bt I\PhO'cd
Cy
PACH EL M\ORGAN 5TPJCKLAND
b.6..D. Maec)achue
Instnute of T~hnolo gy
19725vbLTTD
IN
PAKIBAL FULFILLMENT
OF THE PJ~QAIREMENT5 FOs THE
DECSEE OF MAVT\EPs OF
ARCHITECTAE
MADbACHMETTh iNbilTUTE OF TECHNOL0QY
Jur,19748rgha11re
of
A~ior. C
DorAena
Aay 31, 197+
Cc4iif~ec~
by.
Accpdby.
0
SEP 30 19761
ieAm
Thesis 5Lupervisor
drolpred)on~
on S 1Ladua1 &15 Nden
4re5
A
FORM-OF-INHABITING MOVIE:
Some Geography About its Physical Features
by Rachel Morgan Strickland
Submitted to the Department of Architecture
on May 31, 1974
in partial fulfillment of the requirements for the degree
of Master of Architecture
ABSTRACT:
A
PROLONGING
STRUCTURAL PERUSAL OF MOTION-PICTURE "SPACE"
CONSIDERING THE SPACEs IN BUILT
- FORM
&
EXPLOR
INN-THEO RNTARY FILMFORM
IN A SENSE OF RECONSTRUCTING PHYSICAL PLACES
IN MOTION-PICTURE
&
SOUND
&
INSISTING ABOUT DETAILS
IN WHICH CONVENTIONS OF FILM ASSEMBLAGE
WHICH PERTAIN TO ITS
CONTINUITY/DISCONTINUITIES
&
CAMERA ORIENTATIONS/MOBILITIES/DISTANCES
&
SCALE RELATIONSHIPS
&
EDGES
&
DENSITY
&
LIGHT/DARK
&
COLORS
&C.
-- DIVESTED OF FAMILIAR NARRATIVE/DRAMATIC OR
EXPRESSIONISTIC CONNOTATIONS-ARE CONSTRUED AS ANALOGS FOR 3-DIMENSIONAL MATERIALSPATIAL PHENOMENA
Thesis Supervisor: John H. Terry
Title: Assistant Professor of Cinema
1
SOME FORM-MAKING OBSERVATIONS
A budini5~ ft vcrL -fr how il-has happar-d. A rime,&-
m&kin~ is)d bud'nl V-kppengs 1c0 be Iigrir i1ef -to ia(3ncfp
1 5pY0o
~
cy~ co'nch:i h l r~W wdy a& cribcnsl aroieltrd(I
Iwo, dflL wlih expiorio how ft~ -rma+ of fim (I mo/ion-pkcture,
o~-~k~~~mcvi&
In a 469r1C, 5a~c5e i1re'v~S -the~ CorvwtI-ora
f ev' is cvery in so {r I haV oni -rihemmr
USing mc~ion pcture dCc -ftK
rapr
-fo wr, dbith
5ensie, of fthyid Ab6 1 in
a vZ Ahy roiCal fbor&iin YTh'c
t1h
3 eXPIDOdIOn (nctso rm
. dea of i WMy4j Irn Cong~vrcori M'ore -MWa VetW GoVhi-hon. 50
*ehcsj pdpW nio d~rG ncoh -fr scqpedfyir01 6 ovwm~li 1_rdte4 H
roaI y wis4 ~ frconveiv*'19) DJ
Mo AiMdb~
mcofhonPicduvm-9oArlcd 1-- by ckvelopinlo cai obvioib s
Prec z~ldWb
4Vw t~ *Yucur of movwdnf *i rncvo arid ft~ xi~rd
"I AMCUWOf dp& p Whem~r peop~o M'h it
I cdn U, lh,
mmhn forv building~ !ovrz ctz4riihi oql
hf pc ft O f peOPIC'
MUiabf k TON PICTh4E doec2mom~ The
ecotax$e5ricF
of p-S'c1 1inqs; It RVCONThCG-h PHYOJCAVL IL A11OW\fP5.
?3YywYepoi1r -WIdy orcinwy iajerpre0(o f rry4on p)iier WvIC*ry
2
22
22
22
22
22
22
22
22
22
22
2
and cumorny mil "r~ism7 ft1h u- m
incWivUenj
(a.d~copng an1 *ob1/pldaz eiii~yihli
im 1if doeo have, 5om~ ndabL&
hm VCCdWl8y (sucb -ens& {
avc~u~ 6/-hc~dor Jmq IMrdfiondlly J
(D.Mn 5W. plazb {C) huminb~o0dr"~
I amvn Y+fxeAC
CYe
it-
r~" m
6rn khdniqLz Mvich
in inl delpl 3 9- douWrrerd3r/
rdpo k t ANY 4A7E
could be
&eapYf&inihon5
&kly pyi41dr
Ah&k 'i 1oa~ona in1iv dCCommocdb 50rrn6 dcb'vniInafdtf
In d5peCzifiG Cdse, I Wn
Vwdvia& oe-( Itfc d tus%-.
doAP
I .r~o~edi hovv DUCh d "tDococI ap,31c~ Y)oP"
acox~inv do 1001 /liuraI aCtiUC[d bot privcy3- phy~icdI
PmQ
icr fy. physid mactlancz,
PykmV,9o~d
-the) dMwovhovi 6f pav4, &.
