博士论文选题

学科：建筑学

专业：建筑文化

研究方向：建筑与影像

建筑与影像，均陷入了深刻的危机。

建筑学，是一个充满矛盾与困惑的学科，其天生的交叉性注定话语体系的博杂，经典学说勾勒的设计、结构、材料、空间等关键词同样被其他学科沿用，实难彰丕学术个色。但是，影像的身份危机与属质焦?却更为隐深，主体的归属感沦丧，甚至是自毁性的。譬如，纪实摄影因阉割存在主义文脉，正遭遇四面楚歌，诸多学者都对主张废弃这一概念。又如，电视纪录片“真”之辩最终必定导致电视语言的颠覆，这一必然趋势在诸多经典电影场景设计中率先呈现――在场与缺场融通了影像客体与建筑主体的心灵世界。作为精神现象，尽管二者语言窘异，但审美之思游历心脑，终致符号超越符号本体，产生跨语际互动，不论对谁而言，“Sein”与“Dasein”都具有契通之美学价值，却兼具悖谬之哲学负价值。这种L    ogos的解构虽不乏后现代主义世纪荒凉，却也建筑了一种特殊的表意形塑，正是建筑影像学的生存空间。在空间之间，象外有象；像象之间，空间无垠。

*《在场――符号互动论域中的建筑语言与影像构成》

*《建筑之“Sein”与影像之“Dasein”的契通与悖谬》

*《空间之间与象外之象：建筑影像学论纲》

Mainly Content

1. Architecture in Film

Architecture can be used cinematically in two different ways, according to :

(1)Expressionist films. When the technology was highly expensive and limited to black-and-white and no sound, symbolic movements of characters and canvas drawings of buildings and landscapes were used in order to bring the action, as in Fritz Lang's Metropolis .

(2)Realistic films, both in contemporary architecture that we see in Antonioni's films, and in surrealistic (artificial) films like sci-fi or horror, as in Ridley Scott's Blade Runner.

In either case of the above, the intent is to create an experience derived from film by using the filming techniques in an interplay between architecture and the characters.

2.Film in Architecture

Film is finding its own seats in the architectural room with the advent and affordability of technology. In the Architect As A Film Maker,Vincent Kling says that films do not have to be very technologically advanced and sophiticated in order to make a successful presentation. For architects, film is a very powerful medium because it allows them to walk through a virtual model or a small mock-up of the building while the client is watching, and enables them also to demonstrate the design ideas as if the building was explored by the eyes of the visitors. In addition, Film can be used academically to help explore (see) and document the effects of buildings on society, and the urban setting.

3. External Perspective

If we were to stand away and compare film and architecture, we would find that the design process is the same in each in a way that both require a team of designers collaborating together. It also can be seen in the way that both try to demonstrate certain values to society in order that they can be critiqued by the public. To demonstrate, if one first looks at the basic elements of screenwriting in film, the writer is required to have a clear premise before beginning to write the script, which must be described in one sentence.

4. Essential Sameness

There are some sameness between architecture and film even television, such as both of them always pay high attention to space, structure, form, beauty and language, not only in aesthetics but also in linguistics, even in philosophy. In fact, architecture just still is an old art as a humanities(human science) from ancient Greence and Rome to today. As a classic exemplification, montage is a basic chief theory for film but it originated from Bauhuas system that is an well-known excellenct academic school in history of modern architecture.

Lesson One or Theme 1: Early Film and Its Use of Architecture as Significant Set

The Cabinet of Doctor Caligari (1920) (72 minutes)

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

The Golem (1921) (86 minutes)

In 16th century Prague, Rabbi Loew creates a terrifying giant golem from clay to protect his people from their persecutors. Employing sorcery, he brings the artificial man to life, endowing him with human emotions. Famulus, Loew’s evil assistant, manages to take control of the golem, commanding it to perform sordid criminal acts culminating in the kidnapping of the Rabbi’s beautiful daughter, Miriam. The monster, outraged by his vile misuse, rebels and a deadly rampage ensues. With high, angular sets by famed architect Hans Poelzig and full of wonderful imagery captured by the camera of Karl Freund, this silent classic captivates the eye. Masterfully combining terror and pathos, Wegener’s stiff-limbed portrayal of the golem clearly influenced Boris Karloff’s performance in Frankenstein. This 1920 version of The Golem is considered definitive among the film’s many productions and is an unforgettable horror masterpiece.

Lesson Six or Theme 6:

Space’s Symbol in Chinese Wuxia Film that Construct a Unique National Metaphor

Wuxia film (武侠片) is a film genre originating in Taiwan and Hong Kong. Because of its distinguishing characteristics (a historical setting, action scenes centred on swordplay, a stronger emphasis towards melodrama and themes of bonding, friendship, loyalty, and betrayal), this genre is considered slightly different to the martial arts film styles. There is a strong link between wuxia films and wuxia novels, and its cinema may be considered an offshoot of those. Many of the films are based on novels; Crouching Tiger, Hidden Dragon is an example of this.

The modern form of the genre has existed in the Pacific Rim region since the mid 1960s, although the earliest films date back to the 1920s. King Hu, working from Hong Kong and Taiwan, and the Shaw Studio, working from Hong Kong, were pioneers of the modern form of this genre, featuring sophisticated action choreography with plentiful wire-assisted acrobatics, trampolines and under-cranking.

二○一○年九月十一日夜于西安