     

Renaissance 2006 | 105 minutes | Christian Volckman

In 2054, Paris is a labyrinth where all movement is monitored and recorded. Casting a shadow over everything is the city's largest company, Avalon, which insinuates itself into evry aspect of contemporary life to sell its primary export, youth and beauty.

This French film was only shown briefly in the US. It features the extensive use of motion capture as the basis for the animation of the people in the film as well as the layering of recognizable architecture of Paris with that of 2054.

Seminar questions from Science of Sleep and Brazil this week at the start of class.

http://www.renaissance-lefilm.com/accueil.htm
http://en.wikipedia.org/wiki/Renaissance_(film)
http://www.cyberpunkreview.com/movie/upcoming

   
     

March 28

NO CLASS. PLEASE USE THE TIME TO WORK ON YOUR FILMS AS THEY ARE DUE NEXT WEEK.

 

Terri is away at a conference.

 

   
     

April 4

 

 

Seminar questions from Woman in the Dunes and Renaissance at the beginning of class.

SCREENING OF SHORT FILMS COMPILATION

FINAL FILM PRESENTATIONS

 
   
 

Walls of Change CIGI from 2AM Architects on Vimeo 

 


 

Undergraduate Requirements:
Weekly Comments 20%:
Each week I will distribute a series of "questions" regarding the film viewed. The answers will be submitted and discussed at the beginning of the next class. Answers are to be around 400 to 500 words in length. The answers will be posted on this webpage.

Assignment #1: The Video Short 30%
Each student will be producing a short music video (around 30-60 seconds in length) based upon some exploratory work with f/x in film. The segments will be joined and we will view the composite piece at the final class. The topic of the short is "making something extraordinary out of something ordinary".

Assignment #2: (HBAS)The Video 50%
The major work will be the creation of a Music/Architecture 'video'. This project can be done individually or in teams of two students max. Your choice. The film must reflect the theme of icons and f/x and potentially build upon the experimentation carried out in your short piece. Typically the length of the film will be limited by the length of the piece of music that you choose to set the piece to. So in the range of 3 to 7 minutes. If you are composing your own music for the piece, please follow this same limit. Ensure that your film starts with a title sequence that includes the title of your film and your name, and concludes with a credit sequence where you give credit to anyone who assisted or acted (as this is often required logistically) as well as credit for the music. Make sure that any text on the film is set within the title safe zone as if it is too close to the edge of the screen it will be cut off on certain viewers. Please submit the film in class on a USB key. Preferred formats are .mov and .m4a. If you are producing an extremely high resolution film, can you also export it in a smaller format in case it presents difficulty for me to screen during class. Beyond that you are free to be as expressive as you like within the film.

Graduate Requirements:
Weekly Comments 30%:
Each week I will distribute a series of "questions" regarding the film viewed. The answers will be submitted and discussed at the beginning of the next class. Answers are to be 700 to 800 words in length. The answers will be posted on this webpage. The responses are to show evidence of research and contain links out to references that pertain to the movie/question.

Assignment #1: The Video Short 30%
Each student will be producing a short music video (around 30-60 seconds in length) based upon some exploratory work with f/x in film. The segments will be joined and we will view the composite piece at the final class. The topic of the short is "making something extraordinary out of something ordinary".

Assignment #3: The Video 40%
The major work will be the creation of a Music/Architecture 'video'. This project can be done individually or in teams of two students max. Your choice. The film must reflect the theme of icons and f/x and potentially build upon the experimentation carried out in your short piece. Typically the length of the film will be limited by the length of the piece of music that you choose to set the piece to. So in the range of 3 to 7 minutes. If you are composing your own music for the piece, please follow this same limit. Ensure that your film starts with a title sequence that includes the title of your film and your name, and concludes with a credit sequence where you give credit to anyone who assisted or acted (as this is often required logistically) as well as credit for the music. Make sure that any text on the film is set within the title safe zone as if it is too close to the edge of the screen it will be cut off on certain viewers. Please submit the film in class on a USB key. Preferred formats are .mov and .m4a. If you are producing an extremely high resolution film, can you also export it in a smaller format in case it presents difficulty for me to screen during class. Beyond that you are free to be as expressive as you like within the film.

FORMAT FOR THE WEEKLY SEMINAR RESPONSES:
ALL students must submit responses each week. Responses are due at the end of the weekend immediately following the Friday presentation to allow you to refine your responses based/perfected upon the discussion in class. Late responses will result in a lot of nagging via email that could be unpleasant.

References:

complete list from my film library

Some of these are out of print. There are no specific weekly readings. Please conduct research as required to answer your weekly questions and to support your web projects.

Recommended:


Cinefex Magazine. Available in Musagetes.

Deitrich Neumann, editor. Film Architecture from Metropolis to Blade Runner. Prestel, 1999. (only available now through amazon.com, in their used books area link1, link2. Or try www.alibris.com as they have some and a good selection of other used books.) This is a simply amazing book that is now out of print.

Mark Lamster, editor. Architecture and Film. Princeton Architectural Press, 2000.

Donald Albrecht. Designing Dreams: Modern Architecture in the Movies. Hennessey + Ingalls, Santa Monica, 2000.

Maggie Toy, editor. A.D. Architectural Design Profile no. 112. Architecture and Film. Academy Group Ltd. 1994.

Maggie Toy, editor. A.D. Architectural Design Profile no. 150. Architecture + Animation. Wiley-Academy. 2001.

Francois Penz, editor. Cinema & Architecture: Melies, Mallet-Stevens, Multimedia. British Film Institute, 1997.

Thomas Hine. Movie Houses. Architectural Record. 04.02.

Terry Smith, editor. Impossible Presence: Surface and Screen in the Photographic Era. University of Chicago Press, 2001.

 

Other miscellaneous, but helpful links:

http://www.albany.edu/faculty/gz580/histdocfilms/
great film course on the making of documentary films and their history

http://hubcap.clemson.edu/~sparks/sffilm/indexsff.html

(fantastic sci-fi film course homepage from Clemson University -- great links and reading references for a wide range of films)

http://www.mrqe.com/
http://www.geocities.com/Hollywood/Lot/2976/SF_FilmResources.HTML

The Cinematic City: The City and Architecture in Motion Pictures
http://www.lib.berkeley.edu/MRC/cinematiccity.html
http://shipofdreams.net/sfmovies/movielinks.htm
http://www.umich.edu/~umfandsf/film/films/

http://www.scifimoviepage.com/index.html

Filming Locations used in Many Movies:
http://www.movie-locations.com/

 

Avoidance of Academic Offenses
Academic Integrity: To create and promote a culture of academic integrity, the behaviour of all members of the University of Waterloo is based on honesty, trust, fairness, respect and responsibility.

Grievance: A student who believes that a decision affecting some aspect of his/her university life has been unfair or unreasonable may have grounds for initiating a grievance. Read Policy 70 - Student Petitions and Grievances, Section 4, http://www.adm.uwaterloo.ca/infosec/Policies/policy70.htm

Discipline: A student is expected to know what constitutes academic integrity, to avoid committing academic offenses, and to take responsibility for his/her actions. A student who is unsure whether an action constitutes an offense, or who needs help in learning how to avoid offenses (e.g., plagiarism, cheating) or about “rules” for group work/collaboration should seek guidance from the course professor, academic advisor, or the Undergraduate Associate Dean. When misconduct has been found to have occurred, disciplinary penalties will be imposed under Policy 71 – Student Discipline. For information on categories of offenses and types of penalties, students should refer to Policy 71 - Student Discipline, http://www.adm.uwaterloo.ca/infosec/Policies/policy71.htm

Appeals: A student may appeal the finding and/or penalty in a decision made under Policy 70 - Student Petitions and Grievances (other than regarding a petition) or Policy 71 - Student Discipline if a ground for an appeal can be established. Read Policy 72 - Student Appeals, http://www.adm.uwaterloo.ca/infosec/Policies/policy72.htm

Note for students with disabilities: The Office for Persons with Disabilities (OPD), located in Needles Hal