3
33
33
3
333
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33
SOME FILM-MAKING OBSERVATIONS
W~ piCbi 1'cIMPJY
WOV0 &1O how V~ 4f)V
yc
lo (o
O W] irjq6 -~r10~
"Sri$d
ov
1kd-Iil-4 'h cx- ow
AM
R-mk
- d Of Ccur5 yatA had "9iy knriCY &ak
n
how rrrveAbxJ * M yhnhy o 4 ovw iffuk~ier d* -fbr {Fiz cteio&idy ywu yvoz1 wi-th exploririn -N9
or nh scmbrl Ymre piizbhly or vonders~ ciu how Ifi,7
'k
V4 y{mQcdy you Cdk my)* 1j -film grnvW11y -fo IT.
CLOLV1yOWIIvP.
1V& vnohovi jpciuv hags a clirerton& covnrcfDn5&3c WY W iouC
of K-yu rrkb 5orripce fo -fr
&wcsy anc* t r ay
{lr'1 nOf: all 1Thipg
co\nmcbonq or C(~e cborhvi -tl'im.
50Me onpivicaI
00n CAr *$-is) possiy not rrwedy acwmobi
dt -io ocwtpy 4zW ir~crdl beWskw api'obm3( & O$O1 a7c40 - sc~
a riot1o iwe -fvov ft vewy kgwnnino)s of it doe have~ 1hi5 ceosi)y
Th~e2 whidi arc ailways o1Aional -for YOU~ lO ack or -to
and a~o
-b( _ om evy YWd/m nv yoLA do wonder in pariwlar Whaf ft~
myOV'eC) for- InAV1hcV redly am~ourb to dC ho0w Vt i53 pRonl cer
yoiq aW~ddy kri V ft Wlc-Wr Cr &t~e yoQ ncwr Know dflC cbvowc~y
The, -irn doe&vi't-
win~
4hv~se
Cxlvvy
lb iov& Ynd _-wei-ry yo1q
CV hoi Wilhwka4d wdl'inB for hew waud mcb rnay cowc~ &acv-sV v
{or- yoq. YOU direQ.Wmn MV
4
44
44
44
44
not rediy -Jo fill l-1er up, hji- mmr fcr
44
44
44
44
44
44
4
dbout Kniowiy YOQ dy Us'i1 {i" av in 1tiz maov'
-for ddri%
for- qw-,,*Yov~q Tt yu wonw lo Keep up wilt wh* you &Z~ Ikbow~n)
"Knowin~ isw yoq KiiOv dfld 1Y1 d~Jing 4-'eq~e5iiOnc df~hOU h
c~tiorrq -IVeg ici in1$ierr Ptai
j ax r-) no mre)' vho a1'mvios 1k
' "andI 1c W~stirg
The) Is9 KrnowV4
Tot making film 1*5 c3 WM/
C~n,51dw
dicover
Of Z0Oi'rin
how
-i move,
orz' coee) -KnK r~ re whfy both* wkW -MVPn
do move) anyway~ you YOAo obervC 1IaV fil 15 expoasive,
ovarybody livini diread0y kn'ow'l Tha 4hrNv mc& how 1Yty do
of cot-w~x I Manq why bo1Iw' niin~ a pmdc1oi &oa I-ic
usiing {'Imr for vrifyino or'
1mn -w? y I dm not-ve ec1Wk4
1 U %ics
whe&1 doer ThCK th~
rMzkUe dcs 3Lnb ve} C5 fth ver~y {1,1I og it~eIf awid if i9 rWer 50
vmudi paoe~ * J4s kIV disc."piwcy in a se anv c(ouldk always5
be,' ve~vy no~hlic.. Of course r i 1j psi1W -bo invent imiahri 'covideq
&vnoverzyh 5I n{ilm, okis i-f-1toe Iclik ergyeY r liaver)and
tO do
~vitii
nbl hchi adiii~ir
film. fil is1- d redl Nnir
-hzN~cG'. It 6 rdaly Wn
real -Miirig vnovin~ or Mr sonds or
,n~etioh al recred11n." AyJ how fymrlc I( 3-haT' fiIMir"aKj lWdy,
does- ouoA Ao l Q7i4nQg -N5i~ M-OVMet of 50 ris~Y~ i nordv
-
55
5
5
5
5
5
5
5
5
5
5
5
55
5
5
5
5
5
5
5
More words after themselves are a trick for marking time &
saving the money which you don't have yet when you are
waiting for it, especially when you are otherwise losing
speed of your own goings on with the work all these days
after themselves while you are needing this money to support
your habit.
SOME PRACTICE MAKING OBSERVATIONS
These words are real things themselves, just as the film is
another real thing, in the way more solid than medium that
they need so much pushing around. As these wordy conceptions
of it are not exchangeable for the filmmaking but aside from
it they do occasionally yield some fringe benefit and other
times they are just so much clutter to bother getting all
exhausted & out of breath.
Tr
savin
+ime& more, many of -fhi mo
, and many of 1k hypooe w
n
n Ofilming&
c
maneuvers in
ahman piarzd la
my nobs
a mchon Pcor, of peopK
Janhwy. Howeinen'tally his1
pojervc for te6, ibohow I had som adual
makrial at had for keepno irack of -h6 nw dicxovr.
of
a ilm, I
td rmoV zve Jly amonted o d-oght
nin it- AN OAFMABlG1?PISM INCIDENTALLY IORWan n,
Jde
4f it Wds, morE inde
POLON0.
