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Vidler
Anthony
The
Explosion
Architecture
Filmic
of
and
Space:
the
Imaginary
45
assemblage 21
Cineplastics
The obviousrole of architecturein the constructionof sets
(and the eagerparticipationof architectsthemselvesin this
enterprise),and the equallyobviousabilityof film to "construct"its own architecturein light and shade, scale and
movement, fromthe outset allowedfor a mutual intersection
of these two "spatialarts."Certainly,many modernistfilmmakershad little doubt of the cinema'sarchitectonicproperties. From GeorgesMelies'scarefuldescriptionof the proper
spatialorganizationof the studio in 1907 to EricRohmer's
reassertionof film as "the spatialart"some fortyyearslater,
the architecturalmetaphor,if not its materialreality,was
deemed essentialto the filmic imagination.3Equally,architects like Hans Poelzig (who, togetherwith his wife, the
sculptorMarlenePoelzig,sketchedand modeled the sets for
PaulWegener'sDer Golem:Wie er in die Welt kamof 1920)
and AndreiAndrejev(who designedthe sets for Robert
Weine's Raskolnikoffof1923) did not hesitate to collaborate
46
Vidler
couldbuildedificesthatconstitutethemselves,collapse,andreconstitutethemselvesagainceaselesslyby imperceptible
passages
of tonesandmodelingthatwillthemselvesbe architecture
at every
instant,withoutourbeingableto graspthe thousandthpartof a
secondin whichthe transitiontakesplace."
Such an art, Faurepredicted,would propelthe worldinto a
new stage of civilization,whose principleform of expression
would be an architecturebased on the appearanceof mobile
industrialconstructions,ships, trains,cars,and airplanes,
togetherwith their stable portsand harbors.Cinema would
operate,he concluded,as a kind of privileged"spiritualornament" to this machine civilization:"the most useful social
playfor the developmentof confidence,harmony,and cohesion in the masses."12
Spacesof Horror
Criticsof the firstgenerationof Germanexpressionistfilms
had alreadyexperiencedsuch a "cineplastic"revolutionin
practice.The spate of immediate postwarproductionsin 1919
and 1920 (includingPaulWegener'sDer Golem,KarlHeinz
Martin'sVon Morgensbis Mitternacht,and, of course,Robert
Weine's Das Kabinettdes Dr. Caligari)demonstratedthat, in
the wordsof the Germanart criticand New YorkTimescorrespondent HermanG. Scheffauer,a new "stereoscopicuniverse"was in the making.In a brilliantanalysispublishedat
the end of 1920, Scheffauerhailed the end of the "crudephantasmagoria"of earlierfilms and the birthof a new space.13
Space- hithertoconsideredandtreatedas somethingdeadand
static,a mereinertscreenorframe,oftenof no moresignificance
thanthe paintedbalustrade-background
at the villagephotog- hasbeensmittenintolife, into movementandconrapher's
sciousexpression.
A fourthdimensionhasbegunto evolveout of
this photographiccosmos.14
47
assemblage 21
film still
Vidler
medievalPraguehasbeenmoldedinto theseeccentricanderrant
crypts.... Poelzigseeksto givean eerieandgrotesquesuggestivenessto the flightsof housesandstreetsthatareto furnishthe
externalsettingof this film-play.The willof this masterarchitect
animatingfacadesinto faces,insiststhatthesehousesareto speak
in jargon- andgesticulate!21
Pan-Geometries
In assimilatingfilmic space to the theoreticaltypes of Raum
adumbratedin Germanphilosophyand psychologysince
TheodorVischer,and in proposingthe relativityof spatial
formsin the face of continuous optical movement in a
way reminiscentof the historicalrelativityof optical forms
demonstratedby Alois Riegl, Scheffauerseems also to have
anticipatedthe more scholarlyaccount of perspectivalhistorydevelopedbetween 1923 and 1925by ErwinPanofsky.
