Feature Presentation Thesis Project

ECTHASBEENAPPROVEDFOR THEFOLLOWI NG PROJ ALLAUDI ENCES

BYDEREKSHULTZFI FTHYEARTHESI S201 0201 1

CAST CINEMATIC SPACE: THE APPLICATION OF FILM TO ARCHITECTURE...............2 INTRODUCTION……………3 CINEMATIC TOOLBOX……………5 CINEMATIC TOOLS IN FEATURE FILMS……………10 CINEMATIC TOOLS IN EMOTIONAL ARCHITECTURE……………17 CONCLUSION...………….24 NOTES…………..25 IMAGES…………..27 BIBLIOGRAPHY……………47 FEATURE PRESENTATION……………49 DIAGRAMS…………..52 SITE……………56 SILENT FILM…………..60 FILM NOIR……………64 COMPUTER AGE……………69 END CREDITS……………74

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2 DRURY UNIVERSITY HAMMONS SCHOOL OF ARCHITECTURE

THESIS CINEMATIC SPACE: THE APPLICATION OF FILM TO ARCHITECTURE

DEREK SHULTZ FALL 2010

3 INTRODUCTION ARCHITECTURE TODAY IS NOT REACHING THE FULL POTENTIAL OF ITS EXPERIENTIAL POSSIBILITIES AND IS BECOMING AN ART FORM THAT IS FALLING TOWARD FUNCTION OVER EMOTION. SOME VERY BASIC EXAMPLES TO UNDERSTAND THIS INCLUDE THE BIG-BOX RETAIL STRUCTURES SUCH AS WAL-MART OR THE COOKIE CUTTER HOUSES IN SUBURBAN AMERICA. THERE IS NO EXISTENTIAL QUALITY ABOUT THESE BUILDINGS AS THEY ARE PURELY BASED ON FUNCTION. DESIRED EMOTIONAL BEAUTY IS NOT SIMPLY BASED ON VISUAL AESTHETICS, BUT ON ‚COLOR‛. THIS ‚COLOR‛ IS AN INDESCRIBABLE, IMMATERIAL QUALITY IN THE AIR THAT FLOWS AROUND THE VISITOR OF THE CONSTRUCTED SPACE. BOTH ARCHITECTURE AND FILM SHARE THE COMMON BOND OF BEING FORMS OF ART THAT CAN BE SHAPED AND PRESENTED TO A VIEWER. BOTH OF THESE ART FORMS HAVE THE CAPACITY TO INFLUENCE INDIVIDUALS ON A DEEP AND EVOCATIVE LEVEL THAT HAS AN INNATE ABILITY TO BECOME AN INTEGRAL PART OF SOCIETY. ARCHITECTURE AND FILM ARE A SERIES OF CONSTRUCTED ELEMENTS THAT A VISITOR IS MEANT TO EXPERIENCE IN DIFFERENT WAYS; HOWEVER, THEY BOTH ACHIEVE A SIMILAR VARIABLE OF SATISFACTION. A PERSON IS MEANT TO FOLLOW A PREORDAINED SEQUENCE OF SPACES THAT UTILIZE APPLICABLE TECHNIQUES FROM EITHER THE ARCHITECT OR THE DIRECTOR TO INFLUENCE THIS COLOR THAT IS EVIDENT IN BOTH ARCHITECTURE AND FILM. THESE ART FORMS HAVE MANY SIMILARITIES AND IT IS IN THEIR COMBINATION OF TOOLS AND TECHNIQUES IN DESIGN AND IMPLEMENTATION THAT THEY CAN BECOME EMOTIONALLY SUCCESSFUL. CARL PLANTINGA, IN HIS BOOK MOVING VIEWERS: AMERICAN

FILM AND THE SPECTATOR’S EXPERIENCE, ANALYZES A FILM’S EMOTIONAL QUALITIES IN RELATION TO DETAILS. HE STATES, EMOTIONS PROVIDE NARRATIVE INFORMATION THAT IS NECESSARY FOR AUDIENCES TO FOLLOW THE NARRATIVE. IN EXTRA-FILMIC LIFE, OUR EMOTIONS FOCUS OUR ATTENTION ON SALIENT DETAILS OF THE ENVIRONMENT; THE EMOTIONS ELICITED IN A FILM FUNCTION SIMILARLY, OFTEN DRAWING OUR ATTENTION TO THOSE ELEMENTS THAT THE FILM CONSTRUCTS AS ESSENTIAL TO UNDERSTANDING THE NARRATIVE. EMOTIONS, MOREOVER, ASSIST THE FILM’S NARRATION IN THE CREATION OF SYMPATHIES AND ANTIPATHIES FOR CHARACTERS. EMOTIONS ALSO PROVIDE A DIRECTION FOR AUDIENCE DESIRES FOR ONE NARRATIVE OUTCOME OVER ANOTHER. STORYTELLERS BOTH ELICIT AND DEPEND ON NARRATIVE EMOTIONS SUCH AS ANTICIPATION, SUSPENSE, AND CURIOSITY. IN SUM, THE SPECTATOR’S EMOTIONS ASSIST IN THE COMPREHENSION AND INTERPRETATION OF THE NARRATIVE.1 THIS HEIGHTENED AWARENESS SHOULD DEEPEN THE EXPERIENTIAL ASPECT OF ARCHITECTURE AND REINFORCE THE ARTISTIC QUALITIES THAT A MAJORITY OF ARCHITECTURAL WORKS ARE CURRENTLY MISSING. THE WORLD OF CINEMA HAS STOOD AS A COLLABORATION OF ALL FORMS OF ART INTO ONE ENTERTAINING VISUAL AND AUDIO DISPLAY. MUSIC, DANCE, DRAMA, ARCHITECTURE AND THE FINE ARTS ARE ALL EMPLOYED INTO THE ART OF FILMMAKING. MOVIES, HOWEVER, CAN ALSO BE USED TO INFLUENCE THE ARTS THAT NOW INFLUENCE IT. HOW CAN TECHNIQUES IN FILMMAKING BE APPLIED TO THESE OTHER ARTS? EVERY WORK OF ART HAS THE POTENTIAL TO CREATE A SPATIAL RELATIONSHIP BETWEEN ITSELF AND THE VIEWER. THIS SPATIAL EXPERIENCE IS UNIVERSAL AND IT OCCURS BECAUSE PEOPLE HAVE AN ABILITY TO CONNECT THEMSELVES TO

4 THE WORKS OF ART. THE CONNECTION BETWEEN ALL OF THESE ART FORMS CAN BE ESTABLISHED BY SIMPLY FINDING THE RELATIONSHIPS IN HOW THEY CREATE SPATIAL EXPERIENCES. THERE ARE TOOLS USED IN FILM PRODUCTION THAT COMBINE TO ACHIEVE THIS SPATIAL ORGANIZATION AND THESE TOOLS CAN WORK IN ALL FORMS OF ART. WHAT IF YOU WERE GOING TO APPLY THESE TOOLS TO ARCHITECTURE? HOW, SPECIFICALLY, COULD FILM BE APPLIED TO ARCHITECTURE TO ENHANCE THE VISITOR’S EXPERIENCE AND CREATE A SENSORIAL CONNECTION? WHAT WOULD RESULT FROM A MORE EMOTIONALLY EVOCATIVE ARCHITECTURAL EXPERIENCE BASED ON THE PROCESS OF FILMMAKING? MOVIES HAVE A WAY OF TRANSPORTING THEIR VIEWERS INTO A CINEMATIC SPACE WITH ONLY THE USE OF A FRAMED VIEW AND FILMING TECHNIQUES, OR TOOLS AT THEIR DISPOSAL. THESE TOOLS CAN HAVE A SIMILAR EFFECT IN TRANSPORTING PEOPLE THROUGH ARCHITECTURAL SPACE. CINEMATIC TOOLS AND TECHNIQUES CAN BE APPLIED TO EMOTIONLESS ARCHITECTURE IN ORDER TO ACHIEVE AN INCREASED DEPTH OF EMOTION, THEREFORE, ENHANCING THE INHABITANT’S OVERALL EXPERIENCE. CINEMATIC WORKS FOLLOW A TIMELINE OF SEQUENCES FROM ONE COLLECTION OF SCENES TO ANOTHER AND EACH ONE UNIQUELY CONNECTS WITH THE AUDIENCE AND FORMS A CHAIN THAT CONSTITUTES THE ENTIRETY OF THE FILM. THE SPACES WITHIN THESE FILMS ARE NOT ACTUAL THREE-DIMENSIONAL ROOMS. RATHER, THEY ARE ILLUSIONS OF THREE-DIMENSIONS CREATED BY TWODIMENSIONAL FRAMES. THE IMAGE ON THE MOVIE SCREEN IS A TWO-DIMENSIONAL MOMENT THAT COMBINES WITH THE AUDIENCE’S PSYCHE TO ALLOW THE VIEWER TO IMMERSE THEMSELVES IN THE MOVIE. COLIN MCGINN EXPLAINS IN HIS BOOK, THE POWER OF

MOVIES: HOW SCREEN AND MIND INTERACT. HE STATES, ‚THE MIND SEEMS TO STEP INTO ANOTHER SPHERE OF ENGAGEMENT AS THE IMAGES ON THE SCREEN FLOOD INTO OUR RECEPTIVE CONSCIOUSNESS.‛2 HE GOES FURTHER TO SAY, ‚THE MOVING IMAGE ITSELF SEEMS AN OBJECT OF EXTRAORDINARY POTENCY. IN THE MOVIE-WATCHING EXPERIENCE WE ENTER AN ‘ALTERED STATE OF CONSCIOUSNESS,’ ENTHRALLING AND IRRESISTIBLE.‛3 WITHIN THE CONCEIVED SPACES OF A FILM THERE ARE VARIOUS FILMING TECHNIQUES BEING USED TO CREATE AN ATMOSPHERE. THIS ATMOSPHERE IS AN IMMATERIAL QUALITY WITHIN THE AIR THAT MAY OR MAY NOT CHANGE THROUGHOUT THE FILM, BUT ULTIMATELY PROVIDES A SEQUENCE DURING THE VIEWING. THIS ATMOSPHERE CAN BE DESCRIBED AS ‚COLOR‛, WHICH IS A SIMPLE ATTEMPT TO EXPLAIN THE INDESCRIBABLE, INDEFINABLE AIR THAT ENGULFS A MOVIE FRAME. ‚COLOR‛ IS THE AURA THAT SURROUNDS THE ACTORS, PROPS, AND ULTIMATELY THE AUDIENCE AS THEY ARE IMMERSED IN THIS SPATIAL EXPERIENCE. WITHIN THE SEQUENCE OF SCENES, OR SPACES, IN A FILM IS SHIFTING COLOR AND EVERY MOVIE IS DIFFERENT IN HOW IT MANIPULATES THIS TRANSITION. IN ORDER TO ACHIEVE THIS COLOR CHANGING TIMELINE A CERTAIN ‚TOOLBOX‛ OF FILMING TECHNIQUES AND STRATEGIES IS EMPLOYED THROUGHOUT THE FILMMAKING PROCESS. SOME OF THE KEY TOOLS IN FILMMAKING THAT ARE COMMONLY EMPLOYED BY ALL DIRECTORS INCLUDE SCALE, SET, PERSPECTIVE, LIGHTING, EDITING, SCRIPT, SPECIAL EFFECTS, AND SOUND. THERE ARE MANY OTHER CONTRIBUTING TECHNIQUES AND TOOLS THAT GO INTO THE MAKING OF A FILM; HOWEVER, THOSE LISTED ABOVE ARE A CONSTANT. ALL FILMS ARE PROVIDED CERTAIN AMOUNTS OF EACH TOOL FROM THE CINEMATIC TOOLBOX AND IT IS COMMONLY IN THE HANDS OF THE DIRECTOR TO FIND THE PROPER RATIO. ALL OF THESE TECHNIQUES ARE USED HOMOGENEOUSLY IN FILMMAKING TO CREATE A TOTAL COLOR THAT THE AUDIENCE SEES, HEARS, AND FEELS WITHOUT REALIZING IT. THIS IS THEIR NEW

5 REALITY FOR THE LENGTH OF THE FILM AND IT IS CAUSED BY THE PREVIOUSLY MENTIONED TECHNIQUES, COMPLETE IMAGES ON THE SCREEN, AND COLOR. THE SEQUENCE OF SPATIAL RELATIONSHIPS WITHIN FILM PROVIDE A FRAMEWORK FOR SHIFTING COLORS THAT CAN BE APPLIED TO A TIMELINE WITHIN AN ARCHITECTURAL DESIGN TO ENHANCE THE EXPERIENCE OF THE VISITOR IN THAT BUILT FORM. TO PROVE THE NECESSITY OF COLOR IN ARCHITECTURE, A SERIES OF ANALYSIS WILL NEED TO BE EXPLORED. NOT ALL ASPECTS OF FILMMAKING WILL BE APPROPRIATE FOR AN ARCHITECTURAL ENDEAVOR; THEREFORE, IT WILL BE IMPORTANT TO FIRST ANALYZE AND DECIDE THE APPROPRIATE MOVIE MAKING TOOLS FOR ARCHITECTURAL DESIGN. ONE WELL DESIGNED AND SPATIALLY EVOCATIVE FILM WILL BE ANALYZED IN CONJUNCTION WITH ARCHITECTURAL PROJECTS TO PROVIDE CLEAR EVIDENCE FOR THE POWER THAT COLOR CAN ELICIT WITH A SPATIAL SEQUENCE. ALL OF THIS ANALYSIS WILL ULTIMATELY INFLUENCE AND SCULPT AN ARCHITECTURAL PROPOSAL BASED ON THE APPLICATION OF CINEMA, AND MORE SPECIFICALLY THE TOOLS OF MOVIE DESIGN THAT EVOKE EMOTIONAL RESPONSES FROM COLOR. CINEMATIC TOOLBOX A SET OF FILMING TECHNIQUES AND STRATEGIES THAT HAVE BEEN ORGANIZED AND REFORMED THROUGHOUT CINEMATIC HISTORY CAN BE COMBINED INTO A ‚CINEMATIC TOOLBOX‛. THIS TOOLBOX AND THE TOOLS INSIDE IT ARE ALL ESSENTIAL TO THE CONNECTION THAT THE FILMS ARE ABLE TO ESTABLISH AS THEY ARE VIEWED BY AN AUDIENCE. THE DIRECTOR HAS A WIDE ARSENAL AT HIS/HER DISPOSAL TO COMMUNICATE THE VISUAL, AUDIBLE, AND PSYCHOLOGICAL ASPECTS OF THEIR FILM. THESE TOOLS, IN THEIR MOST BASIC FUNCTION, COMBINE IN VARIOUS RATIOS TO ELICIT A CONNECTION WITH THE AUDIENCE THAT TOUCHES AN EMOTIONAL CORE THROUGH A TEMPORAL PASSAGE OF COLOR. CARL R. PLANTINGA DISCUSSES THIS EVOCATION OF EMOTION AND THE METHODOLOGY BEHIND IT, …THE AFFECTIVE TRAJECTORY OF A NARRATIVE FILM FOR A VIEWER CAN OFTEN BE CHARACTERIZED AS ONE OF SYNESTHETIC AFFECTS, THAT IS, AS A HOST OF ORCHESTRATED AFFECTS THAT TOGETHER ARE DESIGNED TO CHARACTERIZE A KIND OF EMOTIONAL EXPERIENCE, NOT NECESSARILY BY ELICITING THE PARADIGMATIC EMOTIONS ASSOCIATED WITH THAT EXPERIENCE, BUT BY ELICITING ASSOCIATED AFFECTS THAT CHARACTERIZE THE FEEL OR PHENOMENOLOGICAL QUALITIES OF HAVING AN EMOTION OR EMOTIONS.4 THIS ESTABLISHES AN IDEA PRESENT IN THE MINDS OF ALL DIRECTORS AND ALL ARTISTS TO ADDRESS A SUBJECT THAT DEALS DIRECTLY WITH THE FEELINGS AND THOUGHTS OF THE HUMAN SPECTATOR. PLANTINGA IS RELATING TO THE IDEA OF A TOOLBOX AND IT CAN BE FURTHER ELABORATED ON BY INDIVIDUALLY LOOKING AT EACH TOOL. THIS IS AN EXTREMELY BROAD TOPIC AND IT IS IMPORTANT TO NOTE THAT A VAST AMOUNT OF STRATEGIES AND TECHNIQUES EXIST IN FILMMAKING; THEREFORE, ONLY THOSE DEEMED APPROPRIATE FOR THE PURPOSES OF THIS ANALYSIS WILL BE ADDRESSED. THIS LIST OF TOOLS INCLUDES SCALE, PERSPECTIVE, SET, LIGHTING, EDITING, SPECIAL EFFECTS, SCRIPT, ACTING, SCREENPLAY, AND SOUNDTRACK AND EACH IS COMBINED IN VARIOUS AMOUNTS TO

6 AESTHETICALLY ENHANCE THE END PRODUCT OF THE FILM. THE COMBINATION OF THESE TOOLS ALSO ESTABLISHES A TIMELINE THAT FOLLOWS THE NARRATIVE THROUGH THE MOVIE AND TRANSITIONS THE AUDIENCE ACROSS THE PASSAGE OF CINEMATIC TIME. SCALE IS AN INTERESTING TECHNIQUE TO MANIPULATE IN CINEMA BECAUSE IT IS SO INTERCONNECTED WITH OTHER TOOLS SUCH AS PERSPECTIVE, SET, AND ULTIMATELY SPECIAL EFFECTS. SCALE IS A SIMPLE SOLUTION TO SUBTLY OR DRASTICALLY CHANGE THE DYNAMICS OF A SCENE BASED ON THE RELATIONSHIP OF SIZE IN EVERYDAY OBJECTS THAT SURROUND THE ACTORS. THE OBVIOUS SCALING SOLUTION DEALS WITH CHANGING THE SIZE OF A PROP TO VISUALLY ENLARGE OR SHRINK THE ACTOR NEXT TO IT. THIS IS DONE IN FILMS WHERE COMPUTER AIDED EFFECTS ARE NOT NECESSARY OR AVAILABLE. LOWERING THE CEILING HEIGHT TO CREATE THE ILLUSION OF A TIGHTER, MORE INTIMATE SPACE IS A LESS COMMON THOUGHT OF SCALING; HOWEVER, IT IS VERY USEFUL AND SIMPLE TO CREATE A DRAMATIC CHANGE IN A FILMED SPACE. SUBTLE DETAILS, SUCH AS THE BEFORE MENTIONED CEILING CHANGE, ARE CONSTANTLY USED BY DIRECTORS AS A HELPFUL TOOL TO ASSIST THE AUDIENCE IN CONNECTING AND UNDERSTANDING THE FILM. ALL OF THESE SCALING CHANGES GO UNNOTICED BY THE VIEWER BECAUSE OF THEIR INTEGRATED NATURE WITH THE REST OF THE CINEMATIC TOOLBOX. ONE TOOL, IN PARTICULAR, THAT IS CLOSELY ASSOCIATED WITH SCALE IS PERSPECTIVE. PERSPECTIVE IS THE VERY ESSENCE OF FILM BECAUSE IT DIRECTLY RELATES TO THE MAIN TOOL OF FILMMAKING WHICH IS THE CAMERA. THE CAMERA IS THE VANTAGE POINT BY WHICH THE AUDIENCE EXPERIENCES THE MOVIE. IT HAS TO BE INTERESTING, BELIEVABLE, AND VISUALLY ENTERTAINING FOR THOSE EXPERIENCING THE FILM. BASICALLY, THE PERSPECTIVE IS THE FIRST PIECE OF FILM TO VISUALLY CONNECT WITH THE VIEWER BECAUSE IT BECOMES THE LENS THROUGH WHICH THE AUDIENCE UNDERSTANDS AND CONNECTS WITH THE STORY BOTH COGNITIVELY AND EMOTIONALLY. HUGO MUNSTERBERG ESTABLISHES THE CONCEPT OF THE INNER MIND VS. THE BODILY WORLD. HE STATES, THE INNER MIND WHICH THE CAMERA EXHIBITS MUST LIE IN THOSE ACTIONS OF THE CAMERA ITSELF BY WHICH SPACE AND TIME ARE OVERCOME AND ATTENTION, MEMORY, IMAGINATION, AND EMOTION ARE IMPRESSED ON THE BODILY WORLD.5 THE IDEA OF THE INNER MIND IS THE COGNITIVE CONNECTION THAT THE AUDIENCE MAKES DIRECTLY WITH THE FRAMED VIEW PROVIDED