M1
C iNO
n lt
Mmr work in pYWKeSs, anorymously horm movie dvnv
ecoAmedin, if evr dom~
debbertey Uc in 10 havii
&t bot
ndoer2 nend u pill oWr ifo too mQch black tder
when do 4k&4ee is edhr ay)
ex em sca W&in for M insst AmI
aWYviate conhndiaon r~ a~ cA1fccky tenninahon6' ID it head5Or fails of ifI vas poicd in thi exrdse -o discover how I could
rm ) e Mov) asocqai wiih proportione of humn Ihyical Mo1b19i
-t Mre peop , indgablIy conncdc4 bt mi(cdlly disconnrkd
ace by oncurahn cn how TY manever Uaeir ndivid&a
commu
rove hoe ben
6
C46n
rulaions
coloAve bodeg in reiahon to
MV I
I Il
formdae, obA9 4w
abakvW how peop\e aZ
p i lv
ing)
Prhin
crying/cafin
/drn
hwnani body ibelF
ways to be moved, 4aOy i
ha: More carderish
C
7
7
7
7
7
7
7
Usilay U
ways
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
y
iburaly
-Tzb
I
cLjc1Mirj aiMa1
y36'7
d vDI\yaiic Ck d sc
ofrr por~1kW dgeifon9
cm~o-i i &'c*ThD
Irikrid~l Of va*r~ rnoblly AMt
cim1Y d~i
li
i rnovin kiy, i odo V1a41 mah *~Tdini ovD (Wody's) way
-aVrQ 4,v ctukx (inMArIO 9sApj)
-WW~ MOW*a r6RK~
doa -fumnc~ a8hO(K d*9cAWo Wd z0T2o ~o~r~
(&.-
r i)
d{
a0Y'
MCCA)/S
lov do WfIM
(3. if mon
dc~ioc1ai
flOVY~*
nor -
V~e1Yl2vy unwOI.
*Aid\ve) Q(d(,
evd*Om -mfrs piaZZd
1VtPw C)Ucdvy mit r, ~i~w -Jo
-fjrn cXMd c c-y' a oy f thrcz-cdirmonaI ayKwc-rdrtpro Whilb
*OcngI wwnie -bo ass~ocial o cxcdr mbfity more wi h
vim how I CQId cnOfbjA-C* 11 6aWKWAdwifvvMiiigy a'd/ al)if dk& piqc2 of j
1 irvicii dA1m(y1 s'lcp d~ 5JIl wiftot- hdvir7l
edibnp Mtas cOncMW
{in' WIy
jrn~o w a! rV
't, { \\ ! n 1li urie5y di5JoolfrtY9s5Vf)YI
Vw5 If
888888888888888888888
W111a
IWa-
l Iir )MCrr ew Vf D-MEd
~ocAhrs
(Mvkfr aZ
WZxFarIY tsAI Mb&Ufdy d GrC--sj 4Tey X6~ Mndk io bei byoWzA1). 1br-
" iDKFCiRC011 NO" r~r bu ctrthn a&'ounc 4zi mi~t~
jem
pc~i5 of
mvo* ~vt -MIan how my y~xce4 insh1nct woul
cdinwiy pvon me, I- cut wV-~ 0fdUC bcAkW~9- d *hOcd
Mb-t
*0 YW
V-M& ~ w MYkMt 4&
ux~oAan wasq rn1 jdborahn,0 upon
ellr , had lo devdop coiv~ vi~ual loo c,cboi-f Yhi or b~raphictl
QwmbnqlW y o repkdng
f 4'vimeM~cally Movabk) ccrihorY c
5e c{ he~ngin dplco whch b~ ThhM
vicuANv& AaI co~'-it!if. Th"
,3n peabo
f h o NPEKcTp10V LNmMEIATh]Y& DWEJLY
LFAV5 To A FWMEKd PEIRCmON.
wi)h piure in O/~Ii
1z~ cound of ~tis) m-ovvj compcAd
bt not- In -fin&. NOiqe WhiEW I raJodc in
c-&%~ pd lxde-i
ewrIiz or
jtdjr
o r~ inbwemi rnrii
reprde
'icurchv
win pic Wr accordfrn to -M~r ]erdk~y -t coivy MshaI caii ~
of a ptarfiuc zorv owe a *hally dicohrxVOLAS qcce,%ion of
5Wc2-> EdiCh 10' sV~dhb~n Of arV or dfbianc& whi wially
0Ca~vT- at a vi4urc- Wut n 'VuPt, ) p~ba cm*wt M*l Of pic~fre.
