F 05/139/016 11 Cop.

(Sem. Amante)
ATLAS

OF EMOTION

Journeys in Art, Architecture, and FiLm

Giuliana Bruno

Verso,NewYork

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&02.

Contents

Acknowledgments

vii

PROLOGUE

ARCHITECTURE
1
2

TRAVEL

Site-Seeing: The Cine City

15
A Geography of the Moving Image

55

73
3

Traveling Domestic: The Movie "House"

Fashioning TravelSpace

G E 0 G RAP H Y

ART

13

75

111

131

The Architecture of the Interior

Haptic Routes: View Painting and Garden Narratives

0 F MAP PIN G

205

An Atlas of Emotions

An Archive of Emotion Pictures

DESIGN

133

207
247

281

002

Ithor

have

10

been asserted

MIs for Mapping: Art, Apparel.

Architecture Is for Peter Greenaway
Film and MuseumArchitexture:
Excursus with Gerhard Richter's Atlas

'" WtF OEG

!w York, NY 10014-4606

H 0 USE

w left Books

ng In Publication

Data

s book

from

is available

:oging-In-Publlcation

the British

look is available from the library of Congress

lew Delhi, India.

11

Viewsfrom Home

12

My "Voyagein Italy"

Notes

library

Data

359

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401

423

List of Illustrations
Index

361

469

463

283
331

171

Acknowledgments

To give acknowledgment is to revisit the landscape of people who have helped this
book come to life. In 1991 I launched an ongoing seminar on architecture and film
at Harvard University that, in the course of navigating space, encountered the terrain of affects. My first debt of gratitude thus goes to my students, who accompanied me on this intellectual adventure, witnessed the preliminary formulations of the
project, and contributed greatly to its groWth. They have been a challenging and
responsive audience.
Over the years, parts of this book were developed in the form of lectures. I
am particularly grateful to Annette Michelson for inviting me to speak at the pioneering symposium she co-organized on the "Cine City: Film and Perceptions of
Urban Space, 1895-1995," held in 1994 at the Getty Center for the History of Art
and the Humanities, in Santa Monica. Her continuous support of my work, her valued friendship, and her inspiration have enabled me to envision what the larger
scope of the book could be. I also would like to thank Clark Arnwine, Jesse Lerner,
and Ruth Bradley for publishing a short version of my presentation in a special issue
of the film journal Wide Angle in 1997.
The crossover of my work into architectural territOry has been enriched by
a long-standing dialogue with the faculty of Princeton University's School of
Architecture; there I presented early stages of the book as part of a 1994 lectUre
series and discussed the finished work in 1999, under the auspices of Gaetana
Marrone and the Program in Women and Gender Studies. I am indebted as well to
Michael Hays, Jorge Silvetti, Mohsen Mostafavi, and all who have welcomed me to
speak often at Harvard University's Graduate School of Design; and to Pellegrino
D'Acierno for making my work a part of ''(In)Visible Cities: From the Postmodern
Metropolis to the Cities of the Future" at Columbia University and Cooper Union
in 1996. I acknowledge equally the stimulating panel on film and architecture held
at Pratt Institute's School of ArchitectUrein 1994, and am grateful to FrancesSchmitt
for inviting me to speak as part of the Alcan Lectures at Vancouver'sMuseum of Art
in 1995.
Another of the book's bridges was strengthened by an invitation to the plenary session at the 1994 meeting of the American Association of Geographers, in
San Francisco. I would like to thank the sponsoring groups of cultUralgeographers,
the journal Environme1lt and Planning D: Society and Space, Patricia MeoiioPicado, and Mona Domosh. The occasion provided the additional pleasure of roaming a hotel inhabited by thousands of geographers and conversing with Derek
Gregory and Michael Dear, among others.
A fruitful crossing inro the realm of art took place in Paris at the symposium ..Art(s) and Fiction," organized in 1996 by Pierre Sorlin, Marie-Claire Ropars,
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and Michele Lagny,who published an evolving section of the presenr work in a book