Panofsky'sessay "Perspectiveas SymbolicForm"set out to
show that the variousperspectivesystemsfrom Roman times
to the presentwere not simply"incorrect"instancesof representing reality,but rather,were endowed with distinct and
symbolicmeaning of their own, as powerfuland as open to
readingas iconographicaltypes and genres.Panofskyeven
took note of the modernistwill to breakwith the conventions
of perspective,seeing it as yet anotherstage of perspective
vision itself. He cited expressionism'sresistanceto perspective as the last remnantof the will to capture"real,threedimensionalspace,"in particular,El Lissitzky'sdesireto
overcomethe bounds of finite space:
Olderperspectiveis supposedto have'limitedspace,madeit fito Euclidiangenite, closedit off,'conceivedof space'according
andit is theseverybonds
ometryas rigidthree-dimensionality,'
whichthe mostrecentarthasattemptedto break.Eitherit hasin
a senseexplodedthe entirespaceby 'dispersing
the centerof vision'('Futurism'),
orit hassoughtno longerto representdepth
intervals'extensively'
but rather,in
by meansof foreshortenings,
accordwiththe mostmoderninsightsof psychology,
onlyto create an illusion'intensively'
by playingcolorsurfacesoff against
eachother,eachdifferentlyplaced,differentlyshaded,andonlyin
thiswayfurnishedwithdifferentspatialvalues(Mondrianandin
Malevich's'Suprematism').
The author[ElLissitzky]
particular
believeshe cansuggesta thirdsolution:the conquestof 'imaginaryspace'by meansof mechanically
motivatedbodies,whichby
thisverymovement,by theirrotationoroscillation,produceprecise figures(forexample,a rotatingstickproducesan apparent
circle,or in anotherposition,an apparentcylinder,andso forth).
In thisway,in the opinionof El Lissitzky,artis elevatedto the
(whereasin factthe
standpointof a non-Euclidian
pan-geometry
spaceof those'imaginary'
rotatingbodiesis no less 'Euclidian'
thananyotherempiricalspace.)22
Despite Panofsky'sskepticism,it was, of course,such a
"pan-geometric"space that architecturehoped to construct
throughabstractionand technologicallyinduced movement.
Architectsfrom El Lissitzkyto BrunoTaut were to experiment with this new pan-geometryas if it would enable them
finally,in ErnstBloch'swords,"to depict empiricallyan
imaginaryspace."For Bloch,the underlyingEuclidiannature
of all space offeredthe potentialfor architectureto approach
pan-geometryin reality.Basinghis argumenton Panofsky's
essay,he commended expressionistsfor havinggenerated
rotatingand turningbodies that produced"stereometric
figures... which at least have nothing in common with the
perspectivevisualspace (Sehraum)";out of this procedure
emerged"anarchitectureof the abstract,which wants to be
For Bloch,this potentialallowedmodquasi-meta-cubic."23
ern architectureto achieve its own "symbolicallusions,"even
if these were founded on the "so-calledun-EuclidianpanIn this illusion,the archigeometry"criticizedby Panofsky.24
tects were encouragedby the cinematographersthemselves,
49
assemblage 21
Psycho-Spaces
But the attempt to constructthese imaginarynew worlds
was, as Panofskyhad noted, not simplyformalisticand decorative;its premisewas from the outset psychological,based
on what RudolfKurzdefined as the "simplelaw of psychologicalaestheticsthat when we feel our way into certain
formsexact psychiccorrespondencesare set up."25Hugo
Miinsterberg,in his 1916 workFilm:A PsychologicalStudy,
had alreadyset out the terms of the equation, film equals
psychologicalform.26For Miinsterberg,film differedfrom
dramaby its appealto the "innermovements of the mind."