0ound in movc, sphailly ap oximate "M)9~J r'ol'e, tnidntM5n If
qc ics m'oe 4wi~ Moving
o . al3-d1Mior40hd c*dynamic, dch~
r on a tremv ever 6px mai1c visua pza~oon. NmW.e,
ThLI'll,AbI hi!5 Cok'nMr4 ato mto~ Ae ")Wnd cowr -he's in
f~o -I if
iVi! mom, enoT mrspo~~nd
I e~~
iIbf Limov 1) 9creuil it ~ fti iANcc d an ,imay po5Sbl
99
9
99
99
99
99
99
99
99
99
999
1~yt YYior) of four'c1 wit plicYw, 1) fth pidMl mvib. I.
rion1wn&"~oc Jyi-nrnqch dS I Ck1obCi -b4o ioI
fo i cb f~niidW
Mriip fom h v r-et of roise, Cr C-D muc)PoWk
r
?YoCPOrliovv I W3j l i noi~e fo havc vnrirg creerg of
M5,iT (pr@e.er *n15 dewn'ty. FTc't
11a
1~o lascomr&n
orc, Of d~ xO b1N Cphdbg~ IWO woalci
j c-hre d~dwat/sp s.
fth gound awj pichi~e Indpodi1y a*ic~nmvore, or Lcs Arhon -to
-I iq wom coir(i~
orm WvOW-y' more or kj 0trhi to whc-td
ln4Wa cof dcwkig any dWaioy to a rrcthv& or
udtlwe
Alb~ 1ocjD of 41,1 oCrW uj w ''DSim1d~r 1iDmq~L~fcaj corYnp1of. 5o
I
rwr cooc
-M&110~ w*41 cidmj3c (WielId 5qwce,
a ~adilrm o fiii.- V *0fnS Mc.) er
cf Thpiazza YnV6.
kAon a prcc~cvz1 "fraln-oif wd I rwe wgs loriTbr ay
ck1 1 W~aJi ~ Wi14Iy
eXpeoimn1i w&)X-ftq indc~c.?oris
mcv cf~r 4w rea1y aq vrmnp0 d doctw" i ow-or- vuerr dAhlde
tom R4- bepradcidnne
I wcas
tw WtI wa(s AI~
wyns I Mbkir it'in order to y pldnan I chd ma~ej
Ww Vi~ -Ml
c vuvs WI ld~ not evw~ iae a mq h ct becau~e I ww~pd
eveoy bplice/hi ird c a5 ih 15 a Cablort of oildinl X IdArc a~l I it
& wV5r~hr
Movi* foecp
qs~~a~y A Mov' & A
Iikc a
D)I ihinK, lo compyewd' 4 D'or however ii- cdoef ind~dk
doie('
a~y move- cwr
10
10
10
ieomn&
4ln fom adogarm ainc w o
to bul~d W%
U
10
tMCO~'~re)
x va~/£5y'il
10
10
10
10
10
10
dCWMrP11isY
10
10
10
10
10
10
IF IA~i
my
n
(continued)
bpa ~rtvwr Itos 4urab, aq wed so mow3 df%4f
App[ wm
my
*InfOY r/ hm
ificir ow
U, dbimno ff m~ *0n
evdst~ of
z lsecve4r. 11npir& to supo or e aller
MCllON B1CllRE doc-) mnryia racoroi ft& st~rac of
KFYLN5K PHYS1CAL KLA1ONM45IfP
vvjSbicaI ThwV; it
A4~t-1)1
by Drvc oi
or inTde, Of &)Dvyo'
OVQ-%k1Vh
%mwhoYK &xmWb) *ron picre, havwj fovcdod convmihorgfo
d d41dhC 9kDVy Or 1iirn of rwrrtb1xwh or divoolc~
Kr ord.~ccIw~Ag
o
mLo'
~ JO ~
~
~
~
~
or didcQu
Er ThIC expe'fzA
r~~Cd mylh or revnic1a ocod fttiJ.
czd)c Overall sbd a6 1" pcd4 Icg09
p&-Aucimr *0
dfl M.n aqmlF H 1Hcc1UKL I1H5 MVE conqy~caivi no
ckVduvz nflovm~4 ,tunI I~J kcar-o-pohc]1dI comwiay on
aNdhe twa d&YIle9 anid ood -tb{ 1ltoy f WUK of Waldng or
ONTrUPON MirEL &ACOA1N Eve"b~ aflcawir i5radixLmering
ow hISO fm ainq Mf~
-N5b ?Ui&L All ckA~niy Infl IW Vvo
9
othomn movafin TWhio beMri vwjh rr
tnin bfiA wmaon(hj rainmft mm
dewhre h does wi to 5* a .5pI or d5&
dragn) her
mve on. hs location nevr correponds preIady wilh his inrwtia;
of carw%wuner gorm eps his lands4cape (oide a ock on a
ng over 1o a riplacez
viver ou of *z rain and e&e
to 5Aopfor lunch.
now wih
h in4s jute whee ho icv
mom about h ("Wh f kA' anrgw
SOare isAay
of tin in tU east- fiiany of spce fmrcinle hi")ih M
n hs mo r daboraingmoi5.
awaab choices OUf-dkmei
ju
Most of man's actions comprise a spatial aspect
in the sense that the objects of orientation
are distributed according to such relations as
inside and outside; far away and close by;
separate and united; continuous and discontinuous.