BY THE SCREEN AND THE CAMERA BEYOND THE SCREEN. MUNSTERBERG AGREES THAT THE AUDIENCE THEN OVERCOMES THE BORDERS OF THIS FRAME TO COMPILE A BODILY WORLD THAT IS BASED ON THEIR ATTENTION, MEMORY, IMAGINATION, AND OTHER EMOTIONS. THIS IS HOW FILM CAN CREATE A SPATIAL ENVIRONMENT THROUGH A TWO-DIMENSIONAL SCREEN. THIS SPATIAL ENVIRONMENT IS STARTED BY THE STRATEGIC PERSPECTIVE PROVIDED BY THE DIRECTOR AND THEN THE AUDIENCE COMPLETES THE PROCESS. PERSPECTIVE ALTERS THE REALITY OF THE AUDIENCE AND CAN CREATE MOODS OF INTIMACY JUST AS EASILY AS IT CAN CREATE A FEELING OF OPEN FREEDOM. ALL OF THESE FEELINGS ARE BASED ON THE POSITION OF THE CAMERA AND THE ABILITY THE DIRECTOR HAS TO USE PROPER PERSPECTIVE TO THE APPROPRIATE NARRATIVE. SCALE AND PERSPECTIVE ARE SIMPLE TOOLS USED IN ELABORATE COMBINATION WITH OTHER TOOLS FROM THE CINEMATIC TOOLBOX TO ACHIEVE A CINEMATIC WORK OF ART. ANOTHER TOOL FROM THIS TOOLBOX WOULD BE THE SETTING THAT SURROUNDS THE

7 ACTORS ON THE SCREEN. THE SET IS CONGRUENTLY ASSOCIATED WITH SCALE AND PERSPECTIVE AS EACH TOOL MUST SEAMLESSLY BOND WITH THE OTHER. THE SET HAS EVOLVED THROUGHOUT THE HISTORY OF STAGE AND SCREEN. ORIGINALLY IN STAGE THEATRE IT WAS A SERIES OF TWO-DIMENSIONAL MATTES THAT WOULD ALIGN TO FORM A THREE-DIMENSIONAL SPACE. AS CINEMA WAS DEVELOPED, SET BECAME A THREE-DIMENSIONAL MANMADE FORM THAT SURROUNDED THE ACTOR IN THE SHOT. AS ECONOMY, TRAVEL, AND WORLD CONNECTION HAS BECOME MORE ATTAINABLE, SO TOO HAS THE DIVERSITY OF SETS CHANGED. THE ACTOR CAN BE FULLY IMMERSED INTO THE SCENERY OF A REAL PLACE IN A REAL WORLD LOCATION. THIS GREATLY INCREASES THE REALISM AND BELIEVABILITY OF THE FILM’S STORY WHICH ULTIMATELY CREATES A BETTER EXPERIENCE FOR THE AUDIENCE AS THEY CAN BE FURTHER ENVELOPED BY THE IMAGERY. A PAINTED, TWO-DIMENSIONAL IMAGE ON A FLAT PANEL DOES NOT HAVE THE SAME EFFECT AS A THREE-DIMENSIONAL LANDSCAPE. THE EFFECT THAT REALISM HAS ON THE AUDIENCE IS ONE THAT POSITIVELY REINFORCES THE ALTERNATE REALITY THAT THE DIRECTOR WANTS THEM TO EXPERIENCE AND IT FURTHER ENHANCES THEIR EMOTIVE RESPONSES. LIGHTING IS AN INTEGRAL PART OF FILM AND HAS BEEN EVER SINCE ITS ORIGINAL CONCEPTION AROUND ONE HUNDRED YEARS AGO. LIGHTING IS NOT, HOWEVER, A NEW DISCOVERY BECAUSE ITS EVOCATIVE ABILITY TO TRANSFORM A WORK OF ART HAVE BEEN STUDIED, MANIPULATED, AND UNDERSTOOD THROUGHOUT ALL ARTISTIC HISTORY. COLIN MCGINN EVALUATES THE EMOTIONAL CONNECTION THAT MOVIES ESTABLISH WITH THE HUMAN PSYCHE AND HE SPECIFICALLY LOOKS AT LIGHTING AS ONE INFLUENTIAL TECHNIQUE. HE STATES, LIGHT IS, FIRST, LIGHT – WEIGHTLESS, FREE OF GRAVITY, PRETERNATURALLY NIMBLE. WE FEEL GRAVITY ON OUR BODIES, BUT WE HAVE NO SENSATION OF GRAVITY OPERATING ON OUR THOUGHTS AND FEELINGS – THE MIND FEELS WEIGHTLESS AND ALSO REMARKABLY NIMBLE. LIGHT IS ALSO ILLUMINATING – REVELATORY, CLARIFYING, KNOWLEDGE-PRODUCING. BUT THIS IS HOW WE THINK OF THE MIND – IT IS THE MIND THAT SHEDS LIGHT ON THINGS.6 THIS DESCRIPTION OF LIGHT EXPRESSES THE ABILITY THAT LIGHTING HAS TO RELEASE THE VIEWER FROM AN EARTHLY BOND AND TRANSPORT THEM INTO A DREAMLIKE STATE THAT CREATES COMPLETE IMMERSION OF THE MIND. LIGHT, IN DIRECT RELATION WITH SHADOW, COLOR, AND THE ABSENCE OF LIGHT THAT IS DARKNESS, ALL PLAY AN INTEGRAL ROLE IN FILMMAKING AND THE EMOTIONAL CONNECTION OF CINEMA. LIGHTING IN COMBINATION WITH SCALE, PERSPECTIVE, AND SET CREATE A REALITY FOR THE VIEWER THAT IS REAL BUT EVOCATIVE, CONSTRUCTED BUT NATURAL, SIMPLE BUT EMOTIONAL. THE EFFECT OF LIGHT DOES NOT CREATE THE ULTIMATE CINEMATIC EXPERIENCE, BUT IT IS ANOTHER TOOL THAT CONTRIBUTES TO A COMPLETE WORK. SINCE DIRECTORS TYPICALLY COMPILE A LARGE QUANTITY OF IMAGES THERE IS A LARGE AMOUNT OF EDITING THAT MUST OCCUR IN ORDER TO HAVE A FILM THAT IS CONCISE AND EASY TO UNDERSTAND. SOME DIRECTORS ACHIEVE THIS UNDERSTANDABILITY MORE EASILY THAN OTHERS; HOWEVER, THE PROCESS IS ALWAYS USED. EDITING SOMEWHAT SEPARATES ITSELF FROM THE PREVIOUS MENTIONED TOOLS IN THAT IT IS NOT A DIRECT VISUAL TECHNIQUE, BUT RATHER A TOOL FOR PERFECTING THAT WHICH HAS ALREADY BEEN COMPLETED. OLIVER STONE, A WELL KNOWN DIRECTOR IN HOLLYWOOD, GAVE A BRIEF STATEMENT ABOUT THE RESULTS OF

8 EDITING, ‚BUT I SUPPOSE FILM IS DISTINCTIVE BECAUSE OF ITS NATURE, OF ITS BEING ABLE TO CUT THROUGH TIME WITH EDITING.‛ 7 EDITING CAN COMPLETELY ALTER THE PERCEPTION THAT THE AUDIENCE HAS ON A SEQUENCE OF IMAGES BASED ON THE QUALITY OF THE EDITING AND PROGRESSION THAT IT SUPPLIES. TIME PASSAGE MUST BE CAREFULLY ORCHESTRATED TO MAINTAIN THAT THE AUDIENCE UNDERSTANDS THE NARRATIVE. SITE CHANGE MUST BE GRADUAL, BUT DIRECT IN ORDER TO PROVIDE THE AUDIENCE WITH BEARINGS IN ORDER TO ALLOW THEIR MIND TO BECOME DEVOTED TO THE VISUALS. EDITING IS IMPERATIVE TO THE VISUAL UNDERSTANDING COMPILED BY THE TOOLS OF SCALE, PERSPECTIVE, SET, AND LIGHTING AND BECOMES JUST AS IMPORTANT IN THAT REGARD. SPECIAL EFFECTS ARE THE WAVE OF THE FUTURE AND HAVE GROWN TO A POINT WHERE THEY ARE NOT JUST A CINEMATIC TOOL, BUT HAVE BEGUN TO RENDER OTHER TOOLS AS OBSOLETE. ALL VISUAL TOOLS THAT HAVE BEEN PREVIOUSLY MENTIONED CAN BE CREATED USING COMPUTER GENERATED SPECIAL EFFECTS. IT IS IMPORTANT TO ELABORATE THAT THE SPECIAL EFFECTS I AM REFERRING TO ARE COMPUTER GENERATED AND HAVE THE CAPABILITY TO MANIPULATE AND CONTROL ALL OF THE OTHER CINEMATIC TOOLS. TODAY, MOST MOVIES ARE CREATED USING SOME SORT OF SPECIAL EFFECT WHETHER IT IS WITH SET DESIGN, LIGHTING OR SOME OTHER TOOL. COMPUTER GENERATED EFFECTS REMOVE THE PERSONAL CONNECTION THAT THE ACTOR HAS WITH THEIR SURROUNDINGS BECAUSE MOST OF THE TIME THEY ARE STANDING IN FRONT OF A BLUE SCREEN AND NOTHING ELSE. THIS DISCONNECTION MUST THEN BE BRIDGED WITH THE USE OF SPECIAL EFFECTS IN ORDER TO BECOME BELIEVABLE WITH THE AUDIENCE. THERE IS A GREAT DEAL OF MANIPULATION INVOLVED WITH COMPUTER GENERATED EFFECTS; HOWEVER, IT ALLOWS DIRECTORS TO CREATE IMAGES NEVER BEFORE REALIZED. SPECIAL EFFECTS ARE A COMPILATION OF TOOLS MEANT TO ACHIEVE WHAT ONCE WAS THOUGHT IMPOSSIBLE IN FILM. THE USE OF SPECIAL EFFECTS STANDS AS A TOOL ON ITS OWN AND DOES NOT NEED THE ADDITION OF OTHER CINEMATIC TOOLS TO HELP IT SUCCEED. RATHER, IT INCLUDES ALL OF THESE TOOLS IN IT AND JUST PRESENTS THEM IN A NEW ADVANCED TECHNOLOGICAL METHOD. THE NEXT TOOL FROM THE CINEMATIC TOOLBOX IS THE SCRIPT, AND THIS LITERARY TOOL CAN BE ANALYZED IN CONJUNCTION WITH A SECOND TOOL THAT IS ACTING. THE COMPLEXITIES OF THE SCRIPT COMBINED WITH THE PORTRAYAL DESIGNED BY THE ACTOR CREATE AN INTERESTING RELATIONSHIP THAT MUST WORK WELL TOGETHER IN ORDER TO SUCCESSFULLY COMMUNICATE THE NARRATIVE WITH THE AUDIENCE. A WELL WRITTEN SCRIPT DOES NOT NECESSARILY REQUIRE ACTING AND A STRONG PERFORMANCE FROM AN ACTOR DOES NOT NECESSARILY REQUIRE A WELL WRITTEN SCRIPT. THIS HOLDS TRUE FOR ALL BEFORE MENTIONED AND SOON TO BE MENTIONED TOOLS. A SCRIPT IS THE WRITTEN WORD TRANSLATED INTO VISUAL AND AUDIBLE IMAGERY. IT IS MEANT TO GUIDE THE VIEWER WITH LANGUAGE AND PROVIDE ANOTHER LEVEL OF CONNECTION BEYOND THE VISUALS CONSTRUCTED BY THE DIRECTOR. THE SCRIPT IS PURELY A TOOL FOR CONNECTING ALL PARTS OF THE NARRATIVE AND PROVIDING ORDER TO A CHAOTIC PROCESS THAT IS FILMMAKING. ACTING IS ONE OF THE TOOLS USED TO TRANSLATE THE SCRIPT INTO SPOKEN WORD AND PORTRAYAL OF EMOTION THROUGH A CHARACTER. ACTORS DEVELOP A CHARACTER BASED ON A NUMBER OF DIFFERENT CRITERIA AND REQUIREMENTS IN ORDER TO CONNECT TO THE AUDIENCE IN A PERSONAL AND MEANINGFUL WAY. IT IS THIS CONNECTION THAT IS JUST AS IMPORTANT AS THE VISUAL AESTHETIC OF THE FILM. AS STATED BEFORE, FILMMAKING IS THE PROCESS TO CREATE A CINEMATIC

9 FEATURE THAT ENVELOPS THE AUDIENCE AND ALLOWS THEM TO ACCEPT THE ARTIFICIAL REALITY PRESENTED BEFORE THEM. WHEN ASKED ABOUT ACTING, ESTEEMED AUTHOR OSCAR WILDE EXCLAIMED, ‚I LOVE ACTING, IT IS SO MUCH MORE REAL THAN LIFE!‛8 THIS QUOTE IS INTERESTING BECAUSE IT IS THE GOAL OF A DIRECTOR AND EVERYONE ELSE WORKING ON A PRODUCTION TO CREATE A REALISM THAT IS ABLE TO PULL THE AUDIENCE IN BOTH COGNITIVELY AND EMOTIONALLY. THE ACTING; THEREFORE, SHOULD BECOME MORE REAL THAN LIFE BECAUSE WHEN THE MOVIE SCREEN IS ILLUMINATED, THE REALITY IS ALTERED. THE LAST TOOL THAT IS GOING TO BE MENTIONED IN THE CINEMATIC TOOLBOX IS THE SOUNDTRACK. SO FAR WE HAVE SEEN AN ELABORATE COMBINATION OF TOOLS THAT EACH PROVIDE UNIQUE CHARACTERISTICS TO A FILM AND ARE USED APPROPRIATELY BASED ON THE DIRECTOR’S DISCRETION. SOUNDTRACK IS JUST AS IMPORTANT AS THE BEFORE MENTIONED TOOLS AND HAS THE UNIQUE CHARACTERISTIC OF BEING COMPLETELY AUDIO BASED. ACTING CONNECTS TO THE AUDIENCE VERBALLY WITH SPEECH, BUT IT ALSO CONNECTS THROUGH THE ACTOR’S EXPRESSIONS AND MOVEMENTS THAT ARE BOTH VISUAL. SOUNDTRACK, BOTH MUSIC AND EFFECTS, PROVIDE ANOTHER LEVEL OF CONNECTION BETWEEN THE MOVIE AND THE AUDIENCE. MUSIC HAS BECOME ESSENTIAL TO FILMMAKING AS A METHOD FOR DIRECTORS TO INFORM THE VIEWER OF A MOOD WITHIN THE FILM. MUSIC IS SUCH AN EMOTIONALLY EVOCATIVE ART FORM THAT IT QUICKLY AND UNIVERSALLY CONNECTS WITH AUDIENCE MEMBERS IN AN EMOTIVE WAY. IT IS COMMON THAT IN EVERYDAY LIFE A PERSON AUTOMATICALLY APPLIES THEIR OWN SOUNDTRACK. MUSIC IN FILM IS A DIRECTOR’S SOUNDTRACK TO THE EVENTS ON THE SCREEN AND ALLOWS THE AUDIENCE TO BE CONNECTED TO THE MOVIE’S EVENTS MUCH LIKE THEIR LIFE SOUNDTRACK CONNECTS THEM TO THEIR LIFE. SOUND EFFECTS ARE EQUALLY IMPORTANT TO A FILM WHEN USED APPROPRIATELY. THINGS SUCH AS FOOTSTEPS, DOOR CREAKS, OR BIRD NOISES CAN HEIGHTEN THE AWARENESS OF THE AUDIENCE AND IMPROVE THEIR IMMERSION WITHIN THE FILM’S ALTERNATE REALITY. AS IS THE CASE WITH ALL OF THESE TOOLS, THEY DO NOT HAVE TO BE USED ALL THE TIME IN EVERY FILM. IT IS UP TO EACH DIRECTOR TO DELICATELY COMBINE EACH TOOL WITH THE OTHER IN SPECIFIC RATIOS THAT ALLOW THE FILM TO ACHIEVE A CONNECTION WITH THE AUDIENCE. SOME OF THE MOST EMOTIONALLY EVOCATIVE FILMS WERE COMPLETED DURING THE SILENT ERA OF FILM WHERE SUBTLE MUSIC WAS THE ONLY SOURCE OF AUDIO INFLUENCE. IN SOME CASES THE ABSENCE OF SOUND AS A TYPE OF SOUNDTRACK AND CAN BE EXTREMELY INTRIGUING IN THE PROPER USE. THROUGHOUT THIS ANALYSIS OF CINEMATIC TOOLS EACH HAS BEEN EXAMINED IN ITS RELATIONSHIP TO THE OTHER, BUT ALSO IN HOW EACH TOOL ATTRIBUTES TO AN EMOTIONAL CONNECTION THAT CHANGES THE REALITY OF THE AUDIENCE. EACH SCENE CONTAINS THESE CINEMATIC TOOLS AND THEY ARE COMPILED TOGETHER THROUGH A SYSTEM OF EDITING THAT PRODUCES A TIMELINE FOR THE FILM. THIS TIMELINE COULD BE CONSIDERED ANOTHER CINEMATIC TOOL; HOWEVER, IT IS REALLY MORE THE RESULT OF DIRECTORIAL DECISIONS OF HOW TO BEST ORIENT THE VIEWER TO THE STORY THROUGH CINEMATIC TECHNIQUES. TIMELINE IS VERY IMPORTANT AS A SEQUENCE FOR THE AUDIENCE TO GRASP AND PROGRESS THROUGH AS THEY PERCEIVE THE ALTERNATE REALITY OF THE FILM. IT IS A PATH THAT ALLOWS THEM TO UNDERSTAND THEIR SURROUNDINGS WHILE STILL UNDER THE GUIDANCE OF THE DIRECTOR AND THE NARRATIVE. THE TIMELINE IS BEST ORCHESTRATED THROUGH THE CHANGING AND OSCILLATING OF CINEMATIC TOOLS RATHER THAN THEIR PRESENCE IN AN INDIVIDUAL SCENE. A SHIFT IN SCALE, PERSPECTIVE, LIGHTING OR ANY OTHER CINEMATIC TOOL IS IMPORTANT TO HOLDING THE INTEREST OF THE AUDIENCE AND TRANSITIONING THE COLOR AROUND THEM. TIMELINE IS NOT ONLY A TRANSITION IN