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Acknowledgments

of the same title. My "Geography of the Moving Image" was fittingly developed at
a seminar and lecture I gave in Japan in 1995, at the University of Tsukuba, for
which I thank Yoko Ima-lzumi; and at the Screen Studies Annual Conference, in
Glasgow, where I attended the opening plenary in 1994, for which I thank the editors of Screen. The thoughts that have become" My 'Voyage in Italy'" were appropriately tested in various transatlantic situations: especially at the 1997 AISLLI
Conference of Italian Studies at UCLA, where thanks are due to Luigi Ballerini, who
invited me to the plenary, and to Marguerite Waller and Lucia Re for their support;
and at the 1998 Sociera Italiana delle Letterate Conference, in Orvieto, Italy, where
Paola Bono invited me to give a keynote address, Paola Zaccaria helped me to relocate my voice in my mother tongue, and-beginning with Lucilla Albano's sensitive
response-many made me feel they could hear it. Thanks to Patrizia Calefato for
editing the proceedings.
A huge debt of gratitude goes to those who offered to comment on the
entire manuscript: the gift of their intellectual friendship is quite moving. I am grateful to Stephen Greenblatt, who has given me the support of his wonderfully restless
intellectual passion throughout the years and, in this case, put it in the service of a
very helpful reading. I also thank Tom Conley, who reviewed the work in close cartographic sympathy and provided a generous and ample reading that spoke to me
deeply. I am equally indebted to Mark Wigley,who amiably and scrupulously made
his way through the different layers of the work, engaging me with his attentive, sensitive way of thinking and reading. His suggestions, always to the point, led to
changes that substantially improved the manuscript.
A number of other colleagues and friends also have been helpful in a variety of ways. I thank BeatrizColomina for many gestures of intellectual simpatia, sustained dialogue, and good times. Norman Bryson's interest in this work from the
beginning, his collegiality, and his support have sustained its progress. I cherish the
ritual cafe conversations I have had with Wolfgang Schivelbusch, which always go
beyond the object of our work and rouch the very process of writing. Similarly, I
value the long-standing communication I have shared with Tom Gunning on our
mutual scholarly passions. A dialogue on film and life matters with Laura Mulvey
and Miriam Hansen has mattered much. I am indebted to Chantal Akerman, not
only for letting me into her exemplary artistic world but for being a real friend at a
time when it was most appreciated. I am grateful to Ewa Lajer-Burcharth, Svedana
Boym, and Cornel West for making me feel that I have more than an intellectual
home at Harvard; and ro Thyrza Nichols Goodeve for offering inspired commentary
of my work on art and film. For their involvement, thanks also are due to Robert
Brain, Elena Dagrada, AliceJarrard, Joseph Koerner, Giuliana Muscio, Louise Neri,
Katharine Park, Isabel Segura, Robert Sklar,John Stilgoe, and Henri Zerner.
I also thank my research assistants, who have helped me ro navigate the
intricate labyrinths of libraries and archives and who have been my closest interlocutors at crucial times. I am grateful to Nick Popovich, who assisted me in the
.early stages as I tested his research skills with my many tentative directions; and ro
Andrew Herscher, who was helpful in the evolution of the architectural research.

Ix

Thanks also are due to Renata Hejduk; to Curie Chong for copyediting the workin-progress; and to GeoffreyTaylor for helping with permissions for the illustrations.
For her many contributions and intellectual energy, I am particularly grateful to
Charissa Terranova, who truly has shared my enthusiasm for this work and took
part at deep levels in many moments of discovery.
Many individuals and institutions facilitated my research and helped me to
realize a visual form for my ideas. The book owes much of its textual and iIIusrrative shape to the extensive support of the many branches of the Harvard University
Libraries, whose resources were so phenomenal that at times my research seemed
hopelessly unending. For their expertise and for their understanding of my research
needs, I particularly thank: Roger E. Stoddard, Curator of Rare Books, and Anne
Anninger, Curator of Printing and Graphic A'rts, at Houghton Library; David Read
at the Special Collections of the Harvard Law School Library; and Dana A. Fisher
of the Ernst Mayr Library of the Museum of Comparative Zoology. I also extend my
thanks to Violet Gilboa of the Judaica Division at Widener Library. I am especially
indebted to the resources of the Francis A. Countway Library of Medicine; the
Theatre Collection; and the Map Collection at Pusey Library and its director, David
Cobb. For my research elsewhere in the United States, I thank the staffs at the
Huntington Library, San Marino, California; the Pierpont Morgan Library, New
York; Scala/Art Resource, New York; and the Theatre Historical Society of America,
. in Elmhurst, Illinois, especially Richard Sklenar, Executive Director. I extend special
thanks to Pat Morris at the Newberry Library, Chicago, for his help in my research
on imaginary maps.
In my archival research overseas, Donata Pesenti Campagnoni, Curator of
the Collections at the Museo Nazionale del Cinema in Turin, was helpful. I also wish
to thank Cecile de la Perraudiere at the Archives Louis Vuitton for a delightful tour of
the private museum and generous access to its archives; and Pilar Velez and Nliria
Rivero, Director and Curator, respectively, of the Museu Frederic Mares, Barcelona,
for a special rour and access to the museum's collection. I am grateful to Laurent
Mannoni

for his generous offering of material from the collections of the Cinema-

theque Fran<;aise; to the staffs of the Bibliotheque Nationale de France and the Musee
des Arts Decoratifs, Paris; and to Bruno Ciufo at the Istituto Centrale per il Catalogo
e la Documentazione,

Rome, for guidance through the maze of this archive.

Many others sustained my visual research. I am grateful to Gerhard Richter

and his gallerist, Marian Goodman, for offering generous access to the artist's work;
and to Peter Greenaway and his assistant, Annabel Radermacher, for opening the
filmmaker's private archive ro me. I am equally indebted ro Lillian Kiesler for access
she provided to Frederick Kiesler's archive; and to Susan Edwards, former curator of
the Hunter Galleries, for leads into John Eberson's work. For their generous contri-

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bution of images for reproduction, thanks are due to Louise Bourgeois and Jerry
Gorovoy, and Robert Miller Gallery; Heide Fasnacht; Toba Khedoori and David
Zwirner Gallery; Annette .Lemieux; Annette Messager; Seton Smith; Hiroshi
Sugimoto

and

Sonnabend

Gallery;

J. Morgan

Puett

and

Shack

Inc.;

and

Bernard

Tschumi. I also thank Lynne Cooke, Curator at Dia Center for the Arts, and Karen

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