1
I dib
ovs
Cor eO %
-EYC1
of0 Qm&Y
"Dp3Ml
1a-acrea3ur6
realits if-k1oy covnpik w&/S
b.n
mbliy, I-* mobilig is. acapaiit whit incldeo stilne-ss as;
Wd a6 maveet-a it ei
a placu. 1h dincion of moho
ECfLN JCTY which i
pidwr cr a freel coresonds with h
locaing
his lWe
of baancM, ha hi5i forever ohifing
catutre'b Cote
his
I.
i walk witout looNn a[ hi5 fat
ft Mp
-lhoy w Ill lo% his way on a blank of dret morm easiy tan
ever a o any cOwd oft *tck#...
m"ssy
4,lway .i
with
c mo&
rber s&
innriube. Itoimiy dire~ion
Ihis is
p
r
&Poison ivy
12
12
12
12
12
12
12
12
12
12
12
12
limi5
bac0oe
somdxdy'S
12
12
12
12
3p m.tc ncvc*in awayib rnap on Cftm coorina*5
)i~sbV UIMh~n MMoith Of ddoor&acc ur) Oc a ml I3c
amno
nnGw
r%,ipqa~
h19 tp~ 1~ it
on 1V tdegUt
hihi
e
eix on*Pejjlhmima h~sr~ic "m evm -r mw~ngri-i
h& hao17to5e ft i4 XA I chn cfp haPwmith:
for rmce.
dftMy7 hCdl,
MAjiycoI olflw
-cOjMY ,
IrA6
dm~ytor/ dy p C0V,5t)Q Ck--veAoIf S--dre c
*wfor
n&OdYdr
'i44ou
cmthhoI-sdp~iriei
afuo -cm')V doO5Thc ~d wrricilly Atib odr)fionr
*1CM c h~jy imp oviiil~ ifl
13
13
13
13
13
13
13
13
13
ej vAC4
13
13
13
13
13
13
13
toD
mLII
io or
lr&.-ilc*
ft afta o
aWa i kikv~II
fq
~vor LbWAd, dlvey,9
loMk dwa &Ahd or IV
avo orfc (scrc
cv&,m aoe
.14
CGrnwr c~ram.*PsblI
it Iwo p&arw2 for ins~rar-j
vw\1eb MO
IN
tvWl 0,50 of a-Ii* woqid
l ooKorka&i
VING MOMNG
cVd4 ox
mub
Ibw MYUaw4fol
MY3~1) b&
V)S resi*Cfcctd 1h6~
1-Po1'5, butl b"e *e,; 1 pm-Wryi
notr-b 5wh mf0i5 aways
ca oring
way~~J dckcdrin -iiti5
kA d {in rrnb~ Moroc. in ib
mlClaSb*fa
E
1hJ 9C dccordifl-b
W&con{ rdfbori Of moVMr*
zr
v*rck Th ~sp1vdy denu, fer ca
doe. ~frer hW d coriad Atdimatr *iv
,kirdl lurion of coctdocw=rr
inftvca)bdaA
1515
15
1515
1515
1515
15
IrCii c-0 t[ QCC0d5 -JO 1xco~r
'I * OWfl~y
mmirO d
rdil on -hI5 perfordfed lir&
iwonero*
A 5ev- sf of
5ucon of Mh Mow* 6-co wfYwncdlJy xorroi'he4 by
wee dony 1he -lm prwcdy doe; na-er r,o.- dfI jre
Ov' mviQaI y di'%o6wn50 f rhhdl ~ov mJyd m b-1 rycly
Of Midja corincwv
by
fbrc
a *~ady ph*f~ahn d06s WCuV
tu re r O~wI mon Th& phiys*cdICorft 1)/ of'-v sp~ac 1D Vdd
cofleJO mbf d r1 and wiMh
-khe lens.
&X
Wt -fru 6PX dl
! caersjvb mohon corrkrd 1c om pruLdy lnvarbk direcbcn
mohon pdwe cannot be m* -h6peUi i rfive' 5paI dir-ed'rr,
i'n dry llerd way (M~di ~Odfon of ftk cammcr var~wb ftVi&w(
d; dbkdal
aN )tD a c~yx t i' pas~iyng Wrough
l & combnart
V~prf) IscepsN
b~o (1su1n
ckoan w-ebhon~r da&otWo1~c~l r i ~ *x oe rie?,5kr
ib isw ok
U rnorr'Oe~y i always khac. s Ov ort oh~ ~
'w1 cnVwb~ova I0lo of ho&zori - verhicakoliona1
rM1v)
b~ be
Cwmz~ n~ P~~i Ms 0 Oxpo6 hon 15 n4~ dfcfd iy any
-~~f
pureonaly gxwat5
quic ~ of cNy *otmniao allvej. Why mlly t1 it hw
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-16
16
16
16 1616
16
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16
16 - 3C, aroundv N!5 vey Wdl ky 5 Yigoing Fy Co-lK~nfly
avry body
oreai
illfrl 3'\r- -b bo imrr~ciakcb AYwspo51rs ft pvimyei on~
'W
h~it hK iua1 Three-cdie~maJ coOvr
iicb fti~ -fW (Of rQsfvirlcz) i9 A {oV-e~a/ irely on
cll incz a o& d% jv 4oion of c0 inl -heaf
wd &er so dbi'upfly also W~~ ft ?3S5) r-4~ mov, of ft-. Rkow
5WUA
a3 wt is)jx rVcely disorc'aii.