10 STORY, BUT A TRANSITION IN COLOR THAT HIGHLIGHTS THE EMOTIONAL EXPERIENCE OF THE VIEWER. IT IS IMPORTANT TO NOTE THAT THIS EMOTIONAL CONNECTION AND ALTERNATE REALITY ARE ALL A PART OF THE GREATER WHOLE WHICH IS THE COLOR WITHIN THE FILM. COLOR INCLUDES EVERYTHING THAT THE MOVIE PRESENTS AND IT ESPECIALLY INCLUDES THE INDEFINABLE SPACE CREATED BY THE EFFECTS OF THE CINEMATIC TOOLBOX. THE TOOLS IN A CINEMATIC TOOLBOX ARE ESSENTIAL TO MAKING SURE THAT AN ALTERNATE REALITY IS APPROPRIATELY CONCEIVED BY THE AUDIENCE AND IN SO DOING WILL SURROUND THE AUDIENCE IN COLOR THAT SHIFTS AND MOVES THROUGH A TIMELINE TO CREATE A FULLY EXPERIENTIAL EFFECT. CINEMATIC TOOLS IN FEATURE FILMS IF THERE IS ONE MOVIE THAT CAN BE EPITOMIZED AS NOT ONLY AN ENTERTAINING STORY, BUT A WONDER OF CINEMATIC MANIPULATION AND TECHNOLOGICAL INNOVATION, THEN ORSON WELLES’ CITIZEN KANE REIGNS SUPREME. THIS FILM HAS BEEN WIDELY STUDIED SINCE ITS RELEASE IN 1941 AND STILL REMAINS A FILM WITH GREAT PRAISE IN ALL AREAS OF ITS CINEMATIC PRODUCTION. WHEN ANALYZING THIS FILM THROUGH EACH LENS OF THE CINEMATIC TOOLBOX MENTIONED EARLIER, IT IS EASY TO REALIZE THAT NEAR PERFECTION IS ACHIEVED IN ALL. IT IS UNANIMOUSLY AGREED BY ALL WHO HAVE EVER APPRECIATED A MOVIE THAT PERFECTION HAS YET TO BE REACHED BY ANY ONE FILM; HOWEVER, CITIZEN KANE HAS REMAINED AS A CORNERSTONE IN AMERICAN FILMMAKING FOR OVER HALF A CENTURY AND STANDS AS AN EXAMPLE OF SUCCESS IN EVERY ASPECT OF CINEMATIC COMPILATION. CITIZEN KANE HAS TOPPED NUMEROUS LISTS FOR BEST FEATURE FILM INCLUDING THE AMERICAN FILM INSTITUTE’S TOP 100 FILMS THAT WAS VOTED ON BY 1,500 MOVIE CRITICS.9 ACCLAIMED FILM CRITIC ROGER EBERT DESCRIBES HIS FASCINATION WITH THE PRODUCTION STATING, ITS SURFACE IS AS MUCH FUN AS ANY MOVIE EVER MADE. ITS DEPTHS SURPASS UNDERSTANDING. I HAVE ANALYZED IT A SHOT AT A TIME WITH MORE THAN THIRTY GROUPS, AND TOGETHER WE HAVE FOUND, I BELIEVE, PRETTY MUCH EVERYTHING THAT IS THERE ON THE SCREEN. THE MORE CLEARLY I CAN SEE ITS PHYSICAL MANIFESTATION, THE MORE I AM STIRRED BY ITS MYSTERY.10 THE DIRECTING DEBUT OF ORSON WELLES INTRODUCED A FRESH PERSPECTIVE TO THE ART OF FILMMAKING AND CREATED NEW STANDARDS IN ALL AREAS OF THE DESIGN AND PRODUCTION PROCESS. NO OTHER FILM IN HISTORY HAS BEEN MORE AGREED UPON AS THE ‚GREATEST FILM OF ALL TIME‛ AND IT IS BECAUSE OF THIS FACT THAT CITIZEN KANE WILL SERVE AS AN APPROPRIATE SUBJECT FOR ANALYSIS.11 ONE OF THE OVERALL REASONS FOR THE MANY SUCCESSES OF CITIZEN KANE IS THE DEVOTION OF THE DIRECTOR TO CREATE A SENSE OF REALISM WITH HIS FILM. THIS MOVIE BEST EPITOMIZES THE CREATION OF ARCHITECTURAL SPACE AND A COMPLETE IMMERSION OF THE AUDIENCE INTO ITS ALTERNATE REALITY. THE SPATIAL EXPERIENCES WITHIN CITIZEN KANE ARE MESMERIZING BECAUSE OF THEIR ABILITY TO SURROUND THE VIEWER AND REALLY PROVIDE A SENSE OF MATERIAL, SIZE, AND GENERAL LOCATION THROUGH THE USE OF THE CINEMATIC TOOLBOX. EVEN THOUGH THE FILM IS ENTIRELY PRODUCED IN BLACK AND WHITE, WELLES STILL

11 WANTED A WORK THAT COMMUNICATED WITH THE AUDIENCE AND PROVIDED THE MOST REAL ENVIRONMENT THAT COULD BE ACHIEVED AT THE TIME. ROBERT CARRINGER DESCRIBES THE MOTIVES OF CINEMATOGRAPHER GREGG TOLAND, THE FILM’S KEYNOTE, HE WROTE, WAS ‚REALISM‛; HIS AND WELLES’S GUIDING MOTIVE THROUGHOUT THE PRODUCTION HAD BEEN TO MAKE THE AUDIENCE ‚FEEL IT WAS LOOKING AT REALITY, RATHER THAN MERELY AT A MOVIE‛12 THIS REALISM IS WHAT ALLOWS THE FILM TO SUCCEED IN ITS ABILITY TO CONNECT WITH THE AUDIENCE ON A PERSONAL LEVEL. EVERY RANGE OF HUMAN EMOTION IS EXPERIENCED THROUGHOUT THE COURSE OF THE FILM WHICH ALLOWS EACH VIEWING MEMBER TO RELATE PERSONALLY TO THE CHARACTER(S) ON THE SCREEN. THERE IS A COLOR CREATED WITH EACH PASSING SCENE AND THIS COLOR IS NOT ONLY CHANGING FROM ONE SCENE TO THE NEXT, BUT IT IS ALSO REPEATS WITH SUBTLE VARIATIONS. [5.1] AN ARRANGEMENT OF COLOR CHANGES IS SHOWN IN EACH ROW OF THE IMAGE COMPILATION 5.1. IT CAN BE DEDUCED FROM AN ANALYSIS OF THESE SCENES THAT THERE IS A DIRECT CORRELATION BETWEEN THE COLOR OF THE SCENE AND THE TOOLS USED IN THAT SCENE. THERE IS CLOSENESS WITH THE ACTORS EARLY ON IN THE FILM WHICH RELATES TO THE CLOSE RELATIONSHIPS AND HAPPINESS OF THE FILM. AS THE FILM PROGRESSES, THE MOODS DARKEN AND THE SPACES BEGIN TO OVERWHELM THE ACTORS. OTHER CINEMATIC TOOLS ARE CHANGING IN THE SAME WAY AND A MORE DETAILED ANALYSIS WILL REVEAL THE COLOR CONNECTION TO THOSE CHANGES. SPATIALLY THE FILM TRANSITIONS WITH THESE CHANGING COLORS AS THE LIFE OF THE MAIN CHARACTER IS EXPLORED. WELLES’ ATTENTION TO ARCHITECTURAL SPACE IN HIS FILM IS MOST RELEVANT TO THE PURPOSE OF IMPLEMENTING EMOTION IN ARCHITECTURE. THE STORY OF CITIZEN KANE USES A SERIES OF FOUR FLASHBACKS IN COMBINATION WITH REAL TIME EVENTS TO THOROUGHLY EXAMINE THE LIFE OF ONE CHARLES FOSTER KANE. THESE FLASHBACKS WILL OFTEN LOOK AT THE SAME KEY EVENTS FROM THE LIFE OF KANE, BUT FROM DIFFERENT VANTAGE POINTS AND EMOTIONAL STATES. ROGER EBERT ELABORATES, AS OFTEN AS I’VE SEEN CITIZEN KANE, I’VE NEVER BEEN ABLE TO FIRMLY FIX THE ORDER OF THE SCENES IN MY MIND. I LOOK AT A SCENE AND TEASE MYSELF WITH WHAT WILL COME NEXT. BUT IT REMAINS ELUSIVE: BY FLASHING BACK THROUGH THE EYES OF MANY WITNESSES, WELLES AND MANKIEWICZ CREATED AN EMOTIONAL CHRONOLOGY SET FREE FROM TIME.13 THIS ELUSIVE CHRONOLOGY THAT IS MAINTAINED THROUGHOUT THE FILM IS NOT CONFUSING OR MISLEADING, BUT RATHER EFFECTIVE IN ITS ABILITY TO MAINTAIN AUDIENCE COHERENCE WITHOUT A CLEARLY ESTABLISHED BASIS OF TIME. THIS TIMELINE IS WELL ESTABLISHED THROUGH SKILLED ACTING, A SUCCINCT SCRIPT, AND PROPER CAMERA WORK AND EDITING. AN ANALYSIS OF THESE AND OTHER CINEMATIC TOOLS WILL ALLOW FOR A GREATER UNDERSTANDING OF HOW CITIZEN KANE AND OTHER IMPORTANT WORKS OF FILM ACHIEVE AN IMMERSION OF THE AUDIENCE WITHIN VARIOUS COLORS. WITHIN THE MOVIE, ALL OF THE CINEMATIC TOOLS ARE INTERCONNECTED, WHICH IS THE SAME FOR ALL OTHER WORKS OF FILM. IT IS NECESSARY TO UNDERSTAND THAT THOUGH THE TOOLS ARE DISCUSSED AS SOMEWHAT SEPARATE ENTITIES THEY ARE STILL

12 COMPLIMENTS ENCOMPASSING A UNIFIED WHOLE. SINCE CITIZEN KANE WAS FILMED ENTIRELY IN BLACK AND WHITE, IT BECAME A PRIME CANDIDATE FOR THE BENEFITS OF DRAMATIC LIGHTING BY VIRTUE OF INNOVATIVE LIGHTING EFFECTS FROM THE TIME. THIS EXTREME LIGHTING SITUATION IS EVIDENT IN A SCENE EARLY IN THE FILM AND IS PURELY A PLAY OF THE CONTRAST BETWEEN LIGHT AND DARK. THE SCENE IS STAGED IN A SMALL ROOM THAT IS MEANT FOR VIEWING PROJECTED FILM.14 [6.1] MEN ARE GATHERED AROUND IN AN AIR OF SMOKE WITH TWO STRONG BEAMS OF LIGHT BEING EMITTED FROM THE PROJECTOR WINDOWS. A THIRD SOURCE OF LIGHT COMES FROM A TABLE TOP LAMP AND THIS IS MEANT TO ACCENTUATE ONE CHARACTER’S FACE WHILE THE OTHER ACTORS ARE SILHOUETTED

BY THE STRONGER LIGHTS. THE CLOSENESS OF THIS SET AND THE CONSTANT CHATTER OF THE MEN WITHIN THE SPACE CREATE AN ATMOSPHERE THAT FEELS VERY PERSONAL AND COMFORTABLE. THE CONSTANT QUICK DIALOGUE THAT THE ACTORS ARE RECITING IS VERY RELAXED AND INSPIRING IN THEIR ATTEMPT TO DISCOVER THE MEANING OF CHARLES FOSTER KANE’S LAST WORDS. THE VIEWER FEELS LIKE AN ACTOR IN THE SPACE RATHER THAN AN OUTSIDE SPECTATOR, IN BIG PART DUE TO THE CAMERA PERSPECTIVE BEING PLACED WITHIN THE SET. LIGHTING MAKES ANOTHER DRAMATIC APPEARANCE EARLY IN THE FILM WHEN THE CHARACTER, JERRY THOMPSON, IS CHARGED WITH FINDING THE MEANING OF KANE’S LAST WORD. JERRY FIRST LOOKS AT THE LIBRARY OF KANE’S FORMER GUARDIAN AND IT IS IN THIS UNIQUE SPACE WHERE ORSON WELLES CREATES ANOTHER SPECIAL LOOK. [6.2] IN THIS SCENE MR. THOMPSON IS SEATED AT A TABLE IN WHAT APPEARS TO BE A LARGE OPEN ROOM WITH A VAULT DOOR GUARDED BY A SECURITY OFFICER. THE ONE DIRECT LIGHT SOURCE IS COMING FROM ABOVE THE FRAME OF THE SHOT IN A SOLID BEAM THAT IS MEANT TO FLOOD THE TABLE WITH LIGHT WHILE CASTING THE REST OF THE VAST ROOM IN SHADOW. IN ADDITION TO THIS DRAMATIC LIGHT SOURCE IS THE PLAY OF SPACE CREATED BY THE SHADOWY FIGURE OF THE SECURITY GUARD PLACED AT A LARGE DISTANCE FROM THE FOREGROUND TO ENHANCE THE VISUAL TENSION OF THE SPACE. WELLES’ IS PLAYING WITH THE EMOTIVE STATE OF THE AUDIENCE EARLY AND OFTEN

BY CREATING THIS AWKWARD SPACE FOR BOTH THE ACTORS AND THE VIEWER. THERE IS A FEELING OF BEING IN THE ROOM AND WITNESSING THIS TENSION BETWEEN THE SEATED MR. THOMPSON AND THE GAZE OF THE SECURITY GUARD.15 THIS IS NOT A NORMAL ROOM WHICH EVOKES A SENSE OF WONDER ABOUT WHY SUCH A SPACE WOULD BE CREATED. THE VIEWER ATTEMPTS TO CREATE A THREE-DIMENSIONAL REALITY OF THIS SPACE, BUT IT IS DIFFICULT BECAUSE OF ITS UNIQUENESS AND LACK OF INFORMATION PROVIDED

BY THE DIRECTOR. ORSON WELLES PROVIDES ANOTHER UNIQUE APPLICATION OF WHAT CAN BE CATEGORIZED AS FRAMING. THIS IS NOT ONE OF THE CINEMATIC TOOLS MENTIONED IN THE CINEMATIC TOOLBOX SECTION; HOWEVER, IT IS ONE THAT NEEDS TO BE MENTIONED AFTER SEEING ITS EFFECTIVENESS IN NOT ONLY CITIZEN KANE BUT OTHER FILMS AS WELL. WELLES UTILIZES THE FRAME OF A SHOT TO ITS FULL POTENTIAL THROUGHOUT THE ENTIRE FILM AND CAREFULLY PLAYS WITH THE ARRANGEMENT OF ACTORS AND PROPS TO DIRECT SIGHT LINES OF THE AUDIENCE TO APPROPRIATE AREAS OF THE SCREEN. THE AUDIENCE HAS THE RIGHT TO WANDER THE FRAMED VIEW WITH THEIR EYES, BUT THESE TECHNIQUES OF WELLES FIND A WAY TO CONTROL THAT FREEDOM. DURING THE FIRST FLASHBACK SEQUENCE THE AUDIENCE IS INTRODUCED TO THE MOST IMPORTANT MOMENT OF CHARLES KANE’S YOUNG LIFE WHEN HE IS GIVEN UP

BY HIS PARENTS TO LEAD A MORE FULFILLING LIFE. THIS IS A VERY SAD MOMENT IN THE FILM BECAUSE YOU SEE THE DEVASTATION OF HIS GUARDIANS AS THEY GIVE UP THIS CHILD. THE YOUNG CHARLES KANE ALSO SHOWS THE EMOTION OF LEAVING HIS CHILDHOOD

13 BEHIND AND ANGRILY TRIES TO RESIST THE CHANGE IN HIS LIFE. THE FIRST OF TWO IMPORTANT SCENES WITHIN THIS PORTION OF THE FILM OCCURS INSIDE KANE’S HOME. [6.3] THE GUARDIANS OF KANE ARE WITH MR. THATCHER, WHO IS THE SOON TO BE GUARDIAN OF CHARLES KANE. KANE’S ‚MOTHER‛ AND MR. THATCHER ARE SEATED TO THE RIGHT OF THE SCENE AT A TABLE WHILE KANE’S ‚FATHER‛ STANDS TO THE LEFT SIDE OF THE SHOT. IN THE CENTER IS A WINDOW FAR IN THE DISTANCE WITH A PERFECTLY CLEAR YOUNG CHARLES KANE PLAYING OUTSIDE IN THE SNOW.16 THIS EFFECT WAS CREATED BY A TECHNIQUE DERIVED FOR THIS FILM CALLED ‚DEEP FOCUS‛. ORSON WELLES BELIEVED THAT THIS TECHNOLOGY WAS TRUE TO HIS MOTIVATION OF REALISM BECAUSE IT IS THE MOST ACCURATE REPRESENTATION OF HUMAN SIGHT. THIS CAMERA TECHNIQUE WAS USED THROUGHOUT THE FILM AND REVOLUTIONIZED FILMMAKING FROM THERE ON. IT WAS HIS GOAL TO ACHIEVE A REAL FILM THAT EASILY CONNECTED WITH THE AUDIENCE AND FULLY IMMERSED THEM INTO THE LIFE OF CHARLES FOSTER KANE.17 THE BEFORE MENTIONED SCENE IS FURTHER MANIPULATED BY WELLES IN THE WAY THE ACTORS ARE POSITIONED IN THE IMAGE. THE THREE IN THE FOREGROUND FORM THE SHAPE OF A V IN THE NEGATIVE SPACE BETWEEN THEM. THIS V DRAWS THE EYE OF THE VIEWER TOWARD THE YOUNG KANE IN THE WINDOW WHICH WELLES SEES AS AN IMPORTANT GLIMPSE INTO THE CHARACTER’S BRIEF CHILDHOOD. SOON AFTER THIS ENCOUNTER INSIDE THE HOUSE THE THREE CHARACTERS MOVE OUTSIDE WITH THE CHILD AND AGAIN WELLES EMPLOYS THIS VISUAL MANIPULATION THROUGH THE FRAMING OF THE ACTORS INTO A V SHAPE. [7.1] ONCE AGAIN THE FOCUS IS ON THE YOUNG CHARLES KANE AS HIS LIFE IS MEETING THIS MAJOR CROSSROAD AND THE EMOTIONS OF THE FILM REACH A HIGH POINT.18 THE AUDIENCE IS MEANT TO FEEL FOR NOT ONLY THE CHILD AND WHAT HIS FUTURE MAY HOLD, BUT ALSO THE SADNESS OF THE FAMILY FOR GIVING AWAY THEIR CHILD FOR A LARGE SUM OF MONEY THAT MR. THATCHER IS OFFERING. THESE TWO SCENES ARE REALLY DEVOTED TO THE ACTING AND SCRIPT WITH MUCH LESS EMPHASIS ON A MAJORITY OF THE OTHER CINEMATIC TOOLS. THE AUDIENCE IS MEANT TO CONNECT WITH THE CHARACTERS RATHER THAN THE SPATIAL REALITY OF THE SCENES.