To be sure,the eventsin the photoplayhappenin the realspace
withits depth.Butthe spectatorfeelsthattheyarenot presented
in the threedimensionsof the outerworld,thattheyareflatpictureswhichonlythe mindmoldsintoplasticthings.Againthe
eventsareseenin continuousmovement;andyet the pictures
breakup the movementintoa rapidsuccessionof instantaneous
impressions....The photoplaytellsus the humanstoryby overcomingthe formsof the outerworld,namely,space,time,and
causality,andby adjustingthe eventsto the formsof the inner
andemotion.27
world,namely,attention,memory,imagination,
Only two yearslater,in one of his firstcriticalessays,Louis
Aragonwas to note this propertyof the film to focus attention and reformulatethe realinto the imaginary,the ability
to fuse the physicaland the mental, laterto become a surrealist obsession.Seeminglyanticipatingthe mental states of
AndreBreton'sNadjaor of his own Paysande Paris,but revealedin film, Aragonmeditated on the "the door of a bar
that swingsand on the windowthe capitalletters of unreadable and marvelouswords,or the vertiginous,thousand-eyed
facadeof the thirty-storyhouse."28The possibilityof disclosing the inner"menacingor enigmaticmeanings"of everyday
objectsby simple close-up techniquesand cameraangles,
light, shade,and space established,forAragon,the poetic
potentialof the art:"To endow with a poetic value that
which does not yet possessit, to willfullyrestrictthe field of
50
Vidler
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assemblage 21
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In this respect,what Kracauersaw as Eisenstein's"identification of life with the street"took on new meaningas the
moved to capturethe flow of fleeting
flaneur-photographer
that
Kracauer's
teacherGeorg Simmel had charimpressions
acterizedas "snapshotsof reality.""When historyis made
in the streets,the streetstend to move onto the screen,"
concluded Kracauer.
52
Vidler
to unconscious
us to unconsciousopticsas doespsychoanalysis
impulses.41
Unconsciousoptics - the filmic unconscious- was, for
Benjamin,itself a kind of analysis,the closest aesthetic
of EverydayLife,
equivalentto Freud'sown Psychopathology
in its abilityto focus and deepen perception.
In this characteristic,film obviouslyoutdistancedarchitecture;Benjamin'sremarkthat "architecturehas alwaysrepresented the prototypeof a workof art the receptionof which is
consummatedby the collectivityin a state of distraction"was
made in this verycontext: the assertionof the "shockeffect"
of the film as that which allowsthe public, no longerdistracted,to be once more put in the position of the critic.
Thus the only way to renderarchitecturecriticalagainwas to
wrestit out of its uncriticallyobservedcontext, its distracted
state, and offer it to a now attentive public- that is, to make
a film of the building.
Or of the city. In an evocativeremarkinsertedapparentlyat
randomamong the unwieldycollection of citations and aphorismsthat make up the unfinishedPassagen-Werk,
Benjamin
opened the possibilityof yet anotherwayof readinghis unfinished work:was it not perhapsthe sketchof a screenplayfor a
movie of Paris?
Couldone not shoota passionatefilmof the cityplanof Paris?Of
the developmentof its differentforms[Gestalten]in temporal
movementof
succession?
Of the condensationof a century-long
streets,boulevards,
passages,squares,in the spaceof halfan hour?
Andwhatelse doesthe flaneurdo?42
In this context, might not the endless quotationsand aphoristicobservationsof the Passagen-Werk,
carefullywrittenout
on hundredsof single index cards,each one letter-,number-,
and color-codedto cross-referencethem to all the rest,be
construedas so many shots, readyto be montaged into the
epic movie Paris,Capitalof the NineteenthCentury- a
prehistoryof modernity,finallyrealizedby modernity'sown
specialform of mechanicalreproduction?