,
d na
onot, pose cm~vfrsedy
cfrt pel *5hO eg Cd
np' 9YYe ry fln1 Wfl OLI) f d PC fm
all
NPai di5 rccr in qccefbio) inr rn5mbl&e~ place
a all indhi by. -k~ poit is-t i iiohon pictur dmioe ct dl)
rc~1 dir'on ins pace) iky credh*w a all dOcM& ) iOW tproiIy
1Th& Ary~e poirW, Much 1C. zWe4' -tpiro VedaAlizb., b'~nrr
Ie
"percqpon ibn&~ con-dwwL4, H-k35 to b69 '/ed -Mm
&xtAlabon: Thm cireWirlI5 of )mpad)
wh4Ai- i5 crihca
pvoporfiovi of afdlc)vi*ql -Xfixihn -b
A cu5 ibso po1M~y cdoricr g1hat I
Omh~r on~PM
WA c-o~fr -1really -j cxly dcmc& ori for hcping ~
cory5ut &~y
O1oAs vrerc -b phybi'cdl ovie~alon at~ dll.
5o -Wc iccorvhriudy, and im ic)conNacm oyvvnion, d5 1
mobon y d)r vctu% Wpossbly reTyrkr OW b not bA~ qxa11y
awhingd6
ch *rihon to 6ucmd- It rardc- suh c*Hcnon jr thi6
on fO O~r in
U 16KC0551ofl. Itdoes 5omrdamco
It a4
17 17irn"
ocwr to ft
fi 1tak d The i
AdC
p
and i rwer
ocuhre tc ih; pro)eor lo htit arid
1Yi' u
enoug io mke
anybody urtsy. A id, fS foV paqeb in 1 film Jo vn inknrUton
4* is helahn io 5ucecd, ?w' 4, Adarr, haildly does
e dve2 so
Page, be eepnin &sArtn -y will not
m4c siyncopale wi
fiAmIr ino on. A di e,v5isfr p~in8
MWl in a Apor whie A inkrM
is htbiaina to su(Aeed
tO 4 y will not have eouh 9ei
t nrv s, so
-iiy do not
cnap out of
CuAN 1is 5o traumati in film
i)
an anyn -m
[]
[on
om* very consirdra,
pd ftig back
h .
joiray
co(NTIMTT2I
o ormdinwily have at-wo me1Ics for findn your
no- when blindfddedJ Yxi cn
w I point )to your no%. Eo can
tak hol of- i Arnot evey 5owrd human body w grao11
hoe b it i 4eh
CWpe010 inft World cn~olni'
-h tr
noses. Ordinryry you aro jia
There is my arm seen as sustaining familiar acts,
my body as giving rise to determinate action having
a field or scope known to me in advance, there are
my surroundings as a collection of possible points
upon which this bodily action may operate,---and
there is, furthermore, my arm as a mechanism of
muscles and bones, as a contrivance for bending
and stretching, as an articulated object, the world
as a pure spectacle into which I am not absorbed,
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As far
but which I contemplate and point out.
as bodily space is concerned, it is clear that
there is a knowledge of place which is reducible
to a sort of co-existence with that place, and
which is not simply nothing, even though it
cannot be conveyed in the form of a description
or even pointed out without a word being spoken.
A patient of the kind discussed above, when
stung by a mosquito, does not need to look for
the place where he has been stung. He finds it
away, because for him there is no
straight
question of locating it in relation to axes of
co-ordinates in objective space, but of reaching
with his phenomenal hand a certain painful spot
on his phenomenal body, and because between the
hand as a scratching potentiality and the place
stung as a spot to be scratched a directly
experienced relationship is presented in the
The whole
natural system of one's own body.
operation takes place in the domain of the
phenomenal; it does not run through the objective
world, and only the spectator, who lends his
objective representation of the living body to
the acting subject, can believe that the sting is
perceived, that the hand moves in objective space,
and consequently find it odd that the same subject
should fail in experiments requiring him to point
things
out. 10
A
A/S draw a&ntc~i -o iz posihor
reafiven
of A moving/dchangln io B by immeiJafy
frat of coorbe involves
diminahng sore pac,/fme1 laI
how A is yvo n to . A 4ho- ... A b...... eng agin
c pcO *Og M epes 1&m A t B, dng the
noe who gWaspir Even if no editor knew haf
t) A o, yoO wud wa*t - ndeand -tae&rV
sphzc
beaW you oerve so. Ay &plrn& '15 copecally poding
abion to 5 pos or rea of A &nd B bdher
19
19
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19
19
19
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19
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19
I~r~PiOr 15, dtacdrerTh Dr -rrmafuor,
whchc- i
opwor moro Iia -tah -1I 'plic& i5 bvdifrg 4~
A pl icz '0naiuraIly'inc si g -b aIlcr fri ro~rdI
rwe, of Ii pcrhOrid r~jaon Iti& yotQ Unds
Aa.J
b c oc of
ww,. hobby btr[ p-hap nor~ -W i5
wh
Fl@'eric-h mciL~t by 4L
W1ii6jM, ar 4 b~a wshy
5or~ ~
vc1 6 1mmuDkr~ d~o not bed'
m ci~~
AvnonQ c ~f1 V e vci'r NmudirS d C&qWed
o 4~T'm
&v'0ofis
eC, Mf.