CITIZEN KANE CONTINUES WITH CHARLES KANE AGING INTO HIS LATE TWENTIES AND BEGINNING TO ESTABLISH HIS NEWSPAPER BUSINESS. THIS IS A JUBILANT TIME IN THE LIFE OF CHARLES FOSTER KANE AND IT TRANSLATES INTO THE COLOR THAT THE AUDIENCE PERCEIVES. HAPPY, CALM, CARE FREE EXCITEMENT ARE THE ELEMENTS OF THIS PORTION OF THE FILM THAT LURE THE AUDIENCE INTO A SENSE OF JOYOUSNESS SHARED WITH THE MAIN CHARACTER. CINEMATIC TECHNIQUES ARE EMPLOYED TO HELP ACHIEVE THIS LIGHT HEARTED FEELING. ONE IMPORTANT TOOL IS THE SET WHICH HAS BEEN BEFORE MENTIONED IN ALL PREVIOUS SCENE ANALYSIS, BUT SPECIFICALLY ACCENTUATES THE STORY IN THIS REGARD. THE SET CAN BE LOOKED AT AS A COMBINATION OF PROPS, BUILT FORMS, LIGHTING, AND NUMEROUS OTHER ATTRIBUTES, BUT FOR THE PURPOSE OF EXAMINING IT AS A CINEMATIC TOOL ONLY THE BUILT FORM WILL BE ANALYZED. THROUGHOUT CITIZEN KANE ORSON WELLES USES SETS AS THE BUILT SPACES FOR HIS STORY RATHER THAN GOING TO ACTUAL LOCATIONS MAINLY FOR THE CONCERNS OF TIME AND EXPENSE. WITH THESE SETS, WELLES STILL WANTED TO CREATE A SENSE OF REALISM THAT CONVINCED THE AUDIENCE OF THEIR ALTERED REALITY AND FULLY ENCASED THEM IN THE STORY. TO ACCOMPLISH THIS TASK HE INTRODUCED A UNIQUE FORM OF SET CONSTRUCTION THAT ACTUALLY INCLUDED A CEILING TO ALL OF HIS BUILT SPACES. THE USE OF A CEILING WAS RARELY PURSUED IN CINEMA FOR REASONS THAT WERE USUALLY ECONOMICAL, BUT FOR THE UNIQUE CAMERAWORK AND REALISM OF CITIZEN KANE IT WAS MOST NECESSARY.19 THE CEILING ALLOWED WELLES TO CREATE

14 UPWARD ANGLES IN HIS FRAMED VIEWS WHICH ELEVATED THE HEIGHT OF THE ACTORS; HOWEVER, WELLES ALSO LOWERED THE CEILING HEIGHT TO AN UNCOMMON LEVEL WHICH REDUCED THE ACTOR’S ACCENTUATED HEIGHT BACK TO NORMAL. THIS TECHNIQUE WAS THEN ABLE TO MAINTAIN THE REALISM OF THE SCENE, BUT CREATE A DYNAMIC AND INTERESTING SPACE THAT ALLOWS THE AUDIENCE TO QUESTION THEIR SURROUNDINGS AND ULTIMATELY FOCUS MORE ON THE DETAILS OF THE SCENE. ONE SCENE THAT PRESENTS THE USE OF THE CINEMATIC TOOL, SET, IN A SUFFICIENT EXAMPLE TAKES PLACE DURING A CELEBRATION FOR THE SUCCESS OF KANE’S NEWSPAPER COMPANY. [7.2] AS PREVIOUSLY MENTIONED THIS IS A JOYOUS OCCASION THAT ALLOWS THE AUDIENCE TO RELAX AND CELEBRATE WITH THE CHARACTERS. TOW CHARACTERS ARE PICTURED IN THE FOREGROUND ON BOTH SIDES OF THE FRAME WHICH CREATES A SECONDARY FRAME FOR CHARLES KANE TO OCCUPY. WHEN LOOKING AT KANE HE APPEARS TALL BECAUSE OF A LOWERED CEILING HEIGHT WHICH WAS AN INTENTIONAL PLAY ON PERSPECTIVE. CHARLES KANE NOW APPEARS LARGER THAN LIFE AND SUPERIOR TO THE OTHER CAST MEMBERS. THIS PLAYS RIGHT INTO THE IDEALS THAT THE DIRECTOR WISHES THE AUDIENCE TO ABSORB AND THUS CREATES ANOTHER FORM OF MANIPULATION BETWEEN ARTIST AND VIEWER. THERE ARE OTHER CINEMATIC TOOLS AT WORK IN THIS SCENE THAT ALSO PROVIDE A CONVINCING REALITY FOR THE AUDIENCE. THE SOUNDTRACK IN THIS SCENE IS VERY JOVIAL IN BOTH MUSIC AND LAUGHTER WHICH IS AN OBVIOUS ACCENTUATION OF THE HAPPINESS FOR EACH CHARACTER. LIGHTING, SPECIFICALLY LIGHTING FROM THE FLOOR UPWARD, ALLOWED THE CEILING INTEGRITY TO BE MAINTAINED WHILE THE ACTORS FROM THE FOREGROUND TO THE BACKGROUND ALL HAD PROPER LIGHTING. THIS IN COMBINATION WITH THE DEEP FOCUS TECHNIQUE CREATES A VERY REAL PARTY ATMOSPHERE THAT IS SPATIALLY INTACT FROM FRONT TO BACK. THE USE OF FRAMING IS AGAIN USED AS BOTH ACTORS IN THE FOREGROUND ARE LOOKING AT EACH OTHER, BUT THEIR GAZE ACTUALLY DIRECTS THE VIEWER TOWARD KANE IN THE CENTER OF THE SHOT.20 AS MENTIONED EARLIER, A VERY IMPORTANT TOOL IN A DIRECTOR’S ARSENAL IS THE USE OF PERSPECTIVE AND MANIPULATION OF THE CAMERA ANGLE TO PROVIDE A LENS FOR WHICH THE VIEWER SEES THE WORLD. ORSON WELLES IS MANIPULATING PERSPECTIVE THROUGHOUT THE ENTIRE CITIZEN KANE PRODUCTION, BUT THERE ARE CERTAIN SCENES THAT COMPLETELY DEVOTE THEMSELVES TO THE SHOT AND THE OTHER CINEMATIC TOOLS ARE A MERE BACKDROP TO THE CAMERA’S GAZE. ONE IN PARTICULAR INCLUDES CHARLES FOSTER KANE AND AN ASSOCIATE STANDING IN A WORK SPACE OF THEIR NEWSPAPER COMPANY. [7.3] THE CAMERA ANGLE OF THE SHOT APPEARS TO BE FROM THE PERSPECTIVE OF A BUG OR SOMETHING ON THE FLOOR. ORSON WELLES ACTUALLY FELT THAT THE CAMERA WAS NOT LOW ENOUGH BY BEING PLACED ON THE FLOOR; THEREFORE, HE CUT A HOLE IN THE SET FLOOR TO PUT THE CAMERA AT A LEVEL THAT HE FOUND APPROPRIATE. 21 THIS DRAMATIC VANTAGE POINT IN THE SCENE CREATES A FEELING OF INSIGNIFICANCE BETWEEN THE AUDIENCE AND CHARACTERS ON THE SCREEN. KANE AND HIS BUSINESS PARTNER APPEAR TO BE GIANTS IN SCALE WHICH ALTERS THE PERSPECTIVE OF THE VIEWER. BECAUSE OF THIS UNIQUE VANTAGE POINT, THE AUDIENCE BECOMES MORE AWARE OF THEIR ALTERNATIVE REALITY THAT IS NOW FROM THE LOWER ELEVATION. THE BRAIN BEGINS TO EXAMINE THE NEW SURROUNDINGS PERCEIVED BY THE EYE TO JUSTIFY THE REALITY OF THE SITUATION. THIS HEIGHTENED SENSE OF THINGS IS FURTHER ENHANCED BY THE USE OF A CEILING IN THE SET WHICH PROVIDES AN ENCLOSURE FOR THE AUDIENCE. THE DEEP FOCUS ALLOWS ALL AREAS OF THE SPACE TO BE IN COMPLETE VIEW AND FOCUS WHICH CREATES A LARGE ARRAY OF OBJECTS FOR THE EYE TO EXAMINE.22 THE AUDIENCE

15 IS ALLOWED TO VISUALLY DART AROUND THE SPACE IN A SORT OF PLAYFUL MANNER THAT IS PURELY AESTHETIC AND IN NO WAY CONNECTED TO THE DIALOGUE OF THE CHARACTERS. THERE IS AN INTIMACY THAT SURROUNDS THE VIEWER AND BINDS THEM TO THE SPACE. IT BECOMES A WORLD IN WHICH THEY ARE FREE TO EXPLORE AS IF THEY ARE HIDDEN FROM VIEW OF THE ACTORS IN THE SHOT. TOWARD THE END OF ORSON WELLES’ CITIZEN KANE, SCALE MANIPULATION IS USED AS A CINEMATIC TOOL, WHICH VERY CAREFULLY CREATES A SENSE OF UNEASE AMONGST THE AUDIENCE AS THEY ATTEMPT TO GRASP THE REALITY THAT CONFORMS AROUND THEM. CHARLES FOSTER KANE IS NOW AN OLD MAN WITH AN UNSETTLING MARRIAGE AND A CLUTTERED BUT LONELY HOUSE. SCALE BECAME IMPORTANT TO PORTRAY THE LARGER THAN LIFE ATTITUDE ATTAINED BY KANE THROUGHOUT HIS LIFE AND A CHANGE IN SCALE WAS MEANT TO GIVE THE VIEWER A GREATER AMOUNT OF DETAIL TO THE DIMENSIONS OF THE SPACE BEING PRESENTED. THERE ARE VARIOUS EXAMPLES WITHIN THE FILM WHERE THIS SCALE CHANGE OCCURS; HOWEVER, THE MOST EVOCATIVE AND MANIPULATIVE CHANGES OCCUR WITHIN THE KANE RESIDENCE KNOWN AS XANADU. THE COLOR THAT SURROUNDS THE VIEWER WITHIN THIS MANSION IS ALWAYS LONELY, INSIGNIFICANT, AND UNSETTLING. THERE IS NO FOR SURE FLOOR PLAN OF THE HOME AND ONLY KEY SPACES ARE REVEALED TO THE AUDIENCE. THE SCALE OF THESE SPACES IS ALWAYS FULLY EXAGGERATED TO PROVIDE A MAXIMUM EXPOSURE TO THE SHEAR SIZE OF THIS COMPLEX AND ITS ROOMS. WELLES UTILIZES INTERESTING FILMMAKING TECHNIQUES THAT ALTER THE SCALE OF A SPACE WITHIN ONE TAKE; THEREFORE, THE AUDIENCE IS NOT GIVEN ANY OPPORTUNITY TO BRACE FOR THE CHANGE. THIS ALTERATION NORMALLY OCCURS IN THE FORM OF ONCE SCENE CUTTING TO THE NEXT. BY PLACING THE SCALE CHANGE MID-SCENE THE VIEWER IS FORCED TO ADJUST THEIR PERCEPTION OF REALITY AND IS ACTUALLY MORE IN TUNE WITH THE DETAILS OF THE SPACE. ONE SCENE IN PARTICULAR INVOLVES CHARLES KANE SPEAKING WITH HIS WIFE SUSAN IN THE GREAT ROOM OF XANADU. [8.1] AT THE BEGINNING OF THE CONVERSATION KANE IS IN THE FOREGROUND STANDING NEXT TO A SEATED SUSAN WITH A FIREPLACE IN THE BACKGROUND. AS KANE WALKS AWAY FROM SUSAN TOWARD THE FIREPLACE THE AUDIENCE IS SHOWN THE TRUE SIZE OF THE FIREPLACE TO BE AT LEAST TWICE AS TALL AS KANE. [8.2] BOTH KANE AND SUSAN ARE KEPT IN FOCUS THROUGHOUT THIS TAKE BY USE OF ‚DEEP FOCUS.23 THE DRAMATIC SPATIAL CHANGE IN THE BEFORE MENTIONED SCENE FROM WHAT THE AUDIENCE PERCEIVES AS A NORMAL TO AN ACTUAL OVERSIZED FIREPLACE QUICKLY ALTERS THE VIEWER’S PERCEPTION OF THE SPACE AND IMMEDIATELY INVOKES A SENSE OF SHOCK, UNCERTAINTY, AND AN OVERARCHING FEELING OF BEING SMALL. THIS SCENE PRODUCES A COLOR THAT SURROUNDS THE AUDIENCE WITH A SENSE OF UNCONTROLLABLE UNEASINESS AS THEY FEEL SURROUNDED BY THE CLUTTER OF STATUES AND SCULPTURE THAT HAD BEEN COLLECTED BY MR. KANE, BUT AT THE SAME TIME FEEL LOST IN THE IMMENSE SPACE OF THE MANSION. SCALE IS ALSO PLAYED WITH BY AN APPROPRIATE APPLICATION OF LIGHTING THAT CAN DRAMATICALLY CHANGE THE TONE OF A SCENE. AGAIN IN THE GREAT ROOM OF XANADU, SUSAN IS PICTURED WITH THE BACK OF HER HEAD TO THE CAMERA AS SHE SPEAKS TO A SEATED KANE ACROSS THE ROOM. [8.3] LIGHTING, PRESUMABLY FROM THE ENORMOUS FIREPLACE, IS THE ONLY SOURCE OF LIGHTING AND IT CASTS A STRONG GLOW ACROSS THE MIDDLE OF THE SCENE. THIS CREATES SOMEWHAT OF A BARRIER BETWEEN THE TWO FEUDING CHARACTERS AND ALSO EMPHASIZES THE DISTANCE BETWEEN THEM. THIS SPATIAL CHANGE IS FURTHER EMPHASIZED BY A SUBTLE LIGHT CAST ON THE WALL IN THE BACKGROUND. THIS WALL IS MEANT TO SHOW THE ENORMITY OF THE SPACE IN TERMS OF

16 VERTICALITY. THE BACK WALL, AS A DESIGNED SET PIECE IS ALSO COMPLIMENTED BY THE LACK OF FURNITURE SCATTERED THROUGHOUT THE SPACE THAT IS MEANT TO PROVOKE A SENSE OF EXTREME SIZE AND DISCONNECTEDNESS WITHIN THE SPACE.24 COLOR FILLS THIS SPACE BY CREATING AN AWKWARD SENSATION FOR THE VIEWER AS THEY STRUGGLE TO STAY AFLOAT IN THIS SEA OF SPACE. AS IF ALL OF THE VISUAL ASPECTS ARE NOT ENOUGH TO PRODUCE THIS UNCOMFORTABLE FEELING, WELLES ADDS THE ELEMENT OF SOUND WHICH USES ECHOED VOICES, MOVEMENTS, AND OUTSIDE SOUNDS TO SURROUND THE AUDIENCE WITH AN ADDITIONAL AUDIO SENSATION OF ENORMOUS SPACE. THE VIEWER HAS THE FEELING OF BEING IN AN EXTREMELY SMALL PRISON CELL THAT IS LARGER THAN THE PRISON ITSELF. IT IS THIS COMBINATION OF CINEMATIC TOOLS THAT COMPLETE A COLORFUL AND EVOCATIVE MOMENT WITHIN THE FILM. THERE IS ANOTHER TRICK THAT WAS NOT MENTIONED IN THE ORIGINAL CINEMATIC TOOLS, BUT THAT CAN PLAY AN INTERESTING AND IMPORTANT ROLE IN THE SUCCESS OF MULTIPLE OTHER TOOLS. THIS TECHNIQUE IS THE APPLICATION OF REFLECTIVE SURFACES, SUCH AS A MIRROR OR WATER, WHICH CAN CREATE AN ILLUSION OF SPACE THAT CHANGES THE PERCEPTION OF THE IMAGE ON THE SCREEN. REFLECTIVE SURFACES ARE A VISUAL ASPECT OF FILMMAKING AND THEY AFFECT THE AUDIENCE AND THEIR ANALYSIS OF SPACE THROUGH SIGHT. CITIZEN KANE USES REFLECTIVE SURFACES TO CREATE AN ILLUSION OF SPACE THAT VISUALLY ENHANCES THE EXPERIENCE OF THE AUDIENCE. ONE SCENE IN PARTICULAR SHOWS CHARLES KANE WALKING DOWN A HALL IN HIS HOME, AND THIS HALL IS LINED WITH MIRRORS, ONE FACING THE OTHER. [8.4] FROM THE PROPER ANGLE AN ILLUSION IS CREATED THAT INTRODUCES A NEVER-ENDING REFLECTION IN THE VIEW OF ONE MIRROR. IN THIS SCENE KANE IS DEPRESSED AFTER HIS WIFE HAD WALKED OUT ON HIM AND IS PROCEEDING TO HIS ROOM WHERE HIS DEATH BED AWAITS. THIS IMAGE IS ONE OF THE FINAL IMAGES OF CHARLES FOSTER KANE AND IT REPRESENTS THE MANY DIFFERENT PARTS OF HIM THAT HAVE BEEN DISPLAYED TO THE AUDIENCE THROUGHOUT THE FILM. THE ORNATE ARCHITECTURAL STYLING OF THE ARCHES PUTS THE VIEWER INTO A MOOD RELATING TO BYZANTINE CHURCHES OR GOTHIC CATHEDRALS. THERE IS A SPIRITUAL CONNECTION THAT HAPPENS BETWEEN THE CHARACTER AND THE AUDIENCE AND THE FEELING OF DEATH AND CONCLUSION FILLS THE AIR. THE SCENE REPRESENTS AND CONVEYS HOW ALONE KANE WAS IN HIS FINAL DAYS AND THIS REFLECTION CREATES THE CONNECTION THAT HE WAS REALLY ONLY SURROUNDED BY HIMSELF. THE ACTOR IS WALKING INTO THE ONLY SOURCE OF LIGHT IN THE SCENE WHICH IMPLIES THE SAYING, ‚WALK TOWARDS THE LIGHT,‛ COMMONLY ASSOCIATED WITH DYING. THERE IS DRAMATIC SHADOWING CAST ON BOTH THE ARCH ORNAMENTATION AND THE CHARACTER AND THIS ONLY HEIGHTENS THE SPATIAL DEPTH OF A FILMED SPACE THAT IS ACTUALLY QUITE SMALL.25 AS A WHOLE, THE SCENES IN THIS FILM CONNECT TO THE AUDIENCE ON MANY DIFFERENT LEVELS AND CONVEY A SENSE OF ONENESS WITH THE CHARACTER. CITIZEN KANE IS AN EVOCATIVE FILM THAT USES THE DRAMATICS OF SPATIAL MANIPULATION THROUGH CINEMATIC TECHNIQUE TO CREATE A REALITY FOR THE AUDIENCE THAT IS BOTH ARCHITECTURALLY INTERESTING AND BELIEVABLE.

CINEMATIC TOOLS IN EMOTIONAL ARCHITECTURE

17 THERE ARE THREE ARCHITECTURAL PRECEDENTS, PERSONALLY EXPERIENCED BY THE AUTHOR, THAT EXHIBIT THE EMOTION OF SPACE IN A SUCCESSFUL AND EVOCATIVE WAY. THE FIRST PRECEDENT IS LOCATED IN VERGINA, GREECE AT THE ROYAL TOMBS MUSEUM. THIS MUSEUM CONSISTS OF TWO UNEARTHED TOMBS AND A CIST GRAVE. ONE TOMB IS LINKED TO THE MACEDONIAN KING PHILIP II AND THE SECOND IS BELIEVED TO BE THAT OF ALEXANDER THE IV, SON OF ALEXANDER THE GREAT. THE MUSEUM WAS CREATED TO HOUSE THE TOMBS AND TREASURES DISCOVERED AT THIS ONE LOCATION; THEREFORE, THE MUSEUM WAS BUILT DIRECTLY OVER THE EXCAVATED LAND. THE EXTERIOR FORM OF THE MUSEUM RESEMBLES THE FORM OF A MACEDONIAN TUMULUS THAT WAS COMMONLY USED TO COVER AND PROTECT GRAVE SITES OF THAT ERA. [9.1] BECAUSE OF THIS DESIGN FEATURE, THE EXTERIOR OF THE BUILDING IS VERY DISCREET AND UNASSUMING AS IT APPEARS TO BE A HILL IN THE MIDDLE OF THE GREEK LANDSCAPE. THE ENTRANCE IS EQUALLY UNASSUMING AND DISCREET IN ITS DESIGN PRESENCE. A SLIT HAS BEEN CUT INTO THE SIDE OF THE HILL IN WHICH AN UNCOVERED WALKWAY DIRECTS THE ENTRANT INTO A DARK OPENING THAT PENETRATES INTO THE RAISED FORM. AS ONE ENTERS THE BUILDING AND THE EXPLORATION OF THE SPACE BEGINS, THERE IS A REALIZATION THAT OCCURS QUITE RAPIDLY. THIS MUSEUM IS UNLIKE THE NORMAL MUSEUM STEREOTYPE IN THAT THERE IS NO NATURAL LIGHT OR BRIGHTLY LIT SPACE. [9.2] SPECIFIC AND DIRECT LIGHTING IS POINTED TOWARD THE SPECIFIC DISPLAYS WHILE THE CIRCULATION SPACES ARE DIMLY LIT. THIS TECHNIQUE ENHANCES THE IMPORTANCE OF THE ARTIFACTS ON DISPLAY AND CREATES AN OMINOUS GLOW FROM ONE CASE TO THE NEXT. A COMPARISON CAN BE MADE BETWEEN THIS DESIGN TECHNIQUE AND THE CINEMATIC TOOL OF LIGHTING IN CITIZEN KANE. BOTH THE ROYAL TOMBS MUSEUM AND SOME OF THE BEGINNING SCENES OF CITIZEN KANE EXHIBIT DRAMATIC LIGHTING THAT FOCUS ATTENTION AND INCREASE TENSION WITHIN BOTH THE ARCHITECTURAL AND CINEMATIC SPACE. IN CITIZEN KANE, BOTH THE SCENE IN THE PROJECTOR ROOM AND THE SCENE IN THE LIBRARY HAVE DRAMATIC LIGHT SOURCES THAT BRING FOCUS INTO KEY AREAS OF THE ROOM AND ALLOW THE EXCESS ILLUMINATION TO DIMINISH INTO THE CORNERS OF THE SCREEN. THIS INCREASE IN SHADOW BLURS THE ACTUAL DIMENSIONS OF THE ROOM AND CREATES AN INACCURACY OF SPATIAL AWARENESS FOR THE VIEWER.26 SIMILARLY, IN THE ROYAL TOMBS MUSEUM THE LIGHT IS USED TO HIGHLIGHT KEY AREAS AND DISPLAYS WITHIN THE MUSEUM. GOLD ARTIFACTS, GRAVE SITE RUINS, AND THE ENTRANCES OF THE TOMBS THEMSELVES ARE ALL ILLUMINATED IN PRECISE AND DRAMATIC WAYS. THIS ILLUMINATION IS ALSO USED AS A SOURCE OF LIGHTING FOR THE CIRCULATION SPACES AND SKEWS THE PERCEPTION OF SPACE WITHIN THE BUILT FORM. THE DRAMATIC NATURE OF THE SPACE IS VERY DENSE AND IS VERY SUCCESSFUL IN ABSORBING THE INHABITANT. THIS IS A COLOR THAT THE ENTIRE MUSEUM POSSESSES AND IT ENVELOPES THE LIGHT AND THE DARK, THE OPEN AND THE CLOSED, THE PAST AND THE PRESENT. THE UNATTACHED NATURE OF THE INTERIOR SPACE TO THE OUTSIDE WORLD IS VERY INTRIGUING BECAUSE IT BEGINS TO CONNECT THE AUDIENCE TO THE DISPLAYED ARTIFACTS AND ALLOWS THE VISITOR TO NOT ONLY INHABIT THE MUSEUM, BUT THE HISTORY ITSELF. WHILE MOVING THROUGH THE MUSEUM, THERE IS A CONNECTION MADE WITH THE MEN WHO WERE BURIED IN THE TOMBS. THEIR LIFESTYLES, HABITS, POWER AND EVEN THEIR PHYSICAL FEATURES ARE REVEALED TO THE VIEWER AND THIS CREATES A PERSONAL CONNECTION THAT ALLOWS THE MIND TO WANDER AND IMAGINE A TIME UNLIKE ANYTHING THEY HAVE EVER EXPERIENCED. IN ADDITION TO THE ELEMENT OF LIGHT THROUGHOUT THE MUSEUM THERE IS ALSO AN ELEMENT OF TIME THAT PROGRESSES WITH THE VISITOR ON THEIR JOURNEY IN THE SPACE. THERE IS A SPECIFIC PATH TO FOLLOW AS ONE MIGRATES FROM ONE DISPLAY TO

18 THE NEXT. THIS LINEAR PROGRESSION ALLOWS ARTIFACTS AND RUINS TO BE DISPLAYED IN A MANNER THAT COMMUNICATES A STORY TO THE VIEWER. RELATIONSHIPS BETWEEN THE DEAD ARE ESTABLISHED AND A TIMELINE OF POWER AND DAILY LIFE ARE CONVEYED TO AGAIN CONNECT WITH THE VISITOR ON A COGNITIVE AND EMOTIONAL LEVEL. AS THE TIMELINE IS EXPERIENCED THE VISITOR IS MOVED PAST DIFFERENT WALL DISPLAYS OF ILLUMINATED GOLD, JEWELS, METALS, AND OTHER ITEMS OF THE MACEDONIAN ELITES. THE WALKABLE SURFACE WRAPS AROUND A RUINED GRAVE SITE THAT IS IN ITS ORIGINAL LOCATION, ONLY COVERED BY THE NEWLY BUILT MUSEUM ROOF. NEXT IS THE DISPLAYED TOMBS AND WEALTH OF BOTH PHILIP II AND ALEXANDER IV. THESE TWO TOMBS ARE INACCESSIBLE TO THE PUBLIC; HOWEVER, THE ENTRANCE IS APPROACHABLE THROUGH AN ENCLOSED ROOM THAT IS SEPARATE FROM THE MAIN SPACE OF THE MUSEUM. THIS ROOM IS VERY POWERFUL AND EMOTIONAL AS IT IS ENTERED AT AN ELEVATED POSITION ABOVE THE DOOR OF THE TOMB. [9.3] A STAIRCASE ALLOWS THE VISITOR TO MOVE DOWN TOWARD THE ENTRANCE, HEAD ON, AND STAND A FEW FEET FROM THE ENTRY DOOR OF THE FULLY ILLUMINATED FACE OF THE TOMB. THIS APPROACH CREATES AN EFFECT OF SCALE CHANGE SIMILAR TO CITIZEN KANE AND THE FIREPLACE AT XANADU.27 THE TOMB APPEARS SMALL AS ONE STANDS ABOVE IT FROM A DISTANCE. WHEN THE APPROACH COMMENCES THE TOMB ENTRANCE BECOMES ENLARGED AND WHEN THE PATH FINALLY ENDS ONE IS FACED WITH THIS IMMENSE, ORNATE STRUCTURE THAT DISPLAYS THE TRUE WEALTH AND POWER OF THE KING. THE PRESENCE FELT BY THE FACT THAT THE KING WAS BURIED HERE, THE BUILDERS BUILT THIS TOMB RIGHT HERE, AND ALL AROUND WAS THE HISTORY OF THIS WORLD. THE EMOTIONAL CONNECTION THAT THIS MUSEUM HAS WITH ITS VISITORS IS IMPORTANT TO NOT ONLY CONVEY THE IMPORTANCE OF THE SUBJECT MATTER, BUT TO ALSO ALLOW THE VISITOR TO FEEL A SENSE OF AWE WHEN THE VISIT IS COMPLETED. THE EXPERIENCE HAS BEEN DESCRIBED BY ANOTHER VISITOR AS, ‚THE SENSATIONS EXPERIENCED BY THE VISITOR TO VERGINA ARE UNIQUE. HERE HISTORY IS NO LONGER A DULL SCIENCE, BUT IT COMES TO LIFE RIGHT IN FRONT OF ONE'S EYES.‛28 THE MUSEUM ALLOWS ONE TO CONNECT IN WAYS THAT A BRIGHTLY LIT, WHITE-WALLED INTERIOR COULD NOT ACHIEVE. THE USE OF CINEMATIC TOOLS IN THE ROYAL TOMBS MUSEUM REWARDS THE VISITOR WITH AN EXPERIENCE THAT HEIGHTENS THEIR AWARENESS OF THEIR SURROUNDINGS WITHOUT EVER VISUALLY REVEALING IT. HOW COULD THIS EMOTIONAL CONNECTION HAVE BEEN MORE IMPORTANT AND SUCCESSFUL? A CHANGE IN PERSPECTIVE AS FLOORS CHANGE ELEVATION THROUGH THE USE OF RAMPS AND STAIRS CAN HEIGHTEN THE AWARENESS OF THE VISITOR TO THEIR SURROUNDINGS. THIS PERSPECTIVE CHANGE COULD BE USED TO SHOW A HIERARCHY OF DISPLAYED ELEMENTS OR JUST A SIMPLE EFFECT OF REVEALING THE TRUE DEPTH OF THE MUSEUM INTO THE EARTH. ANOTHER POSSIBLE DECISION COULD HAVE BEEN TO PROVIDE A VIEW TO THE EXTERIOR AT AN APPROPRIATE MOMENT TO PROVIDE THE VISITOR WITH A CONTEXTUAL GLIMPSE THAT IS SIMPLE, MEANINGFUL, AND ONLY MEANT TO ESTABLISH A SENSE OF PLACE. THE ENTRY, AS IT IS, IS SOMEWHAT SECLUDED FROM ANY VISTAS OR VIEWS AND ACTUALLY CONNECTS TO A GRAVEL PARKING LOT. THIS IS EFFECTIVE IN TERMS OF APPROACH, BUT THE SURROUNDING LANDSCAPE IS HIDDEN. THIS LANDSCAPE IS IMPORTANT TO HOW THE VISITOR LOCATES THEMSELVES WITHIN THE NATURAL ELEMENTS OF GREECE AND IT COULD BE EFFECTIVE TO REVEAL THIS CONNECTION IN THE FORM OF A GLIMPSE. CINEMATICALLY THIS COULD BE CONSIDERED AS THE TOOLS OF SET AND EDITING SINCE THE ADJUSTMENT OF THE SPACE IS USED TO ENHANCE THE TIMELINE EXPERIENCED BY THE INHABITANT OF THE SPACE. THOUGH THIS MUSEUM IS VERY EMOTIONAL AND

19 EVOCATIVE, IT DOES NOT FULLY EMBRACE A CINEMATIC PALETTE OF TOOLS. IT IS THE NATURE OF FILM TO NOT REVEAL ALL OF THE INFORMATION IN WHAT FRAME DUE TO THE LIMITED SPACE AVAILABLE FOR USE. DIRECTORS HAVE TO USE THE SCRIPT AND THEIR ARTISTIC TALENT TO MOVE THE AUDIENCE THROUGH THE STORY IN AN UNDERSTANDABLE MANNER. THE ROYAL TOMBS MUSEUM HAS A VERY OPEN FLOOR PLAN THAT HAS A MAJORITY OF THE EXHIBITS REVEALED AT ALL TIMES. A MORE EFFECTIVE USE OF SPACE, EMOTIONALLY, COULD HAVE BEEN TO CONTROL THE VIEWS OF THE AUDIENCE AND MANIPULATE THE STORY OF THEIR JOURNEY IN MORE INTENTIONAL WAYS. ANOTHER ARCHITECTURAL FORM THAT EXHIBITS SPECIAL EMOTIONAL QUALITIES BASED ON DESIGN DECISIONS IS ANOTHER MUSEUM LOCATED IN KANSAS CITY, MISSOURI. THIS BUILDING IS AN ADDITION TO THE NELSON-ATKINS ART MUSEUM AND IT WAS DESIGNED BY STEVEN HOLL. THE BLOCH BUILDING, AS THIS ADDITION WAS NAMED, IS IN DRAMATIC CONTRAST TO THE ORIGINAL ART MUSEUM. THIS FACT, HOWEVER, DOES NOT DIMINISH THE SUCCESS OF THIS BUILDING AND THE TWO ACTUALLY COHABITATE THE SITE QUITE NICELY. THE EXTERIOR THE ORIGINAL NELSON-ATKINS ART MUSEUM IS A SOLID STONE, MULTI-STORY STRUCTURE THAT IS THE EPITOME OF A CLASSIC ART MUSEUM. THE BLOCH BUILDING CONTRASTS THIS NOTION BY PRESENTING ITSELF AS A FEATHERY, MODERN STRUCTURE FILLED WITH ILLUMINATION. THE ORIGINAL BUILDING HOLDS ALL OF THE PERMANENT ART EXHIBITS EXCEPT FOR THE MODERN ART THAT IS HOUSED IN THE NEW BLOCH BUILDING ALONG WITH SOME TEMPORARY EXHIBITS FOR THE MUSEUM. THE EXTERIOR FORM OF THE BLOCH BUILDING IS EMBEDDED INTO THE SLOPPING SITE AND APPEARS TO BE ILLUMINATED JEWELS THAT EMERGE FROM THE EARTH. [10.1] THE ROOF BECOMES AN ACCESSIBLE GREEN SPACE THAT DOUBLES AS A SCULPTURE GARDEN AND WALKING PATH. THE ENTRY TO THIS BUILDING IS NOT DRAMATICALLY PRONOUNCED, BUT RATHER STANDS TO THE SIDE OF THE DRAMATIC COLONNADE THAT ADORNS THE ENTRANCE TO THE ORIGINAL BUILDING. FOR THOSE ARRIVING BY VEHICLE, THERE IS AN UNDERGROUND PARKING STRUCTURE THAT ONLY PROVIDES ACCESS TO THE BLOCH BUILDING. THIS CREATES A CHANGE IN THE DYNAMIC OF THE ENTRY AS THE IDEA OF CONNECTION THROUGH SITE IS MORE IMPORTANT THAN BUILDING PRESENCE. IT IS OBVIOUS THAT THE DESIGN OF THE BLOCH BUILDING IS MEANT TO STAND AS AN ARCHITECTURAL SUCCESS THAT DOES NOT COMPETE WITH THE ORIGINAL STONE BUILDING TO ITS WEST. THE ADDITION TO THE NELSON-ATKINS COULD BE VIEWED AS A TYPICAL MODERN STEVEN HOLL DESIGN; HOWEVER, ITS INTERIOR IS A SPATIAL EXPERIENCE THAT ACCENTUATES THE ART ON DISPLAY. THE BLOCH BUILDING POSSESSES TWO IMPORTANT DESIGN TECHNIQUES, IN COMBINATION WITH OTHERS, THAT ARE ESSENTIAL TO THE EMOTIONAL CONNECTION THAT ONE HAS WITH THE SPACE. AS IS EVIDENT IN CITIZEN KANE, STEVEN HOLL INTRODUCES THE USE OF PERSPECTIVE AND CHANGING PLANES TO ADDRESS MULTIPLE ISSUES AND CREATE INTRIGUING DESIGN EFFECTS. [10.2] THE MAIN LOBBY OF THE BLOCH BUILDING IS A THREE STORY SPACE AND EACH FLOOR IS ACCESSIBLE THROUGH A SERIES OF RAMPS AND LEVEL CHANGES. THIS ELEMENT OF ELEVATION CHANGE OCCURS THROUGHOUT THE ENTIRE BUILDING AS A WAY TO COMMUNICATE THE SURROUNDING SITE OF THE BUILDING WITH THE INTERIOR SPACE. THESE CHANGES HAPPEN TO DISTINGUISH DIFFERENCES IN GALLERY SPACES AND ALSO DIFFERENCES BETWEEN ROOMS AND CIRCULATION. CITIZEN KANE ALSO CONTAINS SCENES OF DRAMATIC PERSPECTIVE SUCH AS THE ONE THAT ALLOWS THE AUDIENCE TO VIEW CHARLES KANE AND HIS BUSINESS PARTNER FROM A VANTAGE POINT ON THE FLOOR.29 THE BLOCH BUILDING SIMILARLY MANIPULATES THE VANTAGE POINT OF THE VISITOR IN ORDER TO HEIGHTEN

20 THEIR AWARENESS OF THE SPACE AND MAKE THEM MORE COGNOSCENTE OF WHAT THE BUILDING IS DOING AROUND THEM. AS THE VISITOR MOVES DOWN THE SLOPES OF THE RAMP FROM EXHIBIT TO EXHIBIT AND THEN RETURNS IN THE REVERSE ELEVATION, THE CONNECTION THAT THE VISITOR MAKES WITH THE EXTERIOR SITE IS QUITE STRONG. THIS BUILDING FEATURES A SUBTLE TIMELINE OF SPATIAL CHANGES AND CORRESPONDING COLOR DIFFERENTIATION AS ONE MOVES THROUGH IT. [10.3] THIS CHANGE IS ENHANCED BY THE PERMANENT ART DISPLAYS IN EACH OF THE GALLERIES. EVERY SPACE PROVIDES A DIFFERENT EXPERIENCE FOR THE VIEWER EVEN THOUGH THEY ARE ALL PREDOMINATELY THE SAME WHITE COLOR AND PROGRAM. EVERYWHERE FROM THE PARKING LOT AND LOBBY TO THE GALLERY SPACES AND HALLWAYS CONTAIN DIFFERENT SCALES, LIGHTING, AND ELEVATION THAT TELL A STORY ABOUT THE SITE, AND THE PROGRESSION OF ART AND MEDIA WITHIN THE MODERN PERIOD. THE DARKNESS OF THE PARKING GARAGE PROVIDES A NICE CONTRAST WITH THE ADJACENT ILLUMINATED LOBBY. FROM THERE THE SPACES BECOME MORE INTIMATE IN LIGHTING AND SCALE AS THE ART BECOMES MORE OF THE FOCUS. THE TRANSITION THEN CHANGES ONCE AGAIN TO THE EXTERIOR SCULPTURE GARDEN OF THE BUILDING WHERE THE ARCHITECTURE’S FORM IS ONCE AGAIN ON DISPLAY. THIS CHANGE IN COLOR CAN BE DIRECTLY COMPARED TO THE FRAME SEQUENCES OF CITIZEN KANE AND HOW OVER TIME THE CINEMATIC TOOLS MANIPULATE THE COLOR. THE ARCHITECT, STEVEN HOLL, BUILT THE STRUCTURE INTO THE SITE WITH THE INTENT OF A DIALOGUE THAT WOULD COMMUNICATE FROM BOTH THE INTERIOR AND THE EXTERIOR. WITH THE LACK OF VISUAL CONNECTION TO THE OUTSIDE, BECAUSE OF THE NEEDS OF THE GALLERIES, PERSPECTIVE AND ELEVATION WERE IMPORTANT TO ALLOW THE VISITORS A COMMUNICATION THAT WOULD OTHERWISE BE LOST. ARCHITECTURAL CRITIC, SUZANNE STEPHENS STATES, STEVEN HOLL ARCHITECTS MERGES ARCHITECTURE, ART AND LANDSCAPE INTO A UNIFIED EXPERIENCE FOR THE BLOCH BUILDING AT THE NELSON-ATKINS MUSEUM OF ART IN KANSAS CITY. INDEED, THE INTEGRATION OF ART, LANDSCAPE, AND ARCHITECTURE CREATES A DYNAMIC WHOLE WHERE VISITORS - INCLUDING THIS OBSERVER - ARE BOWLED OVER BY THE EXPERIENCE OF MEANDERING THROUGH AND AROUND THE EXTERIOR AND INTERIOR SPACES. AS THE MUSEUMGOER WALKS THROUGH THE BLOCH BUILDING, HE OR SHE IS AWARE OF THE CHANGING SPACES, ELONGATED AND FLOWING INTO ONE ANOTHER.30 THIS CONNECTION IS IMPORTANT, EMOTIONALLY, TO THE INHABITANT AND IT PROVIDES THE AUDIENCE WITH A COMFORT THAT THEY UNDERSTAND WHAT IS GOING ON AROUND THEM. THIS COMFORT IS IMPORTANT TO A PROGRAM SUCH AS A MUSEUM, IN WHICH DISCOMFORT AND DISORIENTATION ARE NOT CONDUCIVE TO AN ART VIEWING ENVIRONMENT. THIS DISCONNECTION IS SOMETHING THAT THE ROYAL TOMBS MUSEUM WAS LACKING; HOWEVER, THE VISITOR WAS ALLOWED TO HAVE A MORE EMOTIONAL AND COGNITIVE EXPERIENCE THAT DISTANCES THEM FROM THE OUTSIDE REALITY AND IMMERSES THEM INTO THE RELICS OF THE PAST. AS STATED, THERE IS AN AIR OF COMFORT AND AWARENESS THAT IS CREATED BY THE CHANGING ELEVATION AND RAMPING SURFACES OF THE MUSEUM, BUT THERE IS AN ILLUSION CREATED THAT CAN BE DISORIENTING BECAUSE THERE ARE DIFFERENT PLANES OF FLOOR DISTRACTING THE VIEWER FROM APPROPRIATE PERSPECTIVE LINES. THIS DISTRACTION IS COMBATED BY THE AIR AND FEELING CREATED WITH THE APPLICATION OF LIGHTING.

21 THE LIGHTING OF THE BLOCH BUILDING IS DISTINCTLY DIFFERENT FROM THE LIGHTING EFFECT USED IN THE ROYAL TOMBS MUSEUM. THE DARK, SHADOWY SPACE THAT SURROUNDS THE DISPLAYS IN THE ROYAL TOMBS DRAMATICALLY CONTRASTS A USE OF BRIGHT NATURAL AND ARTIFICIAL LIGHT IN THE BLOCH BUILDING. LIGHTING IN THE ART MUSEUM IS MEANT TO PROVIDE IDEAL ILLUMINATION FOR PROPER ART VIEWING. FROM THE FLOOR TO THE CEILING, WALL TO WALL, THE ENTIRE INTERIOR OF THE BLOCH BUILDING IS WHITE. [11.1] THIS ILLUMINATES THE INTERIOR AS ANY LIGHT EMITTED IN THE SPACE, AS A RESULT, IS REFLECTED AND INCREASED. STEVEN HOLL ALSO IMPLEMENTS HIS SPECIAL USE OF CHANNEL GLASS THAT ALLOW FOR NATURAL LIGHT TO INFILTRATE THE INTERIOR OF THE SPACE WHILE REDUCING VIEWS TO THE EXTERIOR. THE DIFFERENT LIGHTING EFFECTS THROUGHOUT THE DAY ARE COMBATED WITH SHADING DEVICES AND A MAJORITY OF THE CIRCULATION HALLWAYS ARE ON THE WEST SIDE IN ORDER TO CREATE A BARRIER BETWEEN THE HARSH SUN AND THE EXHIBIT SPACES. THE DISPLAY SPACES ARE ALSO KEPT ENCLOSED IN SPACES THAT ARE COMPLETELY CONTROLLED BY ARTIFICIAL LIGHTING WITH SUBTLE HINTS OF NATURAL LIGHTING IN ELEVATED POSITIONS. THIS IS ANOTHER ELEMENT USED IN THE DESIGN OF THE BLOCH BUILDING. HIGH CEILINGS OPEN UP THE VOLUME OF THE SPACE AND CREATE A SIMILAR FEELING TO A CHURCH. THE LARGE VERTICAL VOLUMES CAUSE THE VISITOR TO FEEL GROUNDED AND FREE FROM THE ENCLOSURE THAT HOVERS ABOVE. IN CITIZEN KANE THE CEILINGS ARE LOWERED TO CREATE A SURREAL IMAGE OF THE CHARACTERS THAT SEEM LARGER THAN LIFE.31 IN HOLL’S WORK THE ARCHITECTURE IS MEANT TO REMOVE ITSELF FROM INTERFERENCE WITH THE ART TO ALLOW THE ARTWORK TO SPEAK FOR ITSELF. THE ULTIMATE EXPERIENCE OF THE VISITOR TO THE ADDITION OF THE NELSON- ATKINS ART MUSEUM IS ALMOST RELIGIOUS IN THE WAY IT BATH’S THE SPACES IN LIGHT AND ELEVATES THE CEILINGS. THIS EXPERIENCE IS GROUNDED BY ELEVATION CHANGES THAT ALLOW THE INHABITANT TO UNDERSTAND THEIR SPATIAL ENVIRONMENT AND STAY AWARE OF THEIR SURROUNDINGS. THE ART IS EMPHASIZED AS THE IMPORTANT FEATURE OF THE SPACE AND THE EMOTION CONVEYED FROM THOSE WORKS BECOMES ANOTHER ELEMENT OF EMOTION FOR THE VISITOR. THERE IS AN AIRY, FLOATING QUALITY ABOUT THE SPACES AND THE ARTWORK OF THE BLOCH BUILDING AND IT CREATES A SERENE AND INVITING ENVIRONMENT FOR THE VISITOR. HOLL’S DESIGN INDEED COMMUNICATES A MODERN REVOLUTION OF ART MUSEUMS; HOWEVER, THE FEELING OF CONNECTION AND SYMPATHY TOWARD THE WORKS IS SOMEWHAT LOST BECAUSE THE BUILDING BECOMES A WORK OF ART IN ITSELF. THIS IS WHERE THE ROYAL TOMBS MUSEUM IS SUCCESSFUL. IT ALLOWS THE VISITOR TO EXPERIENCE THE ARTIFACTS WITH A DISCONNECTION FROM THE BUILDING. THE ARCHITECTURAL DESIGN IS DISCREET IN ITS MANIPULATION OF THE VISITOR, UNLIKE THE BLOCH BUILDING WHICH VIBRANTLY DISPLAYS ITS ACHIEVEMENTS. HOLL’S BUILDING COULD HAVE BENEFITED FROM PERSONALIZING THE SPACES. IT IS UNDERSTANDABLE THAT THIS IS A MUSEUM, THEREFORE, IT IS MEANT TO BE OPEN FOR MAXIMUM GUESTS TO ENJOY THE ARTWORK ON DISPLAY. MORE CONTROLLED LIGHTING IN THE BLOCH BUILDING, OR PERHAPS MORE INTIMATE SPACES WHERE THE ARTWORK IS MORE IMPORTANT THAN THE SPACE AND THE VISITOR BECOMES INTIMATELY ATTACHED TO EACH INDIVIDUAL ART PIECE. WITH MORE INTIMATE SPACES, THE ICONIC LIGHT OF THE BUILDING CAN STILL BE INTEGRAL AND IMPORTANT. A FINAL ARCHITECTURAL PRECEDENT, WORTHY OF NOTE AS AN EMOTIONAL SPATIAL EXPERIENCE, IS E. FAY JONES’ THORNCROWN CHAPEL. LOCATED IN EUREKA SPRINGS, ARKANSAS IS THIS ONE ROOM STRUCTURE THAT STANDS AS A BLEND BETWEEN

22 RELIGION AND NATURE. JONES AND HIS CLIENT WANTED TO CREATE A PLACE FOR THE PUBLIC THAT WOULD HEIGHTEN THEIR EXPERIENCE OF NATURE WHILE ALSO BRINGING THEM CLOSER TO GOD. FAY JONES STATES HIS INTENTIONS FOR THE PROJECT, I SAW OPPORTUNITY HERE TO CREATE ARCHITECTURE. THE DISTINCTION I AM MAKING IS THAT ALL BUILDING ISN’T ARCHITECTURE, JUST AS ALL WRITING ISN’T LITERATURE OR POETRY, EVEN THOUGH THE SPELLING, GRAMMAR, AND SYNTAX MIGHT BE CORRECT. THERE IS SOMETHING IN ARCHITECTURE THAT TOUCHES PEOPLE IN A SPECIAL WAY, AND I HOPED TO DO THAT WITH THIS CHAPEL.32 THE CHAPEL SITS IN THE MIDDLE OF A WOODED AREA THAT IS SECLUDED AND FREE FROM VIEWS OF MODERN SOCIETY. THE BUILDING SITS BACK AWAY FROM THE PARKING LOT AND IS CONNECTED BY A WINDING PATH THAT KEEPS THE STRUCTURE HIDDEN FROM VIEW UNTIL THE APPROPRIATE MOMENT. [11.2] THIS APPROACH IS USEFUL IN CONCEALING THE ACTUAL LOCATION OF THE CHAPEL AND KEEPING IT HIDDEN WITHIN THE FOREST THAT IS ITS SURROUNDINGS. A TYPICAL BUILDING WOULD NOT BE ABLE TO REMAIN CONCEALED IN SUCH CONDITIONS. IT IS THE DESIGN OF THE SPACE AND MATERIALITY OF THE PHYSICAL FORM THAT CREATE A HARMONIOUS CONDITION BETWEEN THE NATURAL AND THE SYNTHETIC. THORNCROWN CHAPEL IS PREDOMINATELY GLASS WITH A WOOD STRUCTURE SUPPORTING THAT GLAZING. THIS COMBINATION OF STRUCTURE AND ENCLOSURE HELPS THE BUILDING TO BLEND INTO ITS NATURAL ENVIRONMENT WITH GREAT SUCCESS. AS THE VISITOR APPROACHES THE BUILDING THEY ARE MANEUVERED THROUGH THE TREES AS THE PATH MOVES FURTHER AND FURTHER INTO THE WOODS. THIS PATH, SPATIALLY, BECOMES PART OF THE BUILDING AS IT CONSUMES THE VIEWER IN A FEELING OF ANTICIPATION FOR THE BUILT FORM AT THE END. THIS AIR OF ELEVATED EMOTIONS SURROUNDS THE VISITOR, NO MATTER THE SEASON, AS THE QUALITIES OF THE BUILDING EITHER REMAIN HIDDEN FROM VIEW OR PEAK THROUGH AT MOMENTS OF OPPORTUNITY. A TIMELINE IS CREATED BETWEEN THE PARKING LOT AND THE INTERIOR OF THE CHAPEL. FEELINGS TRANSFER AND EVOLVE ACROSS THIS JOURNEY AND CREATE AN OVERALL EVOCATIVE EXPERIENCE FOR THE VISITOR. ANTICIPATION MOVES TO EXCITEMENT AND THEN AWE AND HAPPINESS AS THE BUILDING APPEARS. ONCE INSIDE, A SENSE OF SPIRITUALITY, SERENITY AND CALM SURROUNDS THE VIEWER AND THE BUILDING IS LEFT WITH A SENSE OF SATISFACTION AND CONCLUSION. AS THE BUILDING COMES INTO FULL VIEW, THE TRUE GRANDEUR OF ITS FORM IS REVEALED, AND THE VISITOR IS ABLE TO APPROACH AND ENTER THE SPACE. ONCE INSIDE, THE ELEMENTS OF THE OUTDOORS ARE LOST AND THE INHABITANT IS LEFT WITH ONLY THE VISUAL COMMUNICATION BETWEEN THE EXTERIOR NATURAL ENVIRONMENT AND THE DELICATE DESIGN DECISIONS OF THE INTERIOR. [12.1] FAY JONES WAS VERY SENSITIVE TO THE MANNER IN WHICH HIS BUILDING COMMUNICATED WITH THE SITE. THIS IS EVIDENT IN EVERYTHING FROM THE OVERALL FORM OF THE BUILDING TO THE MINUTE DETAILS OF THE DESIGNED ELEMENTS. WHEN STANDING INSIDE THIS CHAPEL THERE IS AN OBVIOUS SENSE OF SPIRITUALITY THAT IS ACHIEVED BY THE EXTREMELY HIGH CEILING AND CROSSING WOOD MEMBERS SPANNING ABOVE THE VISITORS. THIS DESIGN ALSO ENHANCES THE VISITOR’S CONNECTION TO THE EXTERIOR BY REPLICATING THE FEELING OF A TREE CANOPY IN THE MIDDLE OF A FOREST. THE CROSSING STRUCTURAL MEMBERS CREATE AN INTRICATE DESIGN THAT IS HAPHAZARD IN APPEARANCE, BUT ACHIEVED BY CONTROLLED PRECISION. THESE STRUCTURAL ELEMENTS ALSO PLAY WITH THE PERSPECTIVE OF THE VIEWERS IN A SIMILAR MANNER TO WHAT ORSON WELLES ACHIEVES IN CITIZEN

23

KANE. WELLES USED THE TECHNIQUE OF PLACING ACTORS AND PROPS IN POSITIONS ON THE SCREEN TO DIRECT THE GAZE OF THE AUDIENCE TOWARD THE MAIN CHARACTER OR PLACE OF INTEREST.33 THIS V SHAPE WAS EVIDENT AND MULTIPLE SCENES MENTIONED EARLIER AND SIMILARLY, FAY JONES HAS USED REPETITIVE WOOD MEMBERS TO PRODUCE A CHEVRON VOID THAT PUSHES THE VIEWER’S EYES DOWN THE CENTRAL AISLE TOWARD THE CHAPEL'S ALTER. THIS SUBTLE MANIPULATION IS USED WISELY TO FIRST DIRECT THE VIEWER STRAIGHT AHEAD AND THEN ALLOW THEIR SURROUNDINGS TO COME INTO FOCUS AROUND THEM. VISUAL OVERLOAD CAN OCCUR IN SUCH AN INTERESTING SPACE AND IT IS IMPORTANT TO ACHIEVE SOME LEVELS OF CONTROL IN ORDER TO PROVIDE A GRADUAL EMERSION INTO THE DEPTH OF THE ROOM. SOUNDTRACK IS ANOTHER INTERESTING TOOL UTILIZED IN THORNCROWN CHAPEL AND IT ACTUALLY INVOLVES THE LACK OF SOUND THAT OCCURS WHEN ONE ENTERS THE SPACE. ALL OF THE SENSES ARE ACTIVATED AS THE APPROACH IS MADE ALONG THE WOODED PATH. THE SMELL OF THE TREES, THE FEELING OF THE AIR, THE VIEW OF THE SERENE BEAUTY AND THE SOUNDS OF NATURE ARE ALL PREVALENT IN THIS EXPERIENCE. ONCE THE VISITOR ENTERS THE CHAPEL, ALL OF THE SENSES CHANGE OR LEAVE IN A DRAMATIC FASHION, AND THE RESULT IS THE PERSON’S INCREASE IN SENSITIVITY TO THE SPACE. SOUNDTRACK IS ONE OF THE MOST OBVIOUS CHANGES AS THE SOUNDS OF LIFE AND MOVEMENT OUTSIDE THE BUILDING ARE REPLACED WITH SILENCE AND THE OCCASIONAL FOOTSTEPS OF THE INHABITANT INSIDE THE BUILDING. THERE IS A SHOCK TO THE MIND THAT IS AT FIRST UNSETTLING BECAUSE EVERYTHING STILL APPEARS VISUALLY THE SAME. THE CLEAR GLASS WINDOWS ALL AROUND THE BUILDING’S FOUR WALLS ALLOWS FOR PERFECT VIEWS OF THE SURROUNDING TREES WITH NO VISUAL OBSTRUCTION. THE LOSS OF SOUND, HOWEVER, NEGATES THE PERCEPTION OF THIS VISUAL CONTINUITY AND CAUSES THE VISITOR TO QUESTION THEIR SURROUNDINGS. AT FIRST THE FEELING IS UNSETTLING AND DISORIENTING, BUT ONCE THE VISITOR BEGINS TO ASSESS THEIR SURROUNDINGS THE FEELING MOVES TO THE SERENE, CONNECTEDNESS MENTIONED EARLIER. FAY JONES’ THORNCROWN CHAPEL IS ARCHITECTURALLY DELICATE AND THOUGHTFUL IN ITS CONNECTION WITH THE SITE AND THE EMOTIONS OF THE VISITOR. THE BUILDING, HOWEVER, COULD MORE EFFECTIVELY PROVIDE A TIMELINE OF COLOR FOR THE VISITOR AS THEY TRANSVERSE THROUGH THE WOODS AND INTO THE CHAPEL. THIS TIMELINE OF EMOTION CAN BE BETTER ACHIEVED BY A CONNECTION OF SPACES WITH CHANGING QUALITIES AND EMOTIONS CAUSED BY THE MANIPULATION OF CINEMATIC TOOLS IN THE ARCHITECTURE. CONCLUSION CINEMATIC TOOLS AND TECHNIQUES CAN BE APPLIED TO EMOTIONLESS ARCHITECTURE IN ORDER TO ACHIEVE AN INCREASED DEPTH OF EMOTION, THEREFORE, ENHANCING THE INHABITANT’S OVERALL EXPERIENCE. AFTER INVESTIGATING PROJECTS CONSIDERED EMOTIONALLY EVOCATIVE, AND ATTRIBUTING THEIR DESIGN FEATURES TO THE EMOTIONAL EXPERIENCE OF THE VISITOR, IT IS EASY TO SEE HOW CINEMATIC TOOLS CAN ACHIEVE HEIGHTENED AWARENESS AND STRONG SENSORIAL CONNECTIONS BETWEEN THE SPACES AND THE INHABITANTS. THERE IS A CINEMATIC TOOLBOX USED IN FILMMAKING IN ORDER TO PORTRAY A VISUAL AND AUDIBLE STORY FOR THE MOVIEGOER. THERE IS A LOT THAT GOES INTO A SUCCESSFUL FILM, BUT WHAT MAKES A FILM SUCCESSFUL SPATIALLY IS A CAREFUL

24 MANIPULATION OF ALL THE CINEMATIC TOOLS INTO A WELL PROPORTIONED COLLABORATION OF SIGHTS AND SOUNDS. AS STATED,

CITIZEN KANE IS AN APPROPRIATE EXAMPLE OF THE PROPER USE OF CINEMATIC TOOLS TO CREATE AN ENCAPSULATING SPATIAL EXPERIENCE FOR THE AUDIENCE. EACH TOOL IS USED IN CONJUNCTION WITH THE NEXT IN ORDER TO ACHIEVE A COHERENT CONNECTION BETWEEN THE STORY AND THE MIND. THE THREE PRECEDENT STUDIES OF EXPERIENTIAL BUILDINGS AROUND THE WORLD WERE MEANT TO HIGHLIGHT SPATIAL INTERACTIONS THAT EVOKED STRONG EMOTIONAL RESPONSES FROM THEIR VISITORS BASED ON THE DESIGN DECISIONS OF THE ARCHITECT. THESE BUILDINGS AND THEIR SPACES SHOW EXAMPLES OF HOW DESIGN TECHNIQUES, SPECIFICALLY BASED ON CINEMATIC TOOLS, CAN ENHANCE AN EXPERIENCE THROUGH FIRSTHAND ANALYSIS AND DESCRIPTION. THROUGH THIS RESEARCH AND DESIGN ANALYSIS THERE IS A POSSIBILITY OF A PROJECT PROPOSAL THAT IS SPECIFICALLY RELATED TO THE ACT OF EMPLOYING CINEMATIC TOOLS INTO AN EMOTIONALLY CHARGED ARCHITECTURAL DESIGN. THE SITE IS VERY IMPORTANT TO AN ARCHITECTURAL DESIGN, NO MATTER THE LOCATION, AND IT IS IMPORTANT FOR THE BUILDING TO COMMUNICATE WITH THE GROUND AROUND IT. ONE OF THE SUCCESSES FOUND IN ALL OF THE ARCHITECTURAL PRECEDENTS MENTIONED BEFORE WERE INVOLVED DIRECTLY WITH THE SITE AND USED CINEMATIC TECHNIQUES OF SCALE, LIGHTING, PERSPECTIVE, AND SET TO EMPHASIZE THE LANDSCAPE WHILE WITHIN THE BUILT ENVIRONMENT. PROGRAM IS ANOTHER IMPORTANT QUALITY TO FULLY CONNECT WITH IN TERMS OF EMOTION. THE TWO MUSEUMS AND ONE RELIGIOUS FACILITY PREVIOUSLY DISCUSSED HAVE PROGRAMMATIC ELEMENTS THAT LEND THEMSELVES TO EMOTIONAL CONNECTIVITY. HOWEVER, ANY PROGRAM SUCH AS A SHOPPING MALL, A RESIDENCE, OR AN OFFICE BUILDING CAN BE DESIGNED WITH CINEMATIC TOOLS TO ENHANCE THE INHABITANT’S EXPERIENCE OF THE SPACE. TIMELINE IS ALSO IMPORTANT TO CONSIDER WITHIN A SPATIAL EXPERIENCE SINCE A MAJORITY OF ARCHITECTURE IS NOT ONE SPACE, BUT A SERIES OF SPACES CONNECTED IN A SEQUENCE OF MOMENTS. THE EMOTIONALLY EVOCATIVE PROJECTS MAKE THESE MOMENTS MEMORABLE AS THE TRANSITIONS BETWEEN SPACES ENHANCE THOSE SPACES BEYOND THEIR INITIAL DESIGN. PEOPLE SHOULD BE ABLE TO EXPERIENCE THE EMOTIONAL CHANGE WITHIN A BUILDING AS SPATIAL FEATURES, ALL CONTROLLED BY CINEMATIC TOOLS, THAT CHANGE AND OSCILLATE TO COMPLETE A SENSORIAL JOURNEY. MOVIES ARE THE ONLY ART FORM THAT OCCURS FROM THE COMBINATION OF ALL OTHER ART FORMS. FILMMAKERS CREATE A COMPILATION OF VISUAL AND AUDIBLE ART BY CONNECTING MUSIC, LITERATURE, DANCE, ARCHITECTURE AND THE VISUAL ARTS INTO A COMPLETE FEATURE FILM. IT IS THIS DELICATE BALANCE WITHIN CINEMA THAT PROVIDES A GREAT FOUNDATION OF DESIGN TOOLS THAT CAN BE USED TO ENHANCE AND BETTER OTHER ART FORMS. ARCHITECTURE, IN PARTICULAR, HAS THE POTENTIAL TO GREATLY BENEFIT FROM THE APPLICATION OF CINEMATIC TECHNIQUES AND MOVE MORE TOWARD EMOTION RATHER THAN FUNCTION. THE MOVIE WATCHING EXPERIENCE ACHIEVES A CONNECTION WITH THE AUDIENCE THAT IS ABLE TO TRANSPORT THEM FROM THEIR REAL WORLD REALITY TO A NEW REALITY PRESENTED ON THE SCREEN. THE FILM HAS THE ABILITY TO ENGULF THE AUDIENCE IN A COLOR WHICH ALLOWS A HEIGHTENED AWARENESS OF EVERYTHING BEING SHOWN TO THEM. IT IS THIS EXPERIENTIAL QUALITY AND CONNECTION THAT ENTITLES FILM, SPECIFICALLY FILMING TECHNIQUES, TO BE TRANSFERABLE BETWEEN OTHER ART GENRES. IT SHOULD NOT BE MISUNDERSTOOD THAT FUNCTION IS INAPPROPRIATE IN ARCHITECTURE OR THAT THE ARGUMENT IS BEING MADE TO REMOVE FUNCTION FROM ARCHITECTURE ALL TOGETHER. THE ARGUMENT IS QUITE THE OPPOSITE, IN THAT FUNCTIONALITY

25 WITHIN THE BUILT FORM IS VERY IMPORTANT TO MAINTAIN SAFETY, PROVIDE EASE OF ACCESS, AND SIMPLIFY THE USER’S EXPERIENCE IN ORDER TO PREVENT CONFUSION. FUNCTION SHOULD NOT, HOWEVER, BE THE DETERMINING DESIGN FEATURE OF THE SPACE. IT SHOULD BE A CONTRIBUTING FACTOR THAT IS A RESULT OF CINEMATIC TOOLS BEING USED IN A WAY THAT CREATES A FUNCTIONAL, EMOTIONAL EXPERIENCE FOR THE VISITOR. FILMS LIKE CITIZEN KANE REVEAL THE PROPER USE OF CINEMATIC TOOLS IN FILM AND IT IS IMPORTANT, AS AN ARCHITECT, TO UNDERSTAND HOW THESE TOOLS ARE SUCCESSFUL IN THE MOVIE AND HOW THEY CAN BE APPLIED TO ARCHITECTURE IN A SIMILAR, SUCCESSFUL, EMOTIONAL, COLORFUL MANNER. NOTES 1

C R PLANTINGA, MOVING VIEWERS: AMERICAN FILM AND THE SPECTATOR’S EXPERIENCE, UNIVERSITY OF CALIFORNIA PRESS,

LOS ANGELES, 2009, P.5 2

C MCGINN, THE POWER OF MOVIES: HOW SCREEN AND MIND INTERACT, COLIN MCGINN, NEW YORK, 2005, P. 4

3

IBID, P. 4

4

PLANTINGA, P. 10

5

IBID, P. 68

6

MCGINN, P. 66

7

P BRUNETTE, OLIVER STONE: INVERVIEWS, UNIVERSITY PRESS OF MISSISSIPPI, 2001, P. 10

8

B DAY, OSCAR WILDE: A LIFE IN QUOTES, METRO, 2000, P. 271

9

AMERICAN FILM INSTITUTE, AFI’S 100 YEARS 100 FILMS, LOS ANGELES, CALIFORNIA, 1998, RETRIEVED 13 DECEMBER

2010,<HTTP://WWW.AFI.COM/100YEARS/MOVIES.ASPX>.

10

R EBERT, THE GREAT MOVIES, BROADWAY BOOKS, NEW YORK, 2002, P. 112

11

R L CARRINGER, THE MAKING OF CITIZEN KANE, UNIVERSITY OF CALIFORNIA PRESS, LOS ANGELES, 1985, P. XI

12

IBID, P. 83

13

EBERT, P. 112

14

CITIZEN KANE, DVD, MERCURY PRODUCTIONS, NEW YORK, 1941.

15

IBID.

16

IBID.

17

CARRINGER, P. 67-86

18

CITIZEN KANE

19

P BOGDANOVICH, CITIZEN KANE: COMMENTARY, DVD, MERCURY PRODUCTIONS, NEW YORK, 1941.

20

CITIZEN KANE

21

IBID.

22

IBID.

23

R EBERT, CITIZEN KANE: COMMENTARY, DVD, MERCURY PRODUCTIONS, NEW YORK, 1941.

26 24

IBID.

25

IBID.

26

CITIZEN KANE

27

IBID.

28

VERGINA AND VERIA, THE ANCIENT CAPITAL OF MACEDONIA, PAN-MACEDONIAN ASSOCIATION INC., 2000, RETRIEVED 13

DECEMBER 2010, < HTTP://WWW.MACEDONIA.INFO/VERGINA.HTM>.

29

CITIZEN KANE

30

S STEPHENS, ‘STEVEN HOLL LIGHTS UP THE SKIES OF KANSAS CITY’, ARCHITECTURAL RECORD, JULY 2007, P. 93.

31

CITIZEN KANE

32

THORNCROWN CHAPEL, ARCHITECTURE, EUREKA SPRINGS, ARKANSAS, 2008, RETRIEVED 13 DECEMBER 2010,

<HTTP://WWW.THORNCROWN.COM/ARCHITECTURE.HTM>.

33

CITIZEN KANE

27

5.1

28

6.1

29

6.2

30

6.3

31

7.1

32

7.2

33

7.3

34

8.1

35

8.2

36

8.3

37

8.4

38

9.1

39

9.2

40

9.3

41

10.1

42

10.2

43

10.3

44

11.1

45

11.2

46

12.1

47

________________________ BIBLIOGRAPHY AMERICAN FILM INSTITUTE, AFI’S 100 YEARS 100 FILMS, LOS ANGELES, CALIFORNIA, 1998, RETRIEVED 13 DECEMBER 2010,<HTTP://WWW.AFI.COM/100YEARS/MOVIES.ASPX>.

BOGDANOVICH, P, CITIZEN KANE: COMMENTARY, DVD, MERCURY PRODUCTIONS, NEW YORK, 1941.

BRUNETTE, P, OLIVER STONE: INVERVIEWS, UNIVERSITY PRESS OF MISSISSIPPI, 2001.

CARRINGER, RL, THE MAKING OF CITIZEN KANE, UNIVERSITY OF CALIFORNIA PRESS, LOS ANGELES, 1985.

CITIZEN KANE, DVD, MERCURY PRODUCTIONS, NEW YORK, 1941.

DAY, B, OSCAR WILDE: A LIFE IN QUOTES, METRO, 2000.

EBERT, ROGER, CITIZEN KANE: COMMENTARY, DVD, MERCURY PRODUCTIONS, NEW YORK, 1941.

EBERT, ROGER, THE GREAT MOVIES, BROADWAY BOOKS, NEW YORK, 2002.

EISENSTEIN, SERGEI, FILM FORM: ESSAYS IN FILM THEORY, HOUGHTON MIFFLIN HARCOURT, BOSTON, 1969.

GIANNETTI, LOUIS, UNDERSTANDING MOVIES: EDITION 11, ALLYN AND BACON INC., BOSTON, 2009.

GIULIANA, BRUNO, ATLAS OF EMOTION: JOURNEYS IN ART, ARCHITECTURE, AND FILM, VERSO, LONDON, 2007.

GIULIANA, BRUNO, PUBLIC INTIMACY: ARCHITECTURE AND THE VISUAL ARTS, MIT PRESS, CAMBRIDGE, MA, 2007.

MCGINN, COLIN, THE POWER OF MOVIES: HOW SCREEN AND MIND INTERACT, COLIN MCGINN, NEW YORK, 2005.

NAREMORE, JAMES, ORSON WELLES’S CITIZEN KANE: A CASEBOOK, OXFORD UNIVERSITY PRESS, NEW YORK, 2004.

48

NICHOLS, BILL, MOVIES AND METHODS: VOLUME II, UNIVERSITY OF CALIFORNIA PRESS, BERKELEY, CA, 1985.

PERSSON, PER, UNDERSTANDING CINEMA: A PSYCHOLOGICAL THEORY OF MOVING IMAGERY, CAMBRIDGE UNIVERSITY PRESS, LONDON, 2002.

PLANTINGA, CARL, MOVING VIEWERS: AMERICAN FILM AND THE SPECTATOR’S EXPERIENCE, UNIVERSITY OF CALIFORNIA PRESS, LOS ANGELES, 2009.

PLANTINGA, CARL & GREG M SMITH, PASSIONATE VIEWS: FILM, COGNITION, AND EMOTION, JOHNS HOPKINS UNIVERSITY PRESS, BALTIMORE, 1999.

SMITH, GREG M, FILM STRUCTURE AND THE EMOTION SYSTEM, CAMBRIDGE UNIVERSITY PRESS, LONDON, 2007.

STEPHENS, S, ‘STEVEN HOLL LIGHTS UP THE SKIES OF KANSAS CITY’, ARCHITECTURAL RECORD, JULY 2007.

THORNCROWN CHAPEL, ARCHITECTURE, EUREKA SPRINGS, ARKANSAS, 2008, RETRIEVED 13 DECEMBER 2010, <HTTP://WWW.THORNCROWN.COM/ARCHITECTURE.HTM>.

VERGINA AND VERIA, THE ANCIENT CAPITAL OF MACEDONIA, PAN-MACEDONIAN ASSOCIATION INC., 2000, RETRIEVED 13 DECEMBER 2010, < HTTP://WWW.MACEDONIA.INFO/VERGINA.HTM>.

FEATURE PRESENTATION DEREK SHULTZ

ARCH 520

SPRING 2011

50 48

51 UPON ENTERING THE SPRING SEMESTER AND BEGINNING THE PURSUIT OF THE FINAL THESIS PROJECT TWO DIAGRAMS WERE CONSTRUCTED THAT BEGAN TO LOOK AT THE NATRUE OF THE DESIGN. THE FIRST DIAGRAM EXAMINES THE SITE AND HISTORICAL BACKGROUND OF THE IDEAS PROPOSED IN THE THESIS PAPER. THE HISTORICAL TIMELINE OF FILM INNOVATION AND ITS PROGRESSION ACROSS THE UNITED STATES INSPIRED THE PROPOAL OF A TRAVELING MUSEUM FOR AMERICAN CINEMA AS THE PROGRAM AND SITE FOR THE THESIS PROJECT. THE THESIS PAPER WAS BASED ON THE ARGUMENT THAT CINEMATIC AND FILMMAKING TECHNIQUES SUCH AS LIGHTING, SCALE, PERSPECTIVE, SCRIPT AND SOUNDTRACK COULD BE APPLIED TO ARCHITECTURAL DESIGN IN ORDER TO CREATE A MORE EVOCATIVE AND EMOTIONALLY STIMULATING EXPERIENCE FOR THE VISITOR. A MUSEUM HAS THE POTENTIAL TO FULLY IMMERSE THE OBSERVER INTO THE SUBJECT MATTER OF THE MUSEUM AND PROVIDES AN EXCELLENT BASE TO BEGIN DESIGNING EXPERIENTIAL AND STIMULATING EXHIBT SPACES THAT ARE INTERACTIVE AND EDUCATIONAL.

THE SECOND DIAGRAM EXPLORES THE CONSTRUCTION METHODS OF THIS TEMPORARY MUSEUM AND POSSIBLE MATERIAL CHOICES THAT HAVE COMMON OCCURENCE IN FILMMAKING. IT IS PROPOSED THAT ALL OF THE MATERIALS FOR THIS MUSEUM WOULD BE TRASNPORTED VIA A FLEET OF SEMI-TRUCKS. THIS WOULD REQUIRE THE ELEMENTS OF THE MUSEUM TO BE BUILT UP AND THEN TORN DOWN EVERY TIME THE MUSEUM CHANGED LOCATIONS. THE TRAVELING AND TEMPORARY NATURE OF THE PROPOSED PROGRAM CREATES A STRIKING SIMILARITY TO THE TEMPORARY NATURE OF ACTUAL FILM AND THEATRE SETS. THIS EXTRA DETAIL WOULD PROVIDE A LEVEL OF DETAIL FOR THE VISITOR TO EXPLORE AS THEY VISIT THIS MUSEUM OF AMERICAN CINEMA. THE LOCATIONS FOR THIS TRAVELLING MUSEUM WERE DETERMINED WITH FURTHER RESEARCH INTO MOVIE SOUND STAGES AND PRODUCTION STUDIOS. THESE STUDIOS HAVE BEEN ESTABLISHED ALL OVER THE UNITED STATES AND THE WORLD AND EACH HAS THEIR OWN HISTORY AND CONTRIBUTION TO THE INDUSTRY. IT SEEMED ONLY APPROPRIATE THAT THE MUSEUM VISIT EACH OF THEM AND ALLOW A VARIETY OF PEOPLE TO NOT ONLY EXPERIENCE CINEMATIC HISTORY THROUGH THE MUSEUM, BUT ALSO THROUGH THE SPACE IT OCCUPIES. MUCH LIKE MOVIE SET CONSTRUCTION THE EXHIBIT AND OTHER CONSTRUCTED SPACES WITHIN THE MUSEUM WILL BE FINISHED ON ONE SIDE AND UNFINISHED ON THE OTHER SIDE WHICH WILL INCLUDE EXPOSED STRUCTURE AND UNPAINTED SURFACES. THIS DRAMATIC CONTRAST WILL ALLOW THE AUDIENCE TO BETTER UNDERSTAND THE PROCESS AND PRODUCT OF FILMMAKING.

AFTER THE INITIAL DIAGRAMMING AND UNDERSTANDING OF THE BROAD TOPICS ASSOCIATED WITH THIS THESIS PROJECT, THEN IT WAS TIME TO BETTER EVALUATE AND UNDERSTAND WHAT GOALS NEEDED TO BE MET AND WHAT QUESTIONS NEEDED TO BE ANSWERED. AS STATED THE PROBLEM EXPLORED IN THE THESIS PAPER WAS THE LACK OF EMOTION IN CURRENT ARCHITECTURE AND ALSO IN THIS PAPER WAS THE INVESTIGATION OF CERTAIN ARCHITECTURE DEEMED TO BE EMOTIONALLY EVOCATIVE. IT WAS IDEAS FROM THESE PRECEDENTS COMBINED WITH THE APPLICATION OF CINEMATIC TECHNIQUES THAT WAS THE GOAL OF THE THESIS PROJECT. AS FURTHER INVESTIGATION INTO THE DESIGN OCCURED IT WAS DECIDED THAT RATHER THAN EMPLOYING GENERIC CINEMATIC TECHNIQUES INTO EXHIBIT SPACES THAT IT WAS THE STYLES OF THE EXHIBITS THEMSELVES THAT WOULD DICTATE THE DESIGN OF THE SPACE. THREE STYLES IN FILM HISTORY WERE CHOSEN BASED ON THEIR CONTRIBUTION TO THE ADVANCEMENT OF FILM AND THEIR UNIQUELY INDIVIDUAL STYLES AND ATTRIBUTES. THESE THREE FILM STYLES WERE SILENT FILM, FILM NOIR, AND THE COMPUTER AGE. THE MOST IMPORTANT ASPECTS OF THESE STYLES WERE UNDERSTOOD AND CONDENSED TO THEIR PUREST FORMS BEFORE BEING IMPLEMENTED INTO AN EXHIBIT DESIGN THAT ARE MEANT TO FULLY IMMERSE THE VISITOR INTO THE FILM STYLE REPRESENTED. ALL OF THEIR SENES WILL BE FULLY EXPLORED AND HIGHLIGHTED TO CREATE AN INTENSE UNDERSTANDING OF THE SPACE AND THEREFORE A MORE FULLFILLING EXPERIENCE BOTH EMOTIONALLY AND INTELLECTUALLY.

z

52

FILM PRODUCT 1878

EADWEARD MUYBRIDGE CREATES FIRST MOTION CAPTURE SERIES

1891 1895 1896

THOMAS EDISON RELEASES THE KINETOGRAPH AND KINETOSCOPE THE LUMIERE BROTHERS PATENTS THE CINEMATOGRAPHE THOMAS EDISON’S COMPANY PATENTS THE VITASCOPE

1906

THE FIRST FEATURE LENGTH FILM IS MADE

1917

THE FIRST COLORED FILM IS RELEASED

1927 1928 1931

THE FIRST FEATURE LENGTH TALKIE PRODUCTION IS RELEASED THE FIRST SPEAKING CARTOON WITH SOUND IS PRODUCED THE TWO COLOR STRIP IS REPLACED BY A THREE COLOR TECHNIQUE

1937 1941

THE FIRST FULLY ANIMATED FEATURE FILM IS RELASED FILM NOIR IS INTRODUCED IN HOLLYWOOD

1952

PANAVISION, CINERAMAS, 3D AND OTHER WIDESCREEN TECHNIQUES ARE

36400 CU FT 300000CU FT

1057224 CU FT

USED

704000 CU FT

1971 1975

LUCAS FILM IS ESTABLISHED SPECIALIZING IN COMPUTER GENERATED EFFECTS INDUSTRIAL LIGHT AND MAGIC IS ESTABLISHED

1248000 CU FT 2088450 CU FT

3356640 CU FT

1995

2002 2002 2003 2004

THE FIRST FEATURE FILM COMPLETELY ANIMATED BY COMPUTER IS RELEASED

PERFORMANCE CAPTURE TECHNOLOGY IS USED THE FIRST FEATURE LENGTH FILM SHOT ENTIRELY WITH DIGITAL CAMERAS 3D FILMS REIMMERGE INTO MAINSTREAM MEDIA THE FIRST LIVE ACTION FILM USING ONLY GREEN SCREEN TECHNOLOGY

INNOVATIONS

2640000 CU FT

150000 C

497970 CU FT

53

TION STUDIOS 28875 CU FT 210000 CU FT

72000 CU FT

576000 CU FT

1907 1912

ESSANAY STUDIOS IN CHICAGO IS ESTABLSIHED PARAMOUNT STUDIOS IN LOS ANGELES IS ESTABLSIHED

1948

EUE/SCREENGEM STUDIOS IN ATLANTA IS ESTABLISHED

1960

GREENWICH STUDIOS IN MIAMI IS ESTABLISHED

1977 1977 1980 1983 1985 1988 1990

GREAT SOUTHERN STUDIOS IN MIAMI IS ESTABLISHED FREMONT STUDIOS IN SEATTLE IS ESTABLISHED STAGEPOST STUDIOS IN NASHVILLE IS ESTABLISHED SILVERCUP STUDIOS IN NEW YORK CITY IS ESTABLISHED AUSTIN STUDIOS IN AUSTIN IS ESTABLISHED UNIVERSAL STUDIOS IN LOS ANGELES IS ESTABLISHED IDEAMAN STUDIOS IN DALLAS IS ESTABLISHED

1996

GREEN SCREEN STUDIOS IN CHICAGO IS ESTABLISHED

2004 2007 2009

STEINER STUDIOS IN NEW YORK CITY IS ESTABLISHED ALBUQUERQUE STUDIOS IN ALBUQUERQUE IS ESTABLISHED PARLIAMENT STUDIOS IN DALLAS IS ESTABLISHED

1918 1920 1923 1926

SONY PICTURES STUDIOS IN LOS ANGELES IS ESTABLISHED KAUFMAN ASTORIA STUDIOS IN NEW YORK CITY IS ESTABLISHED WALT DISNEY STUDIOS IN LOS ANGELES IS ESTABLISHED WARNER BROS. STUDIOS IN LOS ANGELES IS ESTABLSIHED

1041600 CU FT 1224000 CU FT

100800 CU FT

1500000 CU FT

CU FT

45000 CU FT 291600 CU FT 626560 CU FT

54

THEATRE SET

PALLET

SCAFFOLDING

SHIPPING CONTAINER

STRUCTURE

TRA

55

MATERIALS

8 FT

13 FT 6IN

MOVIE SCREEN

5400 CU FT

50

FT

ANSPORTATION

GREEN SCREEN

35MM FILM

TELEVISIONS

56

PARAMOUNT PICTURES STUDIOS

N

THOUGH THE PROGRAM FOR THIS PROJECT IS A TRAVELING MUSEUM IT HAD TO HAVE A PROPOSED SITE TO SHOW THE FULL EXTENT OF THE PROPOSED MUSEUM IN A CONSTRUCTED AND ORGANIZED STATE. THE LOCATION CHOSEN WAS STUDIO 19 ON THE LOT OF PARAMOUNT PICTURES STUDIO. THIS BUILDING WAS CHOSEN BECAUSE IT PROVIDED AN APPROPRIATE SIZE TO PROPERLY AND FULLY EXPLORE THE PROJECT. IT ALSO PROVIDES EASY ACCESS TO FOOD, RESTROOMS, AND PARKING IN THE SURROUNDING AREA ON AND AROUND THE CAMPUS OF PARAMOUNT PICTURES. THE BUILDING ITSELF IS A LARGE EXPANSE OF SPACE THAT IS ROUGHLY 90 FEET BY 150 FEET AND AROUND 50 FEET TALL. ALL NECESSITIES FOR PUBLIC OCCUPATION ARE ALREADY PROVIDED AND IT IS ABLE TO BE RENETED THROUGH THE STUDIO’S WEBSITE.

WITHIN THE SPACE THE THREE MAIN EXHIBIT SPACES WERE ARRANGED IN A CHRONOLOGICAL ORDER FROM THE ENTRANCE AND SURROUNDING UNTHEMED EXHIBIT SPACES WERE ALSO INCLUDED. A SPECIAL ENTRY SEQUENCE WAS DEVELOPED THAT VAGUELY REFERENCES GREEK THEATRE AND THE ORIGINS OF FILM. TICKET SALES AND STORAGE ARE ALSO PROVIDED. THE EXHIBIT SPACES ARE LEFT ENTRY IN AN ASSUMPTION THAT A CURATOR WOULD BE FULLY INVOLVED WITH THIS PROCESS AND THEIR EXPERTISE WOULD CONTRIBUTE TO THE MUSEUM ARTIFACTS AND PRESENTED INFORMATION.

57

DN

TICKETS AND STORAGE

ENTRANCE

DN

SILENT FILM

EXHIBIT SPACE

FILM NOIR

COMPUTER AGE

N

MAIN FLOOR

OBSERVATION DECK

N

SECOND FLOOR

STUDIO 19 PLAN

58

59

60

SILENT FILM THE SILENT FILM ERA WAS THE BEGINNING OF MAINSTREAM FILM PRODUCTION AND SEEMED FITTING AS THE FIRST EXPERIENTIAL EXHIBIT OF THE MUSEUM. A COMMON THEME WAS MAINTAINED THROUGHOUT ALL THREE EXHIBITS AND THAT IS A SPECIAL CUBE THAT CONTAINS A STRONG STATEMENT ABOUT THE FILM STYLE ON THE INTERIOR. ON THE EXTERIOR THE FILM STYLE IS ALSO REPRESENTED THROUGH THE MATERIAL CHOICE. THE CUBE FOR SILENT FILM IS AN ANECHOIC CHAMBER THAT ELIMINATES ALMOST ALL SOUND WITHIN THE SPACE. THIS IS THE FIRST EXPERIENCE OF THE VISITOR IN THE SILENT FILM MUSEUM AND CREATES AN IMMEDIATE SENSATION AND AWARENESS OF SOUND. THIS THEME IS CARRIED THROUGHOUT THE REMAINDER OF THE EXHIBIT. THE EXTERIOR OF THE ANECHOIC CHAMBER VISIBLE TO THE REST OF THE MUSEUM IS COVERED IN BLACK VELVET WHICH REFERENCES THE CURTAINS OF THE FIRST THEATERS AND ALSO PROVIDES A UNIQUE SENSORIAL EXPERIENCE THROUGH TOUCH.

THE REMAINDER OF THE SILENT FILM EXHIBIT IS LIMITED TO BLACK AND WHITE WHICH WAS A COMMON ATTRIBUTE IN THIS STYLE AND ALSO CREATES A DRAMATIC FEELING WITHIN THE SPACE. ILLUMINATED DISPLAYS WILL HOLD TITLE CARDS FROM A SPECIFIC SILENT FILM THAT WILL BE PLAYING ON A SCREEN ADJACENT TO THE CARDS. A SOUND NOOK WAS ALSO SPECIFICALLY DESIGNED DIRECTLY IN FRONT OF THE ACTUAL FILM BEING PLAYED WHICH USES A NEW TECHNOLOGY OF HYPERSONIC SOUND TO PRECISELY DIRECT THE SCORE OF THE FILM WITHIN THIS NOOK AND NOWHERE ELSE. ALL OF THESE TECHNOLOGIES AND DESIGN DECISION GREATLY EMPHASIZE THE IDEA OF SOUND AND LACK OF COLOR WITHIN THIS STYLE OF FILM. BY MAKING THE VIEWER VERY AWARE OF THESE IDEAS IT MAKES THEM MUCH MORE COGNIZANT OF THEIR SURROUNDINGS AND THEREFORE CREATES A MUCH MORE EMOTIONALLY EVOCATIVE EXPERIENCE.

A BEHIND THE SCENES LOOK AT THE TECHNOLOGY THAT CREATES THE SOUND IN THIS EXHIBIT IS ALSO PROVIDED THROUGH A GLASS WINDOW PROVIDING VIEWS INTO ONE OF THE WALLS. THIS IS A THEME CARRIED THROUGHOUT THE MUSEUM AND ULTIMATELY PROVIDES INFORMATION TO THE VISITOR. IT ALSO HAS THE UNIQUE EFFECT OF PROVIDING THE VIEWER MORE DETAIL ABOUT THEIR SURROUDNIGNS WHICH AGAIN INCREASES THEIR OVERALL EXPERIENCE.

61

TITLE CARD DISPLAY

ANECHOIC CHAMBER

CURTAIN ENTRANCE N

SOUND NOOK

TITLE CARD DISPLAY

SOUND NOOK

SOUND NOOK

TITLE CARD DISPLAY

EXIT

PLAN

SECTION

62

HYPERSONIC SOUND SPEAKER

FOCUSED SOUND

POWER SUPPLY

DETAIL SECTION

ANECHOIC CHAMBER DETAIL MODEL

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FILM NOIR FILM NOIR IS A STYLE OF FILM THAT HAS WITHSTOOD THE TEST OF TIME BECAUSE OF ITS ABILITY TO EVOKE DRAMA THROUGH ALL ASPECTS OF THE PRODUCTION. AFTER RESEARCHING AND WATCHING FILM NOIR FILMS IT WAS EVIDENT THAT THE STYLE IN ITS MOST BASIC FORM DEALT ENTIRELY WITH LIGHT AND THE SHADOWS FROM THAT LIGHT. THE ENTIRE DESIGN OF THE FILM NOIR EXHIBIT IS THEREFORE DEPENDENT ON A SINGLE SOURCE OF LIGHT THAT IS THE SPECIAL CUBE THAT RESPONDS TO THE OTHER EXHIBITS OF THE MUSEUM. THIS CUBE IS CONSTRUCTED OF A TRANSLUCENT PLASTIC MATERIAL THAT ENCASES A SOUNRCE OF EMITTING LIGHT THAT WORKS WITH THE CONSTRUCTION OF THE EXHIBIT SPACE TO PROVIDE UNIQUE SHADOWS AND OVERALL EXPERIENCES FOR THE VISITOR. THIS LIGHT COULD BE SEEN THROUGHOUT THE MUSEUM AND BECOMES THE ULTIMATE DESTINATION FOR THOSE ENTERING THE FILM NOIR EXHIBIT. AS ONE MOVES THROUGH THE EXHIBIT THEY FIRST ENTER A HALLWAY THAT HAS WALLS DESIGNED TO NOT ONLY DIRECT LIGHT IN UNIQUE WAYS THAT EMPHASIZE THE SHAPE OF THE SPACE, BUT THESE BREAKS IN THE WALL ALSO CAST SHADOWS OF PEOPLE ON THE WALL’S OPPOSITE SIDE. THEIR SHADOWS PROVIDE A MOVING ELEMENT TO THE VISITOR AND ALLOWS THEM TO BECOME PART OF THE EXHIBIT. THE VISITOR WILL EXPERIENCE MOMENTS OF DEEP DARKNESS AND DRAMATIC LIGHT AS THEY FINALLY ENTER THEIR DESTINATION THAT IS THE CUBE OF LIGHT. INSIDE ARE PROJECTIONS OF A FILM NOIR STYLED FILM ON THE FOUR WALLS OF THE CUBE. THE ROOM WOULD BE CONSUMED IN DARKNESS IF IT WAS NOT FOR THE PROJECTED LIGHT OF THE FILMS AND THIS EFFECT AGAIN WORKS TO DIRECT THE FOCUS OF THE AUDIENCE TOWARD THE LIGHT OF THESE FILMS. CONTINUING THROUGH THE CUBE THE VISITOR WILL ENTER A BEHIND THE SCENES EXPERIENCE OF THE EXHIBIT THAT PUTS THEM IN THE POSITION TO MAKE SHADOWS AND ALSO REVEALS MANY OF THE CONSTRUCTION METHODS FOR THE SPACE. AS STATED BEFORE THIS BEHIND THE SCENES LOOK IS PART OF THE OVERALL EXPERIENCE OF THE MUSEUM THAT IS MEANT TO EDUCATE AND REVEAL ASPECTS OF FILMMAKING TO THE VISITOR. THROUGHOUT THIS EXHIBIT THE AUDIENCE IS FOCUSED ONTO A VARIETY OF LIGHTING EFFECTS AND TRICKS THAT HIGHTEN THEIR AWARENESS OF THE SPACE AND MORE FULLY IMMERSE THEM INTO THE EXPERIENCE OF FILM NOIR.

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ENTRANCE

LIGHT CUBE

EXIT

N

PLAN

66

SECTION

67

INTERIOR PROJECTION CANVAS

TRANSLUCENT CHANNEL GLASS

POWERED LIGHT SOURCE

DETAIL SECTION

LIGHT CUBE MODEL

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COMPUTER AGE THE COMPUTER AGE IS PROBABLY THE STYLE MOST FAMILIAR TO TODAYS GENERATION OF YOUNG PEOPLE AND ALSO HAD MANY DIFFERENT STYLE ATTRIBUTES COMPARED TO THOSE OF SILENT FILM AND FILM NOIR. IN COMPUTER AGE IT IS OBVIOUS THAT TECHNOLOGICAL ACHIEVEMENT AND CONSTANTLY SETTING A NEW STANDARD OF REALISM IS AT THE HEART OF THESE PRODUCTIONS. ALSO INVOLVED IS THE SCALE OF THE PRODUCTIONS AND SCOPE OF THE OVERALL SCRIPT IN TERMS OF LOCATIONS AND LENGTHS OF TIME. COLOR AND LIGHT ARE ALSO INTEGRAL PARTS OF THIS FILM STYLE AND THESE ATTRIBUTES WERE COMBINED TO CREATE THE COMPUTER AGE EXHIBIT.

THE DEFINING CUBE OF THIS EXHIBIT IS THE LARGEST AND MOST VIVID OF THE THREE EXHIBIT CUBES. BRIGHT LED SCREENS ADORN ALL SIDES OF THIS CUBE AND EMIT SINGLE HUES OF COLOR THROUGHOUT THE DAY. THIS SIMPLE EFFECT EMPHASIZES THE GRAND SCALE OF THIS SYLE AS WELL AS THE USE OF COLOR AND TECHNOLOGY. CONNECTED TO THIS CUBE IS THE MAIN “LOBBY”. LIKE TODAY’S MODERN MOVIE THEATRE THIS LOBBY HAS LARGE GLASS CURTAIN WALLS, A SECOND FLOOR OBSERVATION DECK, ELEVATOR AND CONCESSION STAND. THIS EXHIBIT IS ALSO HIGHLY INTERACTIVE WITH A LARGE PORTION DEDICATED TO GREEN SCREEN TECHNOLOGY WHERE INDIVIDUALS CAN BE PUT INTO A WELL KNOW FILM OF THIS STYLE WHILE ONLOOKERS ENJOY THEIR PERFORMANCE. DIFFERENT ACTING AREAS ARE PROVIDED TO INCREASE THE VARIETY OF SCENES THAT CAN BE ACHIEVED.

SURROUNDED BY TECHNOLOGY ONE MOVES INTO THE LARGE LED CUBE WHERE TECHNOLOGY IS STILL PUT ON DISPLAY IN THE FORM OF A 360 DEGREE SCREEN THAT WILL SHOWCASE DOCUMENTARIES SHOT SPECIFICALLY FOR THIS PRODUCTION. THE SECOND FLOOR OBSERVATION DECK ALSO HAS A VIEWING WINDOW INTO THE CUBE FROM ABOVE THAT ALLOWS VISITORS THAT BEHIND THE SCENES EXPERIENCE AND EXPOSES THE STRUCTURE AND TECHNOLOGY BEHIND THE 360 DEGREE SCREEN. THIS EXHIBIT IS BY FAR THE MOST FUN AND CAPS OFF THE TIMELINE FOR THE VISITOR.

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EXHIBIT SPACE

ENRANCE AND EXIT

360 DEGREE SCREEN

DISPLAY MONITORS

ELEVATOR

N

CONCESSIONS

STORAGE

PLAN

SECTION

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VIEWING WINDOW

HANGING STEEL ROUND TRUSS

1 OF 9 PROJECTORS

HANGING PROJECTION CANVAS

DETAIL SECTION

360 DEGREE SCREEN MODEL

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73 THE PROJECT IS NOT COMPLETED IN THE SENSE THAT IT CAN NO LONGER BE PERFECTED. AFTER THE INITIAL DIAGRAMMING AND DISCUSSIONS ABOUT THE PLAUSIBILITY OF THIS SOLUTION THE IDEA OF TRANSPORTABILITY WAS SOMEWHAT DISREGARDED. THE OVERALL IDEA WAS STILL KEPT IN MIND THROUGHOUT THE DESIGN PROCESS; HOWEVER, IT WAS NOT IMPLEMENTED TO ITS FULLEST POTENTIAL IN THE FINAL DESIGN. RATHER IT WAS PRESENTED AS A SYMBOLIC IDEA OF HOW THINGS COULD BE TRANSPORTED AND HOW THEY COULD BE CONSTRUCTED IN A TEMPORARY AND REUSABLE MANNER. THIS IDEA COULD AND SHOULD BE PURSUED FURTHER TO ENHANCE THE OVERALL RICHNESS OF THE PROJECT. IMPLEMENTING THESE THEMES OF TRANSPORT AND REUSE WILL, IN SOME WAYS, DRAMATICALLY CHANGE THE CURRENT DESIGN. PIECES WILL HAVE TO BECOME MORE MODULARIZED AND SOME OF THE STEEL AND GLASS STRUCTURE MAY HAVE TO BE REPLACED WITH MORE APPROPRIATE MATERIALS. THUS FAR THE DESIGN HAS CONSIDERED TEMPORARY STRUCTURE IN TERMS OF THEATRE SET CONSTRUCTION WITH WOOD FRAMES THAT COULD BE STOOD AND STUPPORTED FOR TEMPORARY DURATIONS OF TIME. FURTHER DEVELOPMENT IN THIS AREA IS NECESSARY AND WILL PROBABLY REVEAL A CONSTRUCTION STYLE RELATED MORE TO ART INSTALLATION OR OTHER TRAVELLING MUSEUMS SUCH AS THE SMITHSONIAN.

THE TEMPORARY NATURE OF THIS EXHIBITION WILL ALSO POSE GREATER CHALLENGES AS THE MUSEUM VENUE CHANGES LOCATIONS. ALL OF THE STUDIO SPACES SHOWN IN THE INITIAL DIAGRAM VARY DRASTICALLY IN SIZE; THEREFORE, IT WILL BE NECESSARY FOR CHANGES IN SIZE, LAYOUT, AND CONTENT TO OCCUR EACH TIME THE MUSEUM MOVES. A NEW ARRANGMENT OF SPACES WILL BE NECESSARY DEPENDING ON THE PROVIDED LOCATION AND IN SOME CASES PARTS OF THE MUSEUM MAY HAVE TO BE REMOVED DUE TO SPACE. THIS WAS CONSIDERED THROUGHOUT THE DESIGN AND MAKES FOR A MUCH MORE DYNAMIC AND FLUID PROJECT OVERALL. IN CASES WHERE THERE IS MORE SPACE THAN PROPOSED IN THE PARAMOUNT PICTURES STUDIO 19 THEN ADDITIONAL EXPERIENTIAL EXHIBITS COULD BE ADDED. THESE WOULD ADD MORE DEPTH TO THE MUSEUM AND GIVE THE VISITOR MORE OPPORTUNITY TO BECOME INTEGRATED INTO THE FILM STYLE THROUGH AN EMOTIONAL JOURNEY.

THIS PROJECT WAS SUPPOSED TO TAKE CINEMATIC TECHNIQUES AND STYLES, APPLY THEM TO AN ARCHITECTURAL SPACE, AND CREATE AN EMOTIONAL EXPERIENCE FOR THE VISITOR THAT IS INTENSE, EXCITING, AND ENJOYABLE. ULTIMATELY THIS PROPOSED STYLE OF ARCHITECTURE COULD ENHANCE THE EXPERIENCES OF ALL ARCHITECTURE IN A WAY THAT HAS BEEN PROVEN THROUGH FILMMAKING AND SUCCESSFUL ARCHITECTURE THROUGHOUT HISTORY.

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FEATURE PRESENTATION A DEREK SHULTZ PRODUCTION

DIRECTOR DEREK SHULTZ WRITER DEREK SHULTZ ILLUSTRATOR DEREK SHULTZ EXECUTIVE PRODUCERS BOB WEDDLE JAYON YOU PRODUCERS BLAINE WHISENHUNT BRUCE MOORE EDITORS DEREK SHULTZ JAYON YOU CHRISTOPHER BOISMENUE SPECIAL THANKS DRURY UNIVERSITY PARAMOUNT PICTURES JESSICA REED ADOBE AUTODESK MICROSOFT DELL