The purpose of my project is to explore the possibilities for the generation of new spatial experiences through the analysis of film-making methods and processes, in particular how the space of the camera in film generates spatial narrative.
The importance of my project is that it suggests a new methodology within the production of design and space, creating a relationship between the incorporation of architecture and the constantly evolving technological age of digital media and the social, politcal and psychological effects it has on our everyday lives.
This fits with my ambitions of creating a new process and practise within design and a new archiectural sensory experience of film and sequence through spatial arrangement and composition. My inspiration was drawn from a brief given at the beginning of the year for my final major project in my BA Hons course of Interior and Spatial Design at Chelsea College of Art and Design which focuses in the media of film for the generation of design. I was particularly interested in the exploration of the world behind the camera and the communication of narrative using framing, editing and camera position; the idea of a director guiding the audience to see what they want us to see in the same way a designer guides our experience of a spatial journey through the placing of boundaries and architectural interventions.
I started by exploring the spatial aspect within the capturing of film i.e. the spatial movement of the camera and the different effects achieved by each technique for example a Dolly technique, a Pan, a Track or a Zoom. Aswell as the spatial impact the lens dimensions and aspect ratios have on the potrayal of the story within film and how this can similarly be incoroparted into the generation of the narrative in space.
The starting point for my work was research into Alfred Hitchcock films and in particular his use of rigorous planning within every aspect of his films - aimed at gaining a particular effect and experience from his audience. His prominent use of the camera as an explanatory tool within the space inside the film contributes to the sense of suspence within the narrative.
The techniques of film and film grammar have informed the subject of my analysis so far which have developed possibilties for generation of spatial form by tracing the movement of the camera over time.
Through the mapping of the camera in each set of the films Psycho, Rear Window, The Birds and Vertigo i have formed cinematic spatial experiences of the essence of each film and its underlying theme. The filmic processes used to create the frantic feeling of attack and horror and achieved through choice of close, fast cut shots layered to create the desired effect of invasion of space, through mapping the placing of these shots within the space of the film a similar narrative of claustrophobic, chaotic space is formed by the structural forms of the frames.
Taking my analysis further within the extraction of the essence of each film I have analysed the colour tones and materiality within the image of the film as it changes over time as the story develops which parallels to the movement of the camera therefore adding to the spatial experience of the film as you are guided through the space.
The importance of my project is that it suggests a new methodology within the production of design and space, creating a relationship between the incorporation of architecture and the constantly evolving technological age of digital media and the social, politcal and psychological effects it has on our everyday lives.
This fits with my ambitions of creating a new process and practise within design and a new archiectural sensory experience of film and sequence through spatial arrangement and composition. My inspiration was drawn from a brief given at the beginning of the year for my final major project in my BA Hons course of Interior and Spatial Design at Chelsea College of Art and Design which focuses in the media of film for the generation of design. I was particularly interested in the exploration of the world behind the camera and the communication of narrative using framing, editing and camera position; the idea of a director guiding the audience to see what they want us to see in the same way a designer guides our experience of a spatial journey through the placing of boundaries and architectural interventions.
I started by exploring the spatial aspect within the capturing of film i.e. the spatial movement of the camera and the different effects achieved by each technique for example a Dolly technique, a Pan, a Track or a Zoom. Aswell as the spatial impact the lens dimensions and aspect ratios have on the potrayal of the story within film and how this can similarly be incoroparted into the generation of the narrative in space.
The starting point for my work was research into Alfred Hitchcock films and in particular his use of rigorous planning within every aspect of his films - aimed at gaining a particular effect and experience from his audience. His prominent use of the camera as an explanatory tool within the space inside the film contributes to the sense of suspence within the narrative.
The techniques of film and film grammar have informed the subject of my analysis so far which have developed possibilties for generation of spatial form by tracing the movement of the camera over time.
Through the mapping of the camera in each set of the films Psycho, Rear Window, The Birds and Vertigo i have formed cinematic spatial experiences of the essence of each film and its underlying theme. The filmic processes used to create the frantic feeling of attack and horror and achieved through choice of close, fast cut shots layered to create the desired effect of invasion of space, through mapping the placing of these shots within the space of the film a similar narrative of claustrophobic, chaotic space is formed by the structural forms of the frames.
Taking my analysis further within the extraction of the essence of each film I have analysed the colour tones and materiality within the image of the film as it changes over time as the story develops which parallels to the movement of the camera therefore adding to the spatial experience of the film as you are guided through the space.