ths~~n
r6m
motrn 5"spTsc, )Hsi1Am fr bomr cii-ncZ
n~w 1xD Mvker~in
a dfsCovwdbiel pkmuIiiy of p iibiIjfvf-. Obviotisjy, Gicd
dyi no
i '15 ft Th4Ma of dociafr 'i ft Clw~,a)mr
Io l
20
r4w
-th
20 2020
Jivel
20
20
% b~
20
20
20
20
20
20
20
20
20
20
20
20
91kyz of2 1hmo,3 1d wellI ai
h"Iedrg I cq~d Orn c -Ow nverroms
hWwh~a I cIw~~Ipcrrejc1
of frrijo (dis)confhilM y
lovvous i) flnih of a physicJ
c~~DJT1IT~~~~[I~~
4orn-W N
~Yc~t
al
wrridor
wufMhave,
{~
do
2121
21
21
21 d 211
it~ 171$ ley Zab*upt
f
d~ on- ftH~Ofo
CLW*
(. Thm jc) c
21
MO)4
2121
Way of &i6fr7d
21
21
21
21
i
lump
ka1
21
21
21
(C.1bac
n54~f
ecer ollhpsnh
pictwve&
b. [V cr /orN~?cqO
MI
IdicdIet -fui e4p Of -chddGW
Wt~
A sqr ndU 415 a4e0icn - IolfcOf rwire o le7 Itan a
4'PIC -ca be~m clldtP 8Ja6d~y
pidcoF 4oe&'. Afr~Yve6T
A picii-e ctmh dj~o~isc fld-~spcrc, W4c if 'it
c3Xd M~Y ~icqd / yoQ 10 Ju'Irt~ d
iornavwii
1)btA1 d PCLt
Cd4 WriW
uri yOL ImivSb
5m~ 1 OW)Oe~dly ds :5oqnd W~f
re(ily ir4QCb y~ir
ijrv%4hz! dic resqIowKdi Or yoq can rmaz cmf5 in
swrvj -to be dlmoh imxr2iV W; yaw rully cwnct do il~t
ciovnhmr ain'ostf c l.
pv*yb *cVJ
A oWr4
M~t tI 2 *qs'c.
W61~m wdi a(IU
pCur c.- isWWn
MOEJ
phclbo. U W5 'Ivi vnoV\,I
wake ft dh~ ccortry i
4~z b4- conrv~io in bilcdir wnors[tcbon, rwd morz fcy
ha-tlwac- -fMavq anly pCYS51
uC1Wi aY I h~k
cottrM c;0rrdw-5s o~ con c L 1y
Of
~
aly-sOWAY b
itVw'oonS dzfiniIy
hcm
'Mn
mre o V
I
22
22
22
I
-.
22
22
22
22
22
22
22
22
22
22
22
22
22
22
WDV1E ARE IlNiTELYFRAMING IT
.on Am&I Whem picae 15h IMovif
TI
________ inhtM fro/er an inch oLQ5i#
-Me
bOMOW1k) IMhabia d Io f 1iKdbo~t-h& hovizoni~j boioan df
i 'D eQ~daeoCfngr it ini p ee movevot,
gic 4enc
ahd redl ly hd5 - 10 Wit wh& m~nufacu re*t 5o it6s not parhct)My
(nlreghs~ it b no- rneiy eo iafrehn aso
ft~ fomibilily of min
~abi
fmr*V t we in%5 vr or4agc
M
51tO#Zpictire area. YoW coud {(cour% do
frlb by
-Mt OCdhlaY. F morre*rizhT
you pDk~bly do 10 dr ad
AMwhy 4o yooi
1'TERAL8I NENOMENAL 1bOLNtDARJ5:
pha aphcdly WA
Min
Ih~~ahcly
'04e-reryw.
,ofltArtS of
is
lisC {xanz& if *htr19 dry phiysf c cnfrr- n-I
1c
-fr- ~drdws *Ameia -b wudi cor~inna
motslly by ryldLy)i ayid dtAp1car0*ft 05o ndifie)'. If M/h
-Icrrlory tundf r isideon 'is conirieJ
by rnariaI kboundwe, Im~v -ke fcrr would lnr(Akdir1hWoundcjner pephzw1y or 0%s oubelIfo ds own ecJd rlr #hm
(hil 3LiY 1&ei 8?nt
:ik~'d offth f-mM) if
TI
bwndw
dvzno makrid, -bpkrysically ObYt 6paez bW- moy
'I M
)bor) icvyjltiN
pe
23
23
IXc
23
ak(cz ofiY
MC0fl')I Vcdl irjwvaI! bedway JThemvcee
23
23
23 23
23
23
23
23
23
2
frmo velap a virtual
bounday i~nd din T(V oukmot-Of +NO adiant
rio
, for m in r adjac cy cal.
(bmdn;
e
1 g you mi Y rt
CERTAlN OPTICAL QUANTIT1E5 5CALED TO rof
wide anl
AC(0
&PAR5F
13
p
1
ERED
OE
C
TEE~ir4M/NG
ml~ low IfYl13
HARD TO0 MOVE
f el e ofo
n
24
24
24
24
24
24
24
24
24
24
24
24
24 0
NOMh
i @~jwvuvd
n5kf, FPlay5"
p.ioa.
%95)
fin
L*
nAg-
c~on, "F6 ydnd 6rarrt-ar"
2'6ir~ti,
fi
...~I 05
tocome dC*O55 50me) awio05if of a 3imdacr
Y10fin I V - phio mcan5 of zxpreq~ion in N1A~ JK1
1i-f-$2 - .
di d Na1W2., 1973, pp. 15-1c>5.
w
e2- h ~In~ d -th rz- p&t o4 izahon of %fl5 hwrd-c
ftvwwo (4rJ~,
invoM R'w4'-dctlVe, tnur-mdial,
wgC4
vei aOO IoCt -
Oh
yCC do0
bXZ - pav
46v& oion, "Rtj~eve rs&' in iiw
(&e,
un~
.It mo~cis e 4\d1/ wkal-It ys', rg d Mader Of) d~I Cir
I hwIC
wA\/) ot Cr mc-aoj*'ne&Tc
&ly
Uel
C
on wfifh it
mv pi;!*
Izwv C.5r ti w ,hol w~L~re5,
o
of t , l wo~l
4 c)
L45E
Gfi1zeaJ Andc if you &Io 50up a5 ap;
(e
tYYF-QE fth pvoc.d al ~( P6x1itc., inw~yVo
oLAWC4)
alNC, l\V&5
Wp~a-*cq:4-c1rU rrnu 5t V115? MvOVE,)
OANMYHE!"
N1cc
5
Oi± n-tl by Lac)'~ /vYrords
CoVc
6
25
25
25
9o&
z4*-
e-a-d,-
dV~6 Tk~Th~y ~C~i&~
25
25
25
"Concre e Oridn7)
hii
25
in
Lv~
1973, p.152,.
C~ dIc'2~~
25
25
25
25
xl
25
25
25
25
25
25
255
7
o , "Sh dCAdn "i in Th
Tlmc
CAd Correni, Iq7 , pp. l09-) 5
iere,
Theciaton
wa da devio
mmo tI pom 'n ft rderenCOs, hat a parhIars
I would nc& be irkreied in aheMpbw d ppi7.
x41uWt-4 i~i~ick~, ~
wlu
1if71 p.9.
ArchUedtAre,
9Nicol
zo4-iIi, p.1_r7, p.132..
10oMa C&
La
7|on
26
26
26
26
26
Porfy pp. cA. F-105 OD
ir,
26
&cad-0odn d
26
26
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26
26
26
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26
26
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26
LIBRARY FINES
bOME
SLJO&PAPhY
Brakhage, Stan.
"Metaphors on Vision."
Fall, 1963.
Durgnat, Raymond.
Film Culture.
"Architecture in, and of, the Movies."
Films and Feelings. Cambridge, Mass., MIT Press,
1967. pp.99-114.
Film Form: Essays in Film Theory.
Eisenstein, Sergei.
New York, Harcourt, Brace, 1949.
.
"The Dynamic Square" and "Problems
of Composition" in Film Essays and a Lecture.
New York, Praeger, 1970.
Farber, Manny.
Negative Space.
New York, Praeger, 1971.
Godard on Godard.
Godard, Jean-Luc.
Viking Press, 1972.
New York,
Gordon, Dana. "Filmtecture (A Working Title)." Description
of a project never filmed. Unpublished, 1971.
Kandinsky, Wassily. Concerning the Spiritual in Art, and
Painting in Particular. New York, Wittenborn, 1947.
Klee, Paul. Notebooks, vol. 1:
York, Wittenborn, 1961.
.
Notebooks,
vol.
The Thinking Eye.
2: The Nature
New
of Nature.
New York, Wittenborn, 1973.
Leyda, Jay.
Film.
Kino: A History of the Russian and Soviet
New York, MacMillan, 1960.
Lipton, Lenny. Independent Filmmaking.
Straight Arrow, 1972.
San Francisco,
MacCann, Richard, editor. Film: A Montage of Theories.
New York, Dutton, 1966.
Marcorelles, Louis. Living Cinema: New Directions in
New York, Praeger, 1973.
Contemporary Filmmaking.
Mekas, Jonas. Movie Journal: The Rise of the New American
Cinema, 1959-1971. New York, Collier, 1972.
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
Merleau-Ponty, Maurice. Phenomenology of Perception.
London, Routledge & Kegan Paul, 1962.
Norberg-Schultz, Christian. Existence, Space and
Architecture.
New York, Praeger, 1971.
Olson, Charles.
"Human Universe"
and "Projective Verse"
in Human Universe and Other Essays. New York,
Grove Press, 1967.
.
In Cold Hell,
in Thicket.
San Francisco,
Four Seasons Foundation, 1967.
Ponge, Francis.
Things.
Grossman,
trans. Cid Corman.
New York,
1971.
Powers, Neville Anthony.
"The Use of Photographic Images
MIT
for Explorations of Meaning in Architecture."
1972.
thesis,
Architecture
New York, G. Braziller,
The Words.
Sartre, Jean-Paul.
1964.
Stein, Gertrude. Lectures in America.
House, 1935.
.
New York, Random
The Geographical History of America or
The Relation of Human Nature to the Human Mind.
New York, Random House, 1936.
Torroja Miret, Eduardo. Philosophy of Structures.
University of California, 1958.
Truffaut, Francois.
1967.
Hitchcock.
Berkeley,
New York, Simon & Schuster,
Vertov, Dziga. Excerpts from his writing in Filmmakers on
Filmmaking. ed. Harry Geduld. Bloomington, Indiana
University, 1967.
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