While obviouslyno "film"of this kind was ever made, an
attempt to answerthe hypotheticalquestion,what would
Benjamin'sfilm of Parishave looked like?would clarifywhat
we might call his "filmicimaginary."Such an imaginary,
overt in the Passagen-Werk
and the contemporaryessay"The
Work of Art in the Age of MechanicalReproduction"and
covertin many earlierwritingsfromthose on Germanbaroqueallegoryto those on historicalform,might, in turn,
revealimportantaspectsof the theoreticalproblemsinherent
in the filmic representationof the metropolis.For in the light
of Benjamin'stheoriesof the politicaland social powersof
mechanicalreproductionas outlined in his "Conversations
with BertoltBrecht,"it is clearfrom the outset that any
projectfor a film of Pariswould in no wayhave resembled
other urbanfilms of the interwarperiod,whetheridealist,
expressionist,or realist.Rather,it would have involvedBenjamin in an act of theoreticalelaborationthat, based on previous film theoryand criticism,would have constructednew
kindsof optical relationsbetween the cameraand the city,
film and architecture.These would no doubt have been
establishedon the complex notion of "the opticalunconscious,"an intercalationof Freudand Riegl,that appearsin
Benjamin'swritingson photographyand film in the late
1920sand early 1930s.
On one level, Benjamin'sfragmentaryremarkis easilydecipherable:what he had in mind was evidentlyan image of the
53
assemblage 21
Vidler
ArchitecturalMontage
Here we are returnedto Eisenstein's"street,"reminded,
in Benjamin'sdesireto have shot a "passionate"film, of
assemblage 21
recomposition,as if they were so many "shots,"then it is because, for Eisenstein,architectureitself embodies the principles of montage. Indeed, its especialcharacteristicsof a
spatialart experiencedin time renderit the predecessorof
film in more than simple analogy.
In the article"Montageand Architecture,"writtenin the late
1930sas a partof the uncompletedworkon montage, Eisenstein sets out this position, contrastingtwo "paths"of the
spatialeye: the cinematic,wherea spectatorfollowsan imaginaryline among a seriesof objects,throughthe sight as well
as in the mind - "diverseimpressionspassingin frontof an
immobile spectator"- and the architectural,where"the
spectatormoved througha seriesof carefullydisposedphenomena which he absorbedin orderwith his visualsense."49
In this transitionfrom realto imaginarymovement, architecture is film's predecessor.Where painting"remainedincapable of fixing the total representationof a phenomenon in
its full multi-dimensionality"and "onlythe film camerahas
solvedthe problemof doing this on a flat surface,""itsundoubted ancestorin this capabilityis ... architecture."50
Eisenstein,as is well known,used AugusteChoisy'sperspective viewsof the Acropolisto demonstratehis theoryof
movement and montage in space, followingLe Corbusier's
own reproductionof these images in Versune architectureto
exemplifythe notion of the promenadearchitecturale.i
But in their use of a common sourceto demonstrate
architecture'spotential for a stagingof movement, neither
Eisensteinnor Le Corbusierwereadmittingany lesserautonomy for their respectivespatialdisciplines.For Eisenstein,
the Acropolissimplyprovedthat architecturewas a fitting
"ancestor"to film; for Le Corbusier,it permitteda returnto
the "original"bodily and sensationalsourcesof the plan.52
Both would have agreedwith RobertMallet-Stevens,who
was troubledby the invasionof the decorativeinto filmic
formsthat
architecture,the potential to create "imaginary"
illustratedratherthan providedsettings for human psychologicalemotions. Mallet-Stevenswarnedagainstthe tendency to view architectureas a photogenicaid to film,
therebycreatinga "foreseen"dynamicthat in realspace
would be providedby the human figure:"the ornament,the
arabesque,is the mobile personagewho createsthem."53
Ratherthan expressionistbuildingsimitatingtheir cinematic
counterparts,he called for a radicalsimplificationof architecture that would, in this way,offer itself up naturallyto the
filmic action, alwayspreservingthe distancebetween the real
and the imaginary."Reallife is entirelydifferent,the house is
made to live, it should firstrespondto our needs."54Properly
handled,however,architectureand film might be entirely
complementary.He cited a screenplayby RicciottoCanudo
that would perhapsrealizethis ideal:
It concernedthe representation
of a solitarywoman,frighteningly
alonein life, surrounded
by the void,andnothingness.The decor:
lines,immovable,repeated,withoutorcomposedof inarticulate
nament:no window,no door,no furniturein the "field"andat the
centerof theserigidparallelsa womanwhoadvancedslowly.Subsituatesthe personanddefines
titlesbecomeuseless,architecture
herbetterthananytext.55
In this vision of a cinematic architecturethat would through
its own laws of perspectivereturnto the essentialcharacteristics of building,Mallet-Stevensechoed Le Corbusierand
anticipatedEisenstein.In his depiction of a decor framedas
the veryimage of isolation,agoraphobicor claustrophobic,he
also answeredthose in Germanywho wereattemptingto
"express"in spatialdistortionwhat a simple manipulationof
the camerain space might accomplish.
