نوع مقاله : مقاله پژوهشی
1 کارشناس معماری
2 کارشناس ارشد ادبیات نمایشی، دانشگاه سوره
عنوان مقاله [English]
By the advent of cinema, a new concept, location, was added to Architecture. Location is one of the essential cinematic elements. Its importance is to the extent that at the beginning of each scene there will be a short explanation of location and time. The reason is that each screen story has its specific time and place.
Till now, many architectural constructions have served as a location. Still, what is understood as space from architectural design in cinema is different from that in the actual outside world. In fact, directors make use of architectural construction based on their interests. This explains why a skillful architect cannot reconstruct Notre Dame Cathedral merely by watching the movie. If we consider space creation as the final aim of architecture, since in cinema space serves dramatic narration, director relies on the architectural aspects of the product to unfold its story. Accordingly, as the dramatic time differs from real time, cinematic architecture differs from architecture in the real world. Cinema deconstructs and then reconstructs the concept of architecture. What is seen as architectural construction on the screen completely resembles the original structure so that the movie recreates the structure in audience’s mind. At the same time, the difference is so great that if the audience has not seen the original structure, s/he cannot reconstruct it or figure out its atmosphere; it is the architectural structure that helps the director to create the intended atmosphere in the movie. In addition, the feeling that the audience receives from the reconstructed structure in a movie is different from the feeling that the person experiences in the actual place.
To approve the hypotheses of the article, the space and architectural landscape of Champs-Élysées avenue are compared to their representation in the film. In this way, it is proved that, making use of the techniques of montage and angle of view, choosing special shots from the avenue and, thus, breaking the linear unfolding of the movie, Breathless offers a landscape from Champs-Élysées which implies, if not the opposite, at least a different understanding of Champs-Élysées, felt by passersby.