Such argumentsoverthe potentialitiesof a "filmicarchitecture"have hardlyceased with the gradualdemise of cinema
and the riseof its own "natural"successors- video and
digitalhyperspatialimaging.That the influenceof these new
formsof spatialrepresentationon architecturemight be as
disturbingas those observedby Le Corbusierand MalletStevens is at least possibleto hazard,as buildingsand their
spatialsequencesaredesignedmore as illustrationsof implied
movement, or worse,as literalfabricationsof the computer'seye view.
56
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assemblage 21
Notes
1. Dziga Vertov,Kino-Eye:The
Writingsof Dziga Vertov,ed.
Annette Michelson, trans. Kevin
O'Brien (Berkeley:Universityof
CaliforniaPress, 1984), 17.
2. Le Corbusier,"Espritde verite,"
Mouvement1 (June 1933): 10-13,
translatedin RichardAbel, French
Film Theoryand Criticism:A History/Anthology,2 vols. (Princeton:
Princeton UniversityPress, 1988),
2:111-13.
3. See Georges Melies, "LesVues
cinematographiques"(1907), in
MarcelL'Herbier,L'Intelligencedu
cinematographe(Paris:Editions
Corea, 1946), 179-87, and Eric
Rohmer, "Cinema:The Art of
Space" (1948), in Eric Rohmer, The
Taste for Beauty,trans. Carol Volk
(Cambridge:CambridgeUniversity
Press, 1989), 19-29.
4. The best discussion of the architectural contribution to set design,
in the context of the expressionist
twenties, is still Lotte H. Eisner's
L'Ecrandemoniaque(Paris:Eric
Losfeld, 1965).
5. RobertMallet-Stevens,"Le
Cinema et les arts:L'Architecture,"
Les Cahiersdu Mois-Cinema(1925);
reprintedin L'Herbier,L'Intelligence du cinematographe,288.
6. Abel Gance, "Qu'est-ceque le
cinematographe?Un sixieme art,"
Cine-Journal195, no. 9 (March
1912); reprintedin L'Herbier,L'Intelligencedu cinematographe,92.
7. "Lecinema est plastique d'abord:
il represente,en quelque sorte, une
architectureen mouvement qui doit
etre en accord constant, en equilibre
dynamiquementpoursuiviavec le
milieu et les paysagesou elle s'eleve
et s'ecroule"(Elie Faure, "De la
cineplastique,"in L'Arbred'Eden
[Paris:Editions Cres, 1922]; re-
printed in L'Herbier,L'Intelligence
du cinematographe,268).
58
Vidler
FigureCredits
1. Interviewwith Babette
Mangolte, CameraObscura3-4
(Summer 1979).
59
2. Leon Barsacq,Caligari'sCabinet
and Other GrandIllusions:A History
of Film Design, rev. ed. (Boston:
New YorkGraphicSociety, 1976).
3, 4. FrederickW. Ott, The Great
GermanFilms (Secaucus, N.J.:Citadel Press, 1986).
5. EugeneAtget:A Selectionof Photographsfromthe Musee Carnavalet,
Paris (New York:Pantheon, 1985).
6. Eugene Atget, Voyageen ville (reprint;Paris:Chene/Hachette, 1979).
7. RebeccaHorn,exhibition catalogue (Zurich:KunsthausZurich,